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One Piece, 899-901 · Spoil Me! One Piece

• 0:02
  Speaker 1: This is an Unspoiled Network podcast. This is spoil Me,
• 0:09
  Speaker 1: covering one piece episodes eight ninety nine through nine hundred
• 0:16
  Speaker 1: and one. We're here, kids, We're breaking into the nine
• 0:22
  Speaker 1: hundreds now, it's happening. Defeat is inevitable to straw Man's
• 0:27
  Speaker 1: fierce attack, the greatest day of my life, o Tama
• 0:31
  Speaker 1: and her sweet red bean soup, and charging into the
• 0:35
  Speaker 1: enemy's territory Bakura Town where officials thrive in these episodes,
• 0:44
  Speaker 1: I think it's really something that we meet hold him
• 0:50
  Speaker 1: and he isn't in any of the episode titles. I
• 0:55
  Speaker 1: just feel like he deserves an episode title.
• 0:58
  Speaker 2: Is that just me?
• 1:00
  Speaker 1: Welcome to spoil Me. Welcome to the show everyone. I
• 1:21
  Speaker 1: am Natasha. Thank you very very much to Florian for
• 1:25
  Speaker 1: commissioning this episode. Okay, so I'm really excited to talk
• 1:31
  Speaker 1: about this. And again, I had a delightful time where
• 1:36
  Speaker 1: my husband happened to be in the room for like
• 1:38
  Speaker 1: the final two episodes, and I just got to see
• 1:41
  Speaker 1: his utterly nonplused reaction to some of the things, and
• 1:45
  Speaker 1: I found it extremely fucking funny. I will say that
• 1:51
  Speaker 1: the Okay, I talked about this first of all, I
• 1:56
  Speaker 1: talked about it in the Filthy Casual Chat on Discord,
• 2:00
  Speaker 1: which many of you may have seen, but I'm going
• 2:04
  Speaker 1: to bring it up here simply because I feel like
• 2:08
  Speaker 1: there's a weird relevance that is likely going to bleed
• 2:11
  Speaker 1: through and I will be talking about it later. So
• 2:14
  Speaker 1: over the weekend, I watched the movie Obsession, and if
• 2:19
  Speaker 1: you haven't seen it yet, it's a horror movie. I
• 2:22
  Speaker 1: really want to emphasize to you that I have talked
• 2:26
  Speaker 1: to a number of people who horror movies don't often
• 2:29
  Speaker 1: really affect them that intensely, and they still had a similar.
• 2:36
  Speaker 2: Experience to mine, where the.
• 2:39
  Speaker 1: Unsettled feeling that movie left them with was very difficult
• 2:44
  Speaker 1: to shake. Now for me, I know it's exceptional because
• 2:48
  Speaker 1: I'm really sensitive to horror movies, and so I know
• 2:53
  Speaker 1: that I'm going to pay for it. Whenever I choose
• 2:57
  Speaker 1: to watch a horror movie, I am aware I am
• 3:00
  Speaker 1: basically choosing to suffer for at least a day, often
• 3:04
  Speaker 1: a few days afterward by being creeped out. But the
• 3:09
  Speaker 1: thing about the Obsession movie is that it's like the
• 3:13
  Speaker 1: whole thing is based around the idea of a wish
• 3:16
  Speaker 1: that works that somebody can purchase at a store, and
• 3:19
  Speaker 1: it's part of a display with a bunch of other
• 3:22
  Speaker 1: odd little objects that appear to be from the same manufacturer,
• 3:26
  Speaker 1: which leads me to believe it's like that all of
• 3:32
  Speaker 1: the things work because the wish thing works. So my
• 3:35
  Speaker 1: assumption is the other things work. And some of the
• 3:38
  Speaker 1: other things are voodoo dolls, and they have like a
• 3:42
  Speaker 1: real weird look to them. The voodoo doll look with
• 3:47
  Speaker 1: Hawkins is straw. The ones in the movie are cloth.
• 3:52
  Speaker 2: It looks like, but.
• 3:56
  Speaker 1: It was just adding I'm adding like the creepy vibes
• 4:02
  Speaker 1: that I've still got going on, which have raised my
• 4:06
  Speaker 1: cortisol levels. Let me tell you from that movie to
• 4:11
  Speaker 1: the scene of the fucking straw man, the straw demon,
• 4:17
  Speaker 1: I think, is uh what Florian says he calls it.
• 4:22
  Speaker 1: I just found it like it was simultaneously less creepy
• 4:26
  Speaker 1: because I have a different standard now for creepy and
• 4:29
  Speaker 1: this just doesn't quite you know, But it was also
• 4:32
  Speaker 1: weirdly more creepy, and I like summoned Marshall into the
• 4:36
  Speaker 1: living room and I was like, will you look at
• 4:37
  Speaker 1: the straw monster and he comes in and it starts laughing,
• 4:41
  Speaker 1: like just as he's coming in and he's like, uh, well,
• 4:44
  Speaker 1: that's really fucking freaky. I was like, yeah, it really is. Right,
• 4:48
  Speaker 1: it's not just me and the state that I am
• 4:51
  Speaker 1: currently in, but uh, this thing chases them for a
• 4:56
  Speaker 1: while and it is Uh, there's a few attacks in
• 5:03
  Speaker 1: these episodes. Now, there was a mention I think from
• 5:07
  Speaker 1: Sarah f m maybe during the live about how the
• 5:12
  Speaker 1: pacing of these episodes overall or not these episodes, but
• 5:16
  Speaker 1: like the pacing of the show is improved because it's
• 5:22
  Speaker 1: a little bit more modern as we go forward, and
• 5:27
  Speaker 1: there just has seemed to have been a change in
• 5:30
  Speaker 1: the sensibilities, right. I think that I feel that already
• 5:40
  Speaker 1: the pacing seems to be improved already. But that said,
• 5:47
  Speaker 1: I will admit there was a part of me with
• 5:50
  Speaker 1: some of these attacks and the scenes that felt like
• 5:55
  Speaker 1: this is going on an awfully long time, especially with
• 5:59
  Speaker 1: Batman later, it's wild. Can he address the fact that
• 6:02
  Speaker 1: there's a guy called Batman and there's also a guy
• 6:04
  Speaker 1: called Penguin? And I know that Penguin's on our side
• 6:07
  Speaker 1: and he's not like a villain or anything, but it
• 6:09
  Speaker 1: just felt very like, oh, okay, I mean, I know
• 6:13
  Speaker 1: we're not really doing that with it, but it does
• 6:15
  Speaker 1: seem like something we should have noticed, or just maybe
• 6:20
  Speaker 1: we just didn't care.
• 6:20
  Speaker 2: I don't know, but I'm trying to like.
• 6:27
  Speaker 1: Stay on course.
• 6:28
  Speaker 2: Here.
• 6:28
  Speaker 1: The fight with him, where he's shooting arrows and our
• 6:32
  Speaker 1: guys are just dodging and ducking them, is just a
• 6:37
  Speaker 1: really long scene that it feels we repeat some of
• 6:41
  Speaker 1: the same motions and movements a few times, and I
• 6:46
  Speaker 1: won't lie. I started to just be like, oh my god,
• 6:49
  Speaker 1: can we please get a move on here?
• 6:51
  Speaker 2: You know what I'm saying.
• 6:53
  Speaker 1: So the chase here, this fucking straw demon is is
• 7:01
  Speaker 1: really really intimidating, and it's fascinating to watch because it's like,
• 7:06
  Speaker 1: as it's following them, it's surrounded by this like red light, right,
• 7:10
  Speaker 1: and it's very clear this is a result of the
• 7:14
  Speaker 1: devil fruit that Oh my god, I almost said Hamilton.
• 7:20
  Speaker 1: What is his name? Guys? You guys know who I'm Hawkins.
• 7:28
  Speaker 1: It just there's a point where Hawkins seems to really
• 7:34
  Speaker 1: zero in and focus and turns purple and like the
• 7:39
  Speaker 1: flames sort of leap off him. He's like this purple
• 7:41
  Speaker 1: light and when he does that, it's like the power
• 7:46
  Speaker 1: of the straw man is increased somehow. I'm not exactly
• 7:52
  Speaker 1: sure what this is about, but we see after that
• 7:57
  Speaker 1: a moment with Zoro where he's like, he says one gorilla,
• 8:02
  Speaker 1: two gorilla, which is just so strange, and his muscles
• 8:09
  Speaker 1: get bigger, which apparently indicates that he is temporarily stronger.
• 8:15
  Speaker 1: I found this actually quite funny because in Jim, what's
• 8:21
  Speaker 1: the word culture, I guess I was gonna say lore,
• 8:24
  Speaker 1: and then I was like, that doesn't make sense. The
• 8:26
  Speaker 1: pump is what happens once you start working out and
• 8:29
  Speaker 1: there starts to be increased blood flow to your muscles,
• 8:33
  Speaker 1: your muscles look bigger temporarily, and so a lot of
• 8:37
  Speaker 1: actors when they're about to have like a shirt off scene,
• 8:39
  Speaker 1: they will be doing push ups and stuff right before
• 8:42
  Speaker 1: the scene in order to get the pump going. And
• 8:45
  Speaker 1: it just looked to me for a moment like Gazorro
• 8:47
  Speaker 1: was simply summoning the pump, you know what I mean saying.
• 8:52
  Speaker 1: There's a whole weird clip of a very young Arnold
• 8:55
  Speaker 1: Schwarzenegger out there talking about how the pump feels as
• 8:59
  Speaker 1: good as sex and if you're like getting pumped at
• 9:03
  Speaker 1: the gym, you feel like you're coming and so every
• 9:07
  Speaker 1: time you like do a bench press, you're coming. And
• 9:11
  Speaker 1: I occasionally just go and watch that because it's just
• 9:14
  Speaker 1: such a weird, weird sentiment. But I'm assuming that what
• 9:20
  Speaker 1: Zoro manages to do with his muscles is like essentially
• 9:26
  Speaker 1: what Hawkins is doing when he turns purple and manages
• 9:32
  Speaker 1: to like increase the strength of the straw Demon. And
• 9:40
  Speaker 1: it's just somehow tapping into like the next level of
• 9:44
  Speaker 1: strength for the thing. I the fact that Zoro he
• 9:52
  Speaker 1: has such a hard time with it and he's just like, Wow,
• 9:54
  Speaker 1: that thing really gave me some trouble in a way
• 9:57
  Speaker 1: that sounds to me almost like he's disappointed in himself.
• 10:02
  Speaker 1: And I was like, Zoro, you literally fought that thing alone.
• 10:06
  Speaker 1: I don't think that's a shame at all. That was
• 10:10
  Speaker 1: a lot to expect of yourself, and you actually managed it.
• 10:15
  Speaker 1: I feel like that's a win. It's as good as
• 10:18
  Speaker 1: a win if anything, you know. I don't know, but
• 10:21
  Speaker 1: I have, of course probably not got the same highest
• 10:24
  Speaker 1: standards for Zoro that he has for himself, as we
• 10:27
  Speaker 1: all know. So eventually he is able to slice this.
• 10:34
  Speaker 2: Thing in half.
• 10:35
  Speaker 1: It's an interesting moment because once he slices it in
• 10:39
  Speaker 1: hal like there's a few injuries that he is able
• 10:42
  Speaker 1: to inflict on it, and of course we see the
• 10:44
  Speaker 1: injuries light up a part of Hawkins's body for just
• 10:48
  Speaker 1: a moment, but then the injury instead is inflicted on
• 10:54
  Speaker 1: one of his men standing behind him, as we know.
• 10:58
  Speaker 1: So I had asked last time, are his men aware
• 11:04
  Speaker 1: that it works like this? But we see them all
• 11:08
  Speaker 1: standing around watching this happen, and I have to assume
• 11:11
  Speaker 1: they've seen this in action before. So I think I'm
• 11:15
  Speaker 1: gonna go ahead and say they are aware, and they
• 11:17
  Speaker 1: just accept that this is part of what it is
• 11:19
  Speaker 1: to be in his retinue. I when Zoro finally like
• 11:27
  Speaker 1: slices this thing in half, it hangs out in the
• 11:30
  Speaker 1: air behind him for quite a while, and I actually
• 11:34
  Speaker 1: started to wonder if it was going to put itself
• 11:36
  Speaker 1: back together again. It does not do that. It does, though,
• 11:42
  Speaker 1: like earlier on, there's a.
• 11:43
  Speaker 2: Point where it's.
• 11:46
  Speaker 1: Just shooting nails at him for a while, and I
• 11:49
  Speaker 1: think maybe that's part of where my irritation came from
• 11:53
  Speaker 1: with Batman's attack with the bow and arrows, because it
• 11:56
  Speaker 1: just sort of felt like we had done this already,
• 12:00
  Speaker 1: kind of because that scene also goes on for a
• 12:02
  Speaker 1: minute anyway, So yeah, Zoro slices it in half. It's
• 12:09
  Speaker 1: wild because, like I said, it just hovers there and
• 12:11
  Speaker 1: the two edges that are cut are both on fire,
• 12:17
  Speaker 1: and there's like this glowing light and then finally it
• 12:20
  Speaker 1: begins to dissipate, and I should mention that once it dissipates,
• 12:28
  Speaker 1: it's like very bright light out again, and I have
• 12:32
  Speaker 1: to admit that I thought it was nighttime. I think
• 12:36
  Speaker 1: that it's like the function of this straw man is
• 12:40
  Speaker 1: just that it is so huge and looming that it
• 12:44
  Speaker 1: blocks out the light, which is pretty intimidating in and
• 12:48
  Speaker 1: of itself. But I did not consider it, so I
• 12:51
  Speaker 1: was just thinking like, oh, it's just getting dark, you know.
• 12:54
  Speaker 1: And then once it's gone and it's like a bright,
• 12:57
  Speaker 1: bright blue sky, I.
• 12:58
  Speaker 2: Went, oh, oh my god.
• 13:00
  Speaker 1: Okay, and they start to run, and Hawkins is there
• 13:06
  Speaker 1: with his men who are like, so should we go
• 13:10
  Speaker 1: after them or what? And Hawkins decides to pull some
• 13:15
  Speaker 1: tarot cards to tell him what to do, and interestingly,
• 13:20
  Speaker 1: he draws the hierafant again and it's right side up
• 13:25
  Speaker 1: this time, and he basically says about it, what I
• 13:32
  Speaker 1: said about the card previously, and it's so odd to
• 13:36
  Speaker 1: me that this is like what I understand as correct,
• 13:43
  Speaker 1: but that the reversal and saying like, oh the card
• 13:47
  Speaker 1: of pursuit just felt so inaccurate to me. I Like,
• 13:55
  Speaker 1: I kind of thought it was okay, the show is
• 13:57
  Speaker 1: just gonna do whatever it wants with Taro just to
• 14:00
  Speaker 1: have the plot beats that it needs. And I'm not
• 14:03
  Speaker 1: somebody who's like Tarot is sacred, I don't care, go ahead,
• 14:06
  Speaker 1: do what you want with it, like it's fine. But
• 14:09
  Speaker 1: for it to turn this corner and now it's like, oh,
• 14:12
  Speaker 1: we're gonna be using the actual correct definition. Now it's
• 14:16
  Speaker 1: got me sort of doubting myself and being like, is
• 14:19
  Speaker 1: is a HI reverse the sign of pursuit or what
• 14:25
  Speaker 1: you know?
• 14:26
  Speaker 2: Like did I just not know that?
• 14:27
  Speaker 1: So I'm gonna look into that, That's all I'm saying.
• 14:32
  Speaker 1: And what he interprets here is that somebody wise is
• 14:38
  Speaker 1: going to step in and help them, and he simply
• 14:45
  Speaker 1: does not move. It doesn't answer the man asking should
• 14:49
  Speaker 1: we pursue? He just says this and watches them go.
• 14:54
  Speaker 1: And it was so odd because I had a moment
• 14:57
  Speaker 1: of like, all right, so are you gonna go after
• 15:01
  Speaker 1: the person that's helping them or what. Now there's a
• 15:06
  Speaker 1: whole thing that happens later, and I don't know if
• 15:09
  Speaker 1: he's involved at all. It seems like it's just another
• 15:13
  Speaker 1: one of the big henchmen who is doing something on
• 15:17
  Speaker 1: his own, and that Hawkins had nothing to do with this.
• 15:21
  Speaker 1: But I was sort of wondering did he just sit
• 15:25
  Speaker 1: there and watch them run because he was formulating a
• 15:27
  Speaker 1: different plan for dealing.
• 15:29
  Speaker 2: With all of this later.
• 15:31
  Speaker 1: And I don't really think that's what's going on. It's
• 15:34
  Speaker 1: just such a strange to be like, Oh, they're going
• 15:38
  Speaker 1: to get help, and then just let them go and
• 15:41
  Speaker 1: not interfere with that when you're for all intents and purposes,
• 15:47
  Speaker 1: you're fine. It's not like he's injured and he can't
• 15:50
  Speaker 1: pursue them or anything. So I was a little bit
• 15:54
  Speaker 1: puzzled by that. I am not gonna lie my friends.
• 15:57
  Speaker 1: I was just sort of like, why aren't you just
• 15:59
  Speaker 1: go with them? What's the deal? So we are our
• 16:07
  Speaker 1: friends who are on the back of the dog. Eventually
• 16:11
  Speaker 1: there comes a point where the poor dog doesn't know
• 16:14
  Speaker 1: which way to go.
• 16:16
  Speaker 2: He's lost.
• 16:18
  Speaker 1: I love that, Like Zorro says, right, and of course,
• 16:23
  Speaker 1: like in my head, I'm going do not listen to
• 16:25
  Speaker 1: Zorro about directions.
• 16:27
  Speaker 2: Please don't, please, do not.
• 16:30
  Speaker 1: And it's like the show knew that I was going
• 16:33
  Speaker 1: to be urgently waving my arms and just cut me
• 16:37
  Speaker 1: off because we then get a voice that's like, actually
• 16:42
  Speaker 1: the other way, and I'm like, oh, thank god. And
• 16:44
  Speaker 1: it turns out this is the lady who he helped
• 16:48
  Speaker 1: rescue earlier. She has been hiding in the tail of
• 16:52
  Speaker 1: this dog the whole time. I had been like vaguely
• 16:55
  Speaker 1: wondering where the hell she was, but I didn't really
• 16:58
  Speaker 1: stop and ask the question because I didn't care that much,
• 17:01
  Speaker 1: to be honest, And so the fact that she was
• 17:04
  Speaker 1: hiding there, I was like, it's a pretty brilliant idea
• 17:07
  Speaker 1: of a place to hide inside essentially a vehicle that
• 17:10
  Speaker 1: is going to get you out of the vicinity of
• 17:12
  Speaker 1: these people as quickly as possible. And she says that
• 17:16
  Speaker 1: she is so grateful and that they must be very
• 17:21
  Speaker 1: very strong to have been able to avoid being killed
• 17:25
  Speaker 1: by Hawkins, and it's sort of interesting. I'm so the
• 17:32
  Speaker 1: fact that there's nobody in the chat to sort of
• 17:35
  Speaker 1: help me with this. If you want to go into
• 17:38
  Speaker 1: the discord at some point and let me know, please do.
• 17:42
  Speaker 1: I am sort of running up against this dissonance with
• 17:48
  Speaker 1: the way that she is presented, because you know, Ota
• 17:55
  Speaker 1: is really well known for apparently for drawing most of
• 18:00
  Speaker 1: his female characters in a really similar way to each other.
• 18:04
  Speaker 1: There are exceptions, but it always tends to be that
• 18:10
  Speaker 1: the exceptions are just women who are ugly or old
• 18:13
  Speaker 1: or fat or all the things. And if she's supposed
• 18:16
  Speaker 1: to be younger and hotter, she is going to have
• 18:20
  Speaker 1: the identical face to a bunch of other young, hot characters.
• 18:26
  Speaker 2: And so.
• 18:28
  Speaker 1: This lady and forgive me, guys, I absolutely really paid
• 18:33
  Speaker 1: attention to what their names were and tried and am
• 18:36
  Speaker 1: I just cannot remember them. Considering that I've been told
• 18:40
  Speaker 1: this is going to be a long arc, I'm just
• 18:42
  Speaker 1: hoping that eventually it's all going to sink in for me,
• 18:46
  Speaker 1: and just over the course of time.
• 18:49
  Speaker 2: You know.
• 18:50
  Speaker 1: But she is drawn really, really differently in a way
• 18:56
  Speaker 1: that feels a lot more like the traditional paintings and
• 19:00
  Speaker 1: things that you will see from Japan. But there's a
• 19:05
  Speaker 1: weird like musical sting when the camera pans over to her.
• 19:11
  Speaker 2: So there's but it's a.
• 19:17
  Speaker 1: This show when it's sort of panning over to something
• 19:22
  Speaker 1: that's not meant to be taken seriously. It will play
• 19:28
  Speaker 1: music that is.
• 19:31
  Speaker 2: What's the word I want?
• 19:33
  Speaker 1: It will have music that sounds kind of normal, and
• 19:35
  Speaker 1: then they'll have it go discordant as the camera focuses
• 19:38
  Speaker 1: on whatever the joke is, or it'll be like that
• 19:41
  Speaker 1: woo whap wa wa wa wah woah wah wah, you
• 19:45
  Speaker 1: know that music where it's just like, whatever is happening
• 19:48
  Speaker 1: here is super goofy and silly, and it's not really that,
• 19:55
  Speaker 1: but it is a little bit like it gets warped
• 19:59
  Speaker 1: when the camera turns to her, so in a way
• 20:03
  Speaker 1: it feels like she's being made fun of. But then
• 20:08
  Speaker 1: there's also like a bunch of like cherry blossom petals
• 20:14
  Speaker 1: that blow passed her in a way that feels like
• 20:18
  Speaker 1: it's meant to be a very romantic, like, oh, this
• 20:22
  Speaker 1: beautiful woman has appeared, like it's a magical moment type
• 20:27
  Speaker 1: of way. And I really can't tell if I am
• 20:33
  Speaker 1: supposed to think she's unattractive or if it's supposed to
• 20:38
  Speaker 1: be that she is very attractive, because let's be honest,
• 20:44
  Speaker 1: Oda has a pretty obvious opinion about that. With most
• 20:49
  Speaker 1: of his women characters, it's very clearly indicated usually whether
• 20:55
  Speaker 1: the lady we're looking at is intended to be desirable
• 20:59
  Speaker 1: or not. And I just couldn't decide, and a part
• 21:05
  Speaker 1: of me was like, I really hope it's not that
• 21:07
  Speaker 1: she's meant to be undesirable, because her face is one
• 21:13
  Speaker 1: of the first that really seems to have a lot
• 21:15
  Speaker 1: of character to it, and she is by no means unattractive.
• 21:22
  Speaker 1: She's just different than every single other face. Her nose
• 21:28
  Speaker 1: has a little bit more of a bump in the bridge.
• 21:30
  Speaker 1: That's again not a bad thing. The actress who was
• 21:35
  Speaker 1: in Dirty Dancing, she had a bump in her nose
• 21:38
  Speaker 1: that she got like change, she got a nose job,
• 21:40
  Speaker 1: and she just looked so fucking unexceptional after that knows
• 21:45
  Speaker 1: job that she really never got almost any work again,
• 21:48
  Speaker 1: because what made her recognizable and distinctive was the bump
• 21:51
  Speaker 1: in her nose, And as soon as she decided she
• 21:53
  Speaker 1: wasn't gonna do that anymore, it was like, well, nobody
• 21:57
  Speaker 1: even can tell who you are. It gave her face
• 22:01
  Speaker 1: all its character. And I know that this is not
• 22:05
  Speaker 1: necessarily really important, but it is It has been a
• 22:11
  Speaker 1: difficulty for me in the series, the way that women
• 22:15
  Speaker 1: are treated in the story, the way that they are animated,
• 22:18
  Speaker 1: And I Am trying to see what's intended here, and
• 22:25
  Speaker 1: I just can't tell. To me, she's attractive and it's
• 22:31
  Speaker 1: just that she has like more of a traditional arts style.
• 22:35
  Speaker 1: I'm just not sure what I'm meant to think. So anyway,
• 22:40
  Speaker 1: I just wanted to mention that. But she offers to
• 22:45
  Speaker 1: help what is it.
• 22:46
  Speaker 2: O Tama, the little girl's name. She offers to.
• 22:52
  Speaker 1: Help by bringing o Tama to her tea house, which
• 22:57
  Speaker 1: is like much more nearby, and Zoro does a thing
• 23:00
  Speaker 1: where he's like, does it seem like she needs some
• 23:03
  Speaker 1: tea right now? And I'm just like, dude, obviously the
• 23:06
  Speaker 1: teahouse is simply a building, but this woman is offering
• 23:10
  Speaker 1: to help in another way that is not explicitly tea
• 23:15
  Speaker 1: simply because that's where it is located at. I beg
• 23:19
  Speaker 1: of you, sir, to just have a little discernment, please.
• 23:24
  Speaker 2: Like you know what I'm saying. Yeah, anyway, so.
• 23:31
  Speaker 1: They head on over there, and as they are heading
• 23:33
  Speaker 1: in that direction, we get a bit of a departure
• 23:37
  Speaker 1: from them where we are at the teahouse, and we
• 23:41
  Speaker 1: are getting to see there's this customer who is getting
• 23:46
  Speaker 1: these like little they are strung on a what do
• 23:53
  Speaker 1: you call it? Kabobs? Like you know what I'm saying,
• 23:58
  Speaker 1: and she calls them something like not dumplings, but they're
• 24:03
  Speaker 1: like apparently a specialty of the house. Uh. And let's
• 24:08
  Speaker 1: see okiku uh okiku sweet dango dumplings. Nothing I love
• 24:13
  Speaker 1: better from this tea house. I don't get to eat
• 24:15
  Speaker 1: these as much anymore. And she says, well, that's about
• 24:22
  Speaker 1: to change, and he says hopefully. And I was not
• 24:26
  Speaker 1: really certain what this meant. She says, before you know,
• 24:30
  Speaker 1: you'll be eating as many as you wish, just like
• 24:32
  Speaker 1: old times, which I don't know if it's meant to
• 24:35
  Speaker 1: be that, like, oh, change is coming, somebody's going to
• 24:39
  Speaker 1: save us. I almost thought after it, because I watched
• 24:44
  Speaker 1: this section twice for the record, I almost thought after
• 24:47
  Speaker 1: I saw it the first time, I was like, is
• 24:48
  Speaker 1: she referring to herself? Because she's secretly, as we find
• 24:51
  Speaker 1: out later, a samurai. And maybe she's saying that like
• 24:56
  Speaker 1: I'm going to be fixing things, but it seems like
• 24:59
  Speaker 1: she wanted to to keep that she is a Samurai
• 25:01
  Speaker 1: under wraps a little. So why would she just be
• 25:04
  Speaker 1: like freely talking about it with this guy? You know,
• 25:06
  Speaker 1: I wasn't really sure how that would work. Anyway, She's
• 25:14
  Speaker 1: in the middle of talking to him, and it's obviously
• 25:17
  Speaker 1: a lovely interaction where she's sort of looking out for
• 25:20
  Speaker 1: this dude, and then or Rashima turns up. Rushima fucking sucks.
• 25:31
  Speaker 1: I would say this anyway, of course, but I will
• 25:36
  Speaker 1: admit I am heavily influenced by the fact that later
• 25:41
  Speaker 1: he wants them to cook a raccoon.
• 25:45
  Speaker 2: You know how I feel about.
• 25:46
  Speaker 1: Raccoons, and I simply, I mean really, right in front
• 25:50
  Speaker 1: of my Jimothy, this is what you want to say.
• 25:53
  Speaker 2: And I'm going to trust.
• 25:57
  Speaker 1: That these people are not forced to cook their raccoon.
• 25:59
  Speaker 1: Pet think that Oda would allow that to happen.
• 26:04
  Speaker 2: But I just.
• 26:11
  Speaker 1: This guy is He says to her, I like, why
• 26:18
  Speaker 1: don't you just marry me. You won't have to live
• 26:22
  Speaker 1: with this poverty anymore, and you won't.
• 26:26
  Speaker 2: Have to.
• 26:28
  Speaker 1: Serve leftovers just to make a living. And when he
• 26:33
  Speaker 1: said leftovers, I wasn't understanding like I thought he was
• 26:38
  Speaker 1: simply insulting her food and saying that her food was
• 26:44
  Speaker 1: essentially leftovers as a means of just denigrating her work.
• 26:50
  Speaker 1: It turns out later that the name of the town's
• 26:54
  Speaker 1: origin is the word leftovers because the town is forced
• 27:00
  Speaker 1: to live on the scraps of the other town, which
• 27:04
  Speaker 1: is where anybody who is important or has money lives.
• 27:08
  Speaker 1: So whatever they decide they don't want, whatever is too
• 27:11
  Speaker 1: rotten or disgusting or.
• 27:17
  Speaker 2: Broken.
• 27:18
  Speaker 1: When it comes to like furniture and stuff for them
• 27:20
  Speaker 1: to use, they will hand it on to this town
• 27:23
  Speaker 1: that just like you know, is barely scraping by. So
• 27:27
  Speaker 1: that is what he meant by that.
• 27:31
  Speaker 2: And obviously.
• 27:34
  Speaker 1: She is super uninterested in this guy, not into.
• 27:38
  Speaker 2: It at all.
• 27:39
  Speaker 1: And he also is just like yelling at the customer,
• 27:44
  Speaker 1: like it's time for you to get out of here
• 27:46
  Speaker 1: because they're closing. Okiku is like the guy drops his
• 27:51
  Speaker 1: food and just runs away, which is first of all
• 27:56
  Speaker 1: heartbreaking in that like if you made food for some
• 28:00
  Speaker 1: them being in the middle of enjoying it and then
• 28:03
  Speaker 1: not getting to finish, It's just it hurts your heart
• 28:05
  Speaker 1: as somebody who likes to cook. I have had this before.
• 28:09
  Speaker 1: But also it's a waste of food. He drops it
• 28:12
  Speaker 1: on the ground and now, you know, it's a bunch
• 28:15
  Speaker 1: of people with like we can't afford to be wasting
• 28:17
  Speaker 1: food at this point, and the gasp as she watches
• 28:22
  Speaker 1: him run away, I kind of felt in my soul
• 28:27
  Speaker 1: she has to like put off this. It turns out
• 28:33
  Speaker 1: that he's like the most famous and successful super wrestler.
• 28:38
  Speaker 1: She says something like, I'm way too far below your
• 28:42
  Speaker 1: social standing trying to decline without insulting him, you know.
• 28:49
  Speaker 2: And.
• 28:51
  Speaker 1: It's so tiresome, y'all. Look, and I'm not gonna go
• 28:59
  Speaker 1: off on this. I know that, especially considering that we're
• 29:03
  Speaker 1: meant to be in a sort of like extremely traditional
• 29:09
  Speaker 1: version of Japan, and Japan takes politeness really, really seriously.
• 29:15
  Speaker 1: I know that her behaving this way is like a
• 29:19
  Speaker 1: cultural thing more so than like a commentary.
• 29:24
  Speaker 2: And you know what I mean.
• 29:25
  Speaker 1: But it just boils my blood whenever I see a
• 29:29
  Speaker 1: woman having to be so careful about the way that
• 29:32
  Speaker 1: she rejects a man. And later on, this guy is
• 29:40
  Speaker 1: fucking at some bar or something. He's eating and there
• 29:48
  Speaker 1: is a guy sitting next to him who is like
• 29:53
  Speaker 1: a mouse. It looks like the way this mouse man
• 29:58
  Speaker 1: laughs is choo choo, choo, chew.
• 30:02
  Speaker 2: Okay, why not, I suppose.
• 30:07
  Speaker 1: But he tells, what is this guy's name, I'm trying
• 30:13
  Speaker 1: to find it here, He tells him. Uh Urashima. That's right,
• 30:19
  Speaker 1: He tells him. Basically, you keep whining about how she won't.
• 30:25
  Speaker 2: Have you, but.
• 30:28
  Speaker 1: You don't need to ask her permission. Just make her
• 30:34
  Speaker 1: marry you. You're a very powerful person, and the fact
• 30:40
  Speaker 1: that you are being basically a pussy about this is
• 30:45
  Speaker 1: embarrassing for you and sets a poor example for everybody else.
• 30:51
  Speaker 1: What you need to do is kill her family, ruin
• 30:56
  Speaker 1: her business, make it so that she is starving and
• 31:01
  Speaker 1: has nowhere to turn and is entirely dependent on you,
• 31:07
  Speaker 1: and then she will have nowhere else to go and
• 31:11
  Speaker 1: she will have to marry you. And I really want
• 31:15
  Speaker 1: to emphasize that this guy saying this here, I know
• 31:22
  Speaker 1: that this is like a very heightened and extreme version
• 31:27
  Speaker 1: of behavior. I know that this is all like it's
• 31:34
  Speaker 1: a cartoonish villain monologue, right, But I really really think
• 31:40
  Speaker 1: it's important to underscore how very literally a lot of
• 31:45
  Speaker 1: men actually behave this way. Abusers separate women from their
• 31:51
  Speaker 1: families and from their friends and make them. They create
• 31:56
  Speaker 1: drama between the women and their friends and family and
• 31:58
  Speaker 1: essentially are like, you have to choose, and then when
• 32:01
  Speaker 1: the woman chooses the man, she alienates her friends and
• 32:04
  Speaker 1: family and makes it so those people are just like, well,
• 32:08
  Speaker 1: she made her choice, and they kind of are sort
• 32:11
  Speaker 1: of not in her corner anymore. Not always, there are
• 32:14
  Speaker 1: plenty of people who like still stick by, but that's
• 32:16
  Speaker 1: the goal, is to make it so that there's nobody
• 32:19
  Speaker 1: who wants to associate with her anymore. And these same
• 32:24
  Speaker 1: men will insist that she'd be a stay at home mom,
• 32:26
  Speaker 1: that she not work, not have her own bank account,
• 32:31
  Speaker 1: and thus she has no recourse when she realizes that
• 32:35
  Speaker 1: she's in an abusive relationship. She has no way to leave,
• 32:38
  Speaker 1: She has no money, she has no transportation because a
• 32:41
  Speaker 1: lot of times this all comes with like, oh, just
• 32:43
  Speaker 1: let your driver's license laps so that you can't even
• 32:47
  Speaker 1: like rent a car. It's a very real, very current tactic.
• 32:55
  Speaker 1: And for a man to like say all of this
• 32:58
  Speaker 1: in plain speech here feels like it's such an exaggeration,
• 33:02
  Speaker 1: but actually it is simply the correct description of many
• 33:11
  Speaker 1: like granted to kill her whole family thing. But when
• 33:16
  Speaker 1: somebody is isolating a woman from her family, it's like
• 33:19
  Speaker 1: that is essentially what they're trying to do, you know,
• 33:24
  Speaker 1: And it's just really awful because Hurashima, here's this, and
• 33:32
  Speaker 1: here's the fact that, like, oh, you're so powerful you
• 33:35
  Speaker 1: don't even need to think about her feelings. That's so
• 33:37
  Speaker 1: not what this is. You should just do what you
• 33:40
  Speaker 1: want and set an example. He really takes this to
• 33:43
  Speaker 1: heart immediately, and he causes a scene in this restaurant
• 33:48
  Speaker 1: and like chucks this food, which it's such a bizarre
• 33:52
  Speaker 1: moment of like you were perfectly happy with your food.
• 33:55
  Speaker 1: Why are you doing But it's about the power and
• 33:58
  Speaker 1: how that feels. It's not about logic. And so, as
• 34:03
  Speaker 1: I say, he gets very in this family's face about
• 34:07
  Speaker 1: their little raccoon that they rescued and are raising and
• 34:11
  Speaker 1: insists that they cook it up for him because raccoon
• 34:14
  Speaker 1: dog is his favorite food. We don't see the outcome
• 34:20
  Speaker 1: of this. So I am just going to say for
• 34:25
  Speaker 1: the record that if it turns out these people actually
• 34:28
  Speaker 1: killed their raccoon and cooked it, I will quit the show.
• 34:33
  Speaker 1: And I want you all to just I feel like
• 34:35
  Speaker 1: it's only fair to give you all warning of that
• 34:40
  Speaker 1: and let you know. So that's that, So okay, I'm going.
• 34:49
  Speaker 2: To jump back.
• 34:51
  Speaker 1: I was going to say ahead, but no, it's back
• 34:53
  Speaker 1: a little bit because it turns out Trafalgar Law and
• 34:57
  Speaker 1: his people are here, including Beppo, and he is like,
• 35:00
  Speaker 1: they're watching the progress of the straw Hats, and Beppo's saying,
• 35:06
  Speaker 1: I hope they don't screw anything up for us. Maybe
• 35:09
  Speaker 1: I should go and talk to them before there's any trouble,
• 35:13
  Speaker 1: and one of the other guys is like, nothing personal,
• 35:16
  Speaker 1: but you kind of stick out and people lose it
• 35:18
  Speaker 1: when they see a bear, and he is like, yeah,
• 35:21
  Speaker 1: I guess that's true, but I kind of felt like
• 35:23
  Speaker 1: the only person that wouldn't be prepared to see him
• 35:26
  Speaker 1: would be the lady. Otama is like unconscious. There's the dog,
• 35:33
  Speaker 1: I guess, but they're you know, like Loofy and Zoro
• 35:37
  Speaker 1: are still sort of in the middle of nowhere at
• 35:40
  Speaker 1: this point, and I think that it would have been
• 35:41
  Speaker 1: a perfectly appropriate time to just sidle up in there
• 35:47
  Speaker 1: and be like, hey, guys, so a funny story, Please
• 35:50
  Speaker 1: don't do whatever you're thinking of doing. But yeah, it
• 35:55
  Speaker 1: just doesn't he does. He does not interfere here, and
• 35:58
  Speaker 1: we see later that like Trafalgar Law is just chilling
• 36:02
  Speaker 1: in a cave, just chilling and looking real fucking cranky.
• 36:08
  Speaker 1: He's got an angry expression for no reason that I
• 36:11
  Speaker 1: can perceive, and like, maybe I'm just not getting it.
• 36:16
  Speaker 1: It's perfectly possible, but I was very much looking at
• 36:19
  Speaker 1: him like, what the hell's your problem? It looks like
• 36:22
  Speaker 1: you smelled something bad. And they haven't even come in
• 36:25
  Speaker 1: here and told him about what's happening with Loofy yet.
• 36:30
  Speaker 1: It's I think the third of these three episodes that
• 36:33
  Speaker 1: they go and are like, hey boss, it looks like
• 36:35
  Speaker 1: they're about to really fuck our whole day up, and
• 36:39
  Speaker 1: he is like, oh god, damn it. And then he
• 36:41
  Speaker 1: jumps up and he starts to get involved. But initially
• 36:44
  Speaker 1: when they're like, so Lufy's here, he's like, oh great,
• 36:47
  Speaker 1: he finally showed up. What's the problem And they have
• 36:51
  Speaker 1: to be like him and Zoro are riding straight into
• 36:53
  Speaker 1: the town and going to have a confrontation and just
• 36:55
  Speaker 1: like entirely blow up our shit. Of course he is,
• 36:59
  Speaker 1: of course he is. It's Loofy. How trafalgar law? If
• 37:07
  Speaker 1: you don't know him by how many times does this
• 37:15
  Speaker 1: have to happen for you to understand the way that
• 37:18
  Speaker 1: Lufy operates. I just feel like it's extremely understood at
• 37:24
  Speaker 1: this point, sir. I mean, it's not the fool you once,
• 37:32
  Speaker 1: but this is fool him six times. As soon as
• 37:35
  Speaker 1: you hear that Lufy has arrived, you need to get
• 37:42
  Speaker 1: out in front of that. You can't just sit back,
• 37:46
  Speaker 1: relax and think that he's going to find you and
• 37:51
  Speaker 1: it will be uneventful. I mean, just when has that
• 37:55
  Speaker 1: ever been the case? When literally ever has that been case?
• 38:01
  Speaker 1: I'm asking because this is so predictable that he is
• 38:06
  Speaker 1: going to instantly blow up your entire spot.
• 38:10
  Speaker 2: Anyway.
• 38:11
  Speaker 1: So he uh.
• 38:16
  Speaker 2: Lovi and.
• 38:18
  Speaker 1: Zorro and Otama are at the tea house and she
• 38:23
  Speaker 1: is forced to drink some like herbs that are meant
• 38:26
  Speaker 1: to purify her from having drunk the poisonous well water
• 38:30
  Speaker 1: or river water. And the second of these three episodes
• 38:38
  Speaker 1: I think is the most.
• 38:42
  Speaker 2: I think is like.
• 38:45
  Speaker 1: I won't say the most, like anytime that I try
• 38:48
  Speaker 1: and say something is the most whatever regarding one piece,
• 38:52
  Speaker 1: It's just a silly thing to say because there are
• 38:54
  Speaker 1: so many episodes and there is almost guaranteed to be
• 38:58
  Speaker 1: something that is more an extreme example of what I'm
• 39:03
  Speaker 1: about to talk about. But I will simply say that
• 39:11
  Speaker 1: the story of the second episode, which just basically revolves
• 39:16
  Speaker 1: around o Tama refusing to accept the gift of being treated,
• 39:24
  Speaker 1: is really it's very boring. I'm glad that she's feeling better.
• 39:34
  Speaker 1: I'm glad that we have people who, you know, obviously,
• 39:37
  Speaker 1: by the end of this trio of episodes, she has
• 39:39
  Speaker 1: been kidnapped and is about to be tortured, so mixed results.
• 39:44
  Speaker 1: We're not out of the woods by any means, but
• 39:48
  Speaker 1: for now, I'm simply saying that, like, it seems as
• 39:51
  Speaker 1: if we are approaching a good place for her at
• 40:00
  Speaker 1: this point when you're watching it, and.
• 40:05
  Speaker 2: Yeah, it just takes so long.
• 40:07
  Speaker 1: There's a point where first she's refusing to like drink
• 40:09
  Speaker 1: the herbs because it tastes yucky, and then she does
• 40:13
  Speaker 1: drink it and she starts to feel better, and they
• 40:14
  Speaker 1: ask if she's feeling better, and there's this bizarre sequence
• 40:19
  Speaker 1: of her just like touching her stomach and thinking and
• 40:22
  Speaker 1: feeling and thinking while Loofy and the lady lean in
• 40:26
  Speaker 1: and look at her and almost look angry. I think
• 40:28
  Speaker 1: it's supposed to be that they're simply just very much
• 40:30
  Speaker 1: focused on her, but they look vaguely angry, until eventually
• 40:36
  Speaker 1: she says no more tummy ache ya, and she's like
• 40:41
  Speaker 1: really elated, and it just takes a long time to
• 40:46
  Speaker 1: get there. It's just odd to me.
• 40:49
  Speaker 2: And later on.
• 40:53
  Speaker 1: The whole deal with her like refusing to accept the
• 40:59
  Speaker 1: red bean soup, which is a dessert. She like finally
• 41:07
  Speaker 1: is convinced to take it, but even after she's convinced
• 41:10
  Speaker 1: to take it, she's like sitting and looking at the
• 41:14
  Speaker 1: bowl of soup and refusing to eat it for like
• 41:17
  Speaker 1: another few minutes while Lufy and Zorro have to convince
• 41:21
  Speaker 1: her to eat it. And I am sorry, but this
• 41:26
  Speaker 1: was just too fucking long for this story.
• 41:29
  Speaker 2: It's not that interesting.
• 41:31
  Speaker 1: I I like Otama, you guys know that, you know,
• 41:36
  Speaker 1: I actually quite enjoy her. I will, but it just
• 41:41
  Speaker 1: this was drawn out to a degree that is bizarre.
• 41:45
  Speaker 1: And I will also say that, like the amount of
• 41:48
  Speaker 1: time that she spends screaming, I think it's the same
• 41:50
  Speaker 1: voice actor who does Chopper, because she sounds really similar.
• 41:56
  Speaker 1: The screaming gets quite piercing, and there's a lot of it,
• 42:01
  Speaker 1: and I have a sense it's gonna just get worse
• 42:05
  Speaker 1: in that respect. Probably I just found myself getting irritated
• 42:14
  Speaker 1: and impatient with the second of these three episodes and
• 42:18
  Speaker 1: just being like, oh, my fucking god, will you just
• 42:20
  Speaker 1: eat the food and shut the fuck up.
• 42:22
  Speaker 2: You brat?
• 42:22
  Speaker 1: Like Zoro calling her a brat, I was low key like, correct, yes,
• 42:27
  Speaker 1: that is indeed what she is. I'm getting very annoyed now,
• 42:31
  Speaker 1: I will say, the lady yelling at her, What did
• 42:34
  Speaker 1: you think was going to happen?
• 42:35
  Speaker 2: How did you think this would play out?
• 42:36
  Speaker 1: You would just refuse to take it, and I would
• 42:38
  Speaker 1: just be like, oh, that's fine. I did think that
• 42:40
  Speaker 1: was really funny, because, like, genuinely, this little girl being
• 42:45
  Speaker 1: like it's not right that I take food from you.
• 42:49
  Speaker 1: I understand her, being like, you're hungry too, I shouldn't,
• 42:53
  Speaker 1: but like you were just on your deathbed, of course
• 42:56
  Speaker 1: they are.
• 42:57
  Speaker 2: Going to feed you.
• 42:58
  Speaker 1: Don't be a psycho. So anyway, this whole thing is
• 43:03
  Speaker 1: just rather tedious, but you know whatever, we get through it,
• 43:10
  Speaker 1: and then we have and I'm going to find her name,
• 43:14
  Speaker 1: I swear, so that I don't have to just keep
• 43:16
  Speaker 1: calling her the lady. But she is talking about what
• 43:24
  Speaker 1: the deal is with their town, how it's named after leftovers,
• 43:28
  Speaker 1: and how there is this showgun who is in charge,
• 43:31
  Speaker 1: who is essentially like diverting all the resources to himself
• 43:36
  Speaker 1: and his cronies. And while she is saying all of this,
• 43:42
  Speaker 1: she there's like this dude who says, I heard that,
• 43:48
  Speaker 1: and he just like shoots an arrow at her, which
• 43:50
  Speaker 1: would have been bad enough, but we actually find out
• 43:53
  Speaker 1: that it's a exploding arrow. It's when Zoro stops it
• 44:03
  Speaker 1: like blows up and there's no fire.
• 44:06
  Speaker 2: But I don't know, it just really felt like that
• 44:09
  Speaker 2: was an explosion.
• 44:11
  Speaker 1: And I the fact that this he says I can
• 44:16
  Speaker 1: hear six times better than any human being, and that
• 44:22
  Speaker 1: guy he was like a mile away, I feel like
• 44:26
  Speaker 1: it's more than six times as well if you heard
• 44:30
  Speaker 1: them that far away. That's all I'm saying is just
• 44:35
  Speaker 1: that it feels like a very conservative estimate. That said,
• 44:43
  Speaker 1: this is what leads to the conflict with Loofy and
• 44:47
  Speaker 1: Zorro and this guy shooting all of the arrows, and
• 44:51
  Speaker 1: the sense of repetition because of the nails that had
• 44:57
  Speaker 1: been fired out of the mouth of the straw man
• 44:59
  Speaker 1: at Zoro earlier. Loofy uses his like because Zoro is
• 45:06
  Speaker 1: mostly defending against the arrows with his sword and just
• 45:09
  Speaker 1: like intercepting them. Loofy is using his hockey to avoid
• 45:16
  Speaker 1: them by being able to see a little bit into
• 45:19
  Speaker 1: the future. At one point he does use the armament
• 45:23
  Speaker 1: hockey to like bring up his arm and use that
• 45:26
  Speaker 1: as a shield. But initially it's just him like very
• 45:31
  Speaker 1: slightly and carefully moving around, and.
• 45:35
  Speaker 2: He is.
• 45:39
  Speaker 1: The two of them are both very distracted here, and
• 45:45
  Speaker 1: this fucking gazelle man comes in and steals Otama right
• 45:53
  Speaker 1: out from under their noses. And this guy is so weird,
• 45:58
  Speaker 1: So everybody there's like, obviously later hold him is weirder, granted,
• 46:05
  Speaker 1: but gazelle man, it's just his legs are actually shaped
• 46:12
  Speaker 1: like a gazelle's legs when you see them, like in
• 46:14
  Speaker 1: full he has that sort of weird backward knee thing
• 46:17
  Speaker 1: going on a little further down his leg. But he's
• 46:20
  Speaker 1: also wearing garter belts.
• 46:22
  Speaker 2: Or garters, I guess you. And I was just like why.
• 46:26
  Speaker 1: All I could think was that. Odo was like, well,
• 46:30
  Speaker 1: if somebody is like a great runner and graceful like
• 46:33
  Speaker 1: a gazelle, they must have really nice legs. I know
• 46:36
  Speaker 1: what nice legs look like, and they're in garters, you know,
• 46:39
  Speaker 1: Like that was what I immediately thought was just sort
• 46:41
  Speaker 1: of it's just to showcase his sweet gams. I don't know,
• 46:48
  Speaker 1: but yeah, he is. He jumps up, grabs Autama, and
• 46:53
  Speaker 1: then runs off. And I don't know if this has
• 46:58
  Speaker 1: anything to do with Hawkins or if this is an
• 47:02
  Speaker 1: entirely separate thing that Holdham is doing.
• 47:06
  Speaker 2: But the little.
• 47:08
  Speaker 1: Girl, it turns out they want because they think that
• 47:12
  Speaker 1: her ability could potentially be something valuable somehow. I'm going
• 47:19
  Speaker 1: to tell you guys that I don't understand this, and
• 47:21
  Speaker 1: that I am expecting there is something else that is
• 47:27
  Speaker 1: like I don't know about regarding her ability, because if
• 47:32
  Speaker 1: it's just what we've seen, I don't understand why her
• 47:38
  Speaker 1: ability is valuable the only Okay, let me back it
• 47:43
  Speaker 1: up here, because I don't want you guys to think
• 47:45
  Speaker 1: I'm totally obtuse, and I could see how you might think.
• 47:48
  Speaker 2: So I understand.
• 47:52
  Speaker 1: That there is a devil fruit factory making artificial devil
• 47:56
  Speaker 1: fruits on this island, and that is what has been
• 48:00
  Speaker 1: essentially polluting everything. I have a suspicion that they somehow
• 48:07
  Speaker 1: use people who have eaten devil fruit powers to make
• 48:10
  Speaker 1: the devil fruits. I don't know what that would look
• 48:13
  Speaker 1: like if it's just killing them. I like, because I
• 48:18
  Speaker 1: know that whoever kills them, the fruit like reappears, like
• 48:23
  Speaker 1: the fruit becomes available somehow, but I don't even remember
• 48:27
  Speaker 1: how that works. Anyway, I assume that part of this
• 48:35
  Speaker 1: is coming from Oh, because like we have the flashback
• 48:39
  Speaker 1: of her master being like, be sure not to use
• 48:42
  Speaker 1: your power in front of anybody, or they may want
• 48:46
  Speaker 1: to take it.
• 48:47
  Speaker 2: From you and do something to you.
• 48:49
  Speaker 1: So we have this warning, and I just all, it
• 48:56
  Speaker 1: looks like I think that Florine had said that she
• 49:01
  Speaker 1: pulls like a dumpling out of her cheek, but in
• 49:03
  Speaker 1: this episode she mentions that there are mochi balls in
• 49:08
  Speaker 1: the red bean soup. And I don't know why it
• 49:14
  Speaker 1: never occurred to me. You guys that like she's starving
• 49:16
  Speaker 1: to death, but she also can just make food out
• 49:20
  Speaker 1: of her body.
• 49:22
  Speaker 2: I know that we had.
• 49:24
  Speaker 1: Established that that food doesn't taste very good, but that's
• 49:29
  Speaker 1: different from it simply not being nutritious at all. And
• 49:34
  Speaker 1: that's what she says here, is that like that food
• 49:38
  Speaker 1: doesn't fail your tummy if it's made that way, which
• 49:45
  Speaker 1: if it doesn't actually taste good and it really doesn't
• 49:51
  Speaker 1: have any nourishment in it at all. What's the fucking
• 49:57
  Speaker 1: upside of having that kind of power? I really, you
• 50:01
  Speaker 1: guys know that I am not somebody who is going
• 50:06
  Speaker 1: to discount the value of a food related devil fruit power.
• 50:12
  Speaker 1: But I am so sorry if that food only had
• 50:17
  Speaker 1: no nutritional value but tasted good, amazing. I can make
• 50:21
  Speaker 1: all the cinnamon rolls I want and I don't gain
• 50:24
  Speaker 1: announce and I can just eat them.
• 50:26
  Speaker 2: Fine.
• 50:27
  Speaker 1: If the food doesn't taste good, but it fills your belly,
• 50:30
  Speaker 1: you might not enjoy it, but you won't starve to
• 50:33
  Speaker 1: death ever. Amazing. You're telling me it's neither. It doesn't
• 50:41
  Speaker 1: taste good and it holds no nutritional value. Then what's
• 50:45
  Speaker 1: the fucking upside?
• 50:47
  Speaker 2: Man?
• 50:47
  Speaker 1: What's the point of this power? Why is it anything
• 50:51
  Speaker 1: anybody would want? I just can't think of a single
• 50:57
  Speaker 1: reason that this is Like, you know, she he utilizes
• 51:00
  Speaker 1: it to get the animals to like cooperate with her,
• 51:05
  Speaker 1: and I guess, but that's such a very specific, situationally
• 51:11
  Speaker 1: dependent usage that it feels silly and like nothing.
• 51:18
  Speaker 2: I don't know.
• 51:18
  Speaker 1: I just I, like I said, I was willing to
• 51:23
  Speaker 1: accept that the food doesn't taste that good. I really was,
• 51:26
  Speaker 1: but like, once you start entering this into it, ah,
• 51:30
  Speaker 1: now I don't know. I feel a way about it.
• 51:32
  Speaker 2: I really do.
• 51:34
  Speaker 1: So anyway, it turns out like because she's eating the
• 51:40
  Speaker 1: mochi balls from the red bean soup and Lufy asked like,
• 51:43
  Speaker 1: don't you can't can't you just like make those? So
• 51:46
  Speaker 1: I think that's what she's pulling out of her cheek.
• 51:48
  Speaker 1: Isn't dumpling but mochi. But you know, I say that,
• 51:54
  Speaker 1: would that make sense? We already met somebody who had
• 51:57
  Speaker 1: like the mochi power, so there's no way she has
• 52:02
  Speaker 1: like the same power, right, I wouldn't think.
• 52:07
  Speaker 2: I don't know.
• 52:08
  Speaker 1: I don't know. I'm getting myself turned around here, But.
• 52:14
  Speaker 2: I just.
• 52:16
  Speaker 1: The idea that her power would be valuable when the
• 52:23
  Speaker 1: food it produces holds no nutritional value and does not
• 52:26
  Speaker 1: taste good. I have to think there is some additional
• 52:30
  Speaker 1: piece of information that I don't have, because otherwise I
• 52:34
  Speaker 1: just don't really see it. But yeah, So she gets
• 52:39
  Speaker 1: subducted and Batman lol is covering gazelle Man's back as
• 52:48
  Speaker 1: he takes off with Otama. We have the whole fight,
• 52:53
  Speaker 1: YadA YadA, YadA, and finally we have the lady being like,
• 52:59
  Speaker 1: you know, the the girl that I work with, who
• 53:04
  Speaker 1: I haven't even really like. I talked about her in
• 53:06
  Speaker 1: relationship to the sumo wrestler.
• 53:08
  Speaker 2: Who wants to marry her.
• 53:10
  Speaker 1: But she runs out of their tea house with a
• 53:13
  Speaker 1: sword and is like pursuing gazelle man, and of course
• 53:19
  Speaker 1: Zorro seeing the sword, is just like, oh word, what
• 53:21
  Speaker 1: is up with her?
• 53:23
  Speaker 2: And the Lady's like, yeah, I don't.
• 53:25
  Speaker 1: Know, She's had that sort of long time, but I've
• 53:27
  Speaker 1: never actually seen her fight, so I don't know what
• 53:29
  Speaker 1: the deal is. And as we find out later she
• 53:33
  Speaker 1: is a samurai. She is in pursuit, and Lufy is like, uh, well,
• 53:40
  Speaker 1: obviously I will also be trying to rescue this little girl.
• 53:45
  Speaker 1: Grabs the mane of the lion from really far away
• 53:48
  Speaker 1: with his stretchy abilities, and Zorro's like, well, I'm obviously
• 53:50
  Speaker 1: coming too, and so Lufy grabs him and they fly
• 53:54
  Speaker 1: towards the Lion Dog, which is what she calls it actually,
• 53:59
  Speaker 1: and as they are heading that way, she explains to
• 54:04
  Speaker 1: them just about how like they are not going to
• 54:08
  Speaker 1: be happy at us entering what they see as their territory.
• 54:13
  Speaker 1: So you guys, be prepared for the fact that we
• 54:16
  Speaker 1: are going to see some opposition, and as they approach
• 54:21
  Speaker 1: the village, there is indeed a wall of like thirty dudes,
• 54:25
  Speaker 1: all with their weapons drawn, prepared to stop them from entering.
• 54:30
  Speaker 1: And this is when Beppo goes and tells Trafalger Law.
• 54:34
  Speaker 1: So meanwhile, Otama is brought in to see Holden, and
• 54:40
  Speaker 1: it's very confusing because you see this like huge what
• 54:45
  Speaker 1: looks like a lion's head, and we already have like
• 54:48
  Speaker 1: a lion dog. So I'm just sort of like, what.
• 54:50
  Speaker 2: Are we doing?
• 54:52
  Speaker 1: And it raises its head and it's like the subtitles
• 54:57
  Speaker 1: are telling me when Holden is talking. But then the
• 55:00
  Speaker 1: the lion gets a different name, and I thought Holden
• 55:04
  Speaker 1: was the lion, and.
• 55:07
  Speaker 2: Like he kind of is.
• 55:08
  Speaker 1: We find out that they actually share a body that
• 55:12
  Speaker 1: is I don't know what the fuck is going on here,
• 55:15
  Speaker 1: but I'm not going to lie. I was probably like
• 55:20
  Speaker 1: this is top ten most puzzling moments of the show,
• 55:24
  Speaker 1: because it's one thing to have like a belt buckle
• 55:29
  Speaker 1: that's alive. We already saw that Big Mom has a
• 55:32
  Speaker 1: hat that's alive. You know, like people having sentient pieces
• 55:36
  Speaker 1: of clothing or artifacts like that, that's something we've encountered before,
• 55:44
  Speaker 1: but this is like it's in the place where a
• 55:48
  Speaker 1: belt buckle would be, but it isn't apparently a belt buckle.
• 55:53
  Speaker 1: They share a body and it's not just the head
• 55:55
  Speaker 1: of the lion. That lion actually has arms and hands.
• 56:02
  Speaker 1: So they're arguing with each other and the lion punches
• 56:07
  Speaker 1: hold him in the balls, but apparently it's because he
• 56:12
  Speaker 1: forgets those are also his own balls. So we have
• 56:17
  Speaker 1: this absolutely remarkable moment where where he is being observed
• 56:27
  Speaker 1: to punch this guy thus himself in the balls and
• 56:32
  Speaker 1: Tomato tomata, you know who. She backs up and it's
• 56:37
  Speaker 1: just like what is going on and one of his
• 56:39
  Speaker 1: henchmen is like, oh, yeah, he forgets those are his
• 56:42
  Speaker 1: own balls. Poetic and actually a man and a beast
• 56:46
  Speaker 1: in an endless cycle of ball punching, And I like,
• 56:52
  Speaker 1: I was so grateful that Marshall was in the room
• 56:55
  Speaker 1: with me at this moment, because I was just like,
• 56:57
  Speaker 1: there is no way I can get across the delivery
• 56:59
  Speaker 1: of that line adequately. He has to be here for this,
• 57:02
  Speaker 1: and I knew I was going to mention it to him,
• 57:05
  Speaker 1: and he started cracking up and just turns to me
• 57:09
  Speaker 1: and goes really makes you think, and I just lost
• 57:12
  Speaker 1: my shit. So anyway, two entities sharing one body, I guess,
• 57:20
  Speaker 1: And this ultimately ends up being the dude that she
• 57:29
  Speaker 1: has to like tell she doesn't have a power. He
• 57:33
  Speaker 1: fakes that he believes her for a second and she
• 57:36
  Speaker 1: just says, like animals just really like me. And then
• 57:40
  Speaker 1: finally he's like, my men, saw you pull something out
• 57:43
  Speaker 1: of your cheek? Is that what it is? And he
• 57:45
  Speaker 1: yells for one of his men to get impliers, and
• 57:48
  Speaker 1: I love that He's like, not those the big scary pair,
• 57:52
  Speaker 1: And finally he is approaching her with the pliers, and
• 57:56
  Speaker 1: that is the end of the third episode. It's just
• 57:58
  Speaker 1: like Lufy yelling for her and her being like, big bro,
• 58:03
  Speaker 1: where are you as this guy is about to like
• 58:05
  Speaker 1: use pliers on her face? And I am actually kind
• 58:08
  Speaker 1: of curious, like if you try to use the pliers
• 58:11
  Speaker 1: on her, will that actually cause the food to appear?
• 58:16
  Speaker 1: Or does she have to will it from like inside
• 58:20
  Speaker 1: to make it happen? Is is it just like always
• 58:25
  Speaker 1: kind of available or does it have to be produced
• 58:29
  Speaker 1: on the spot?
• 58:30
  Speaker 2: You know what I'm saying. I I don't know.
• 58:34
  Speaker 1: I don't think it matters much to this guy. He's
• 58:36
  Speaker 1: doing this more for intimidation than anything. But I am
• 58:39
  Speaker 1: just wondering because, like you know, Lufy is rubber all
• 58:46
  Speaker 1: the time. It's not like he has to activate that power.
• 58:49
  Speaker 1: But his power is different because he turns into his
• 58:53
  Speaker 1: whole body, turns into the substance, which I think you
• 58:55
  Speaker 1: guys have told me is like a logia type.
• 58:58
  Speaker 2: So I don't know if that's her.
• 59:00
  Speaker 1: It doesn't seem like it if she has to reach
• 59:02
  Speaker 1: for her cheek every time, but it might not be
• 59:04
  Speaker 1: that she has to do that every time, and that's
• 59:06
  Speaker 1: only the time that we saw it.
• 59:07
  Speaker 2: I don't know. I don't know anyway.
• 59:11
  Speaker 1: I'm just I really am so curious. I don't know
• 59:19
  Speaker 1: what's gonna happen. Like Trafalgar Law wants to like jump
• 59:22
  Speaker 1: in and stop Loofy because he feels like you're gonna
• 59:24
  Speaker 1: blow up our spot, and I can understand that obviously,
• 59:29
  Speaker 1: but like, how exactly are you going to stop him?
• 59:31
  Speaker 1: Because it bro like the ship has sailed. They're like
• 59:36
  Speaker 1: in the town by now, and what are you thinking
• 59:40
  Speaker 1: he's going to ruin exactly? Is my other question, because
• 59:44
  Speaker 1: there's a part of me, that just sort of feels like,
• 59:49
  Speaker 1: I don't know, maybe it just seems like this guy Batman,
• 59:52
  Speaker 1: who can hear six times better than anybody, he hasn't
• 59:54
  Speaker 1: clocked that you guys are even here. Really, it seems surprising,
• 1:00:00
  Speaker 1: to say the least. That's all I'll say about that.
• 1:00:04
  Speaker 1: All Right, I have got to wrap up, but thank
• 1:00:06
  Speaker 1: you guys again for listening. Nobody was here in the
• 1:00:09
  Speaker 1: chat with me, which was devastating, but I will carry on.
• 1:00:12
  Speaker 1: I hope you're enjoying the coverage. Until next time to
• 1:00:15
  Speaker 1: the lou motherfuckers. That was an unspoiled network podcast