Latest / The Bechdel Cast / Paddington 1 and 2 with Demi Adejuyigbe

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Paddington 1 and 2 with Demi Adejuyigbe · The Bechdel Cast

• 0:02
  Speaker 1: The Dog Cast. The questions asked, movies have when and
• 0:05
  Speaker 1: in them? Are all their discussions just boyfriends and husbands?
• 0:09
  Speaker 1: Do they have individualism? The patriarchy? Zef in best start
• 0:14
  Speaker 1: changing it with the cast. Hello, welcome to the back
• 0:19
  Speaker 1: dol cast. Jamie, you got me a marmalade pillow. You
• 0:23
  Speaker 1: made it, I made you marmalade pillow. And I got
• 0:26
  Speaker 1: I got a second. I got a little companion over here. Please,
• 0:29
  Speaker 1: this bitch got crafty. I did it. I did it. Yeah.
• 0:34
  Speaker 1: I'm also caused playing as Patton for the listeners at home,
• 0:37
  Speaker 1: but I am going to tell you was like, I'm
• 0:39
  Speaker 1: truly a brilliant move for our audio podcast. It looks incredible.
• 0:44
  Speaker 1: I'm I mean, it's Caitlin's birthday. Give it up for David,
• 0:48
  Speaker 1: give it up for her birthday. It's her Jordan ear,
• 0:50
  Speaker 1: it's her christ hear. She's living in a class of nine. Right,
• 0:55
  Speaker 1: Really incredible stuff. Thank you so much, thanks for coming
• 0:59
  Speaker 1: to the bachel Cast. Thank you. We're so excited for tonight.
• 1:03
  Speaker 1: It's paddingtons big night for U. So so quick survey
• 1:11
  Speaker 1: clap if if you've listened to the back to cast
• 1:13
  Speaker 1: before amazing and then clap don't be shy if you
• 1:19
  Speaker 1: are the person that has been dragged here by someone else. Yeah, okay,
• 1:25
  Speaker 1: we gotta hesitated. Yeah, there, there's it's always a trickle.
• 1:27
  Speaker 1: It's always someone who's like, I'm a coward, Like, uh cool, well,
• 1:31
  Speaker 1: thank you for being here. We're psyched that you're here
• 1:34
  Speaker 1: out of curiosity. Is there anyone who has not seen
• 1:37
  Speaker 1: The Paddington's don't raise your hand, you clap, it's an
• 1:42
  Speaker 1: audio medium. Oh wow, not on the show movie? What's
• 1:48
  Speaker 1: going on here? Well? I had only i'd only seen
• 1:51
  Speaker 1: the movie watch it on Christmas. Yeah, so you know,
• 1:58
  Speaker 1: we're all on our own paddingtons're ernie. That's true, that's true.
• 2:01
  Speaker 1: I don't want to shame anyone but Ron Plaz who
• 2:03
  Speaker 1: has seen the Paddington's. Ah, you've only seen one. Yeah,
• 2:12
  Speaker 1: just just hit yourself. That seems like a reasonable compromise.
• 2:18
  Speaker 1: So the Bechtel Cast for the two people who are
• 2:22
  Speaker 1: here and everyone at home, We are a podcast that
• 2:25
  Speaker 1: looks at popular movies from a feminist perspective, using the
• 2:29
  Speaker 1: Bechtel test as a jumping off point. That's right, and
• 2:32
  Speaker 1: the Becktel test, if you're not familiar, requires that two
• 2:35
  Speaker 1: female identifying characters have names there in the movie together,
• 2:39
  Speaker 1: they have to talk to each other, and they can't
• 2:42
  Speaker 1: talk about men or Paddington's unfortunately, although I think any
• 2:47
  Speaker 1: conversation about Paddington's still passes the Bechtel test. I disagree,
• 2:53
  Speaker 1: it's my birthday, but fine, disagree. Uh can we demo
• 2:58
  Speaker 1: the Bechdel test? I do have a beck to test
• 3:01
  Speaker 1: relevant questions? Okay, Hi Caitlin, Hi Jamie. Do you think
• 3:05
  Speaker 1: Nicole Kidman's wig is is more egregious in Paddington one
• 3:11
  Speaker 1: or Big Little Eyes Season one? I have not seen
• 3:15
  Speaker 1: Big Little Eyes. If you've seen the poster, you've seen
• 3:17
  Speaker 1: the whig. Okay, I'm gonna go with Big Little Eyes then,
• 3:21
  Speaker 1: because everything about Paddington is perfect, Okay, fair, fair, At
• 3:26
  Speaker 1: least in Paddington. I'm like, it's supposed to look like
• 3:28
  Speaker 1: it's a wig, whereas a big little lies it's very distracted. Um,
• 3:34
  Speaker 1: well that was my beck to test. We did end
• 3:37
  Speaker 1: up talking about Paddington. You ended up well, Paddington One.
• 3:41
  Speaker 1: I guess the movie not Paddington the the movie is genderless, yes,
• 3:45
  Speaker 1: genderless icon Paddington's movie. Should we bring out our guests?
• 3:52
  Speaker 1: You know him from being a TV writer. He is
• 3:56
  Speaker 1: the co host of Punch Up the Jam podcast. He's
• 4:00
  Speaker 1: also been a previous gust of ours on our Star
• 4:02
  Speaker 1: Wars Force Awakens episode give It Up for Demi? Did you? eBay? Hi?
• 4:12
  Speaker 1: Thanks for coming back. Thank you for having me back. Also,
• 4:16
  Speaker 1: in defense of you saying that Paddington doesn't count for
• 4:20
  Speaker 1: Beck told cast it's you. You can't talk about a man, right, yes,
• 4:23
  Speaker 1: a boy? Oh true, little baby boy. We found a loophole.
• 4:29
  Speaker 1: We had to start the podcast over. Great. Great, So,
• 4:33
  Speaker 1: DENNI thank you so much for being here. What's your
• 4:36
  Speaker 1: history your relationship with the Paddington movie. I feel like
• 4:42
  Speaker 1: you just asked me grandpa, tell me a story about
• 4:44
  Speaker 1: the war. And I'm like, oh, Paddington, but like a
• 4:47
  Speaker 1: really wonderful war that we all love so much. This
• 4:50
  Speaker 1: is how this is how Titanic starts. And I just
• 4:52
  Speaker 1: leave out the everything after the sex. I'm like, no,
• 4:55
  Speaker 1: that didn't happen. It's just a nice boat, right, um.
• 4:57
  Speaker 1: Basically Paddington. People were like for hang out about Paddington two,
• 5:01
  Speaker 1: and I was kind of like, okay, well everyone seems
• 5:04
  Speaker 1: to really on ironically love it. I'm gonna go see it.
• 5:06
  Speaker 1: And I went to see it with a bunch of
• 5:07
  Speaker 1: friends and then I was like, wow, that was delight,
• 5:10
  Speaker 1: but I haven't seen Paddington one. So I went home,
• 5:14
  Speaker 1: like the next day watched Paddington one because on Netflix,
• 5:18
  Speaker 1: and then I was like, I think you texted me
• 5:20
  Speaker 1: going like have you seen Paddington I was like, no,
• 5:22
  Speaker 1: but I want to see it again. And we went
• 5:24
  Speaker 1: and saw Paddington two in theaters again. I think it
• 5:27
  Speaker 1: was my second time, your third time at the time. Yes, yes,
• 5:31
  Speaker 1: And I was just like, this movie is very good,
• 5:35
  Speaker 1: very good. It's just so pleasant. Didn't you get kicked
• 5:39
  Speaker 1: off of Twitter for yes? Yeah? For defending his honor.
• 5:44
  Speaker 1: This is the war part of the story. I basically
• 5:48
  Speaker 1: a friend of mine, ben Con, was tweeting one day
• 5:51
  Speaker 1: that he was jokingly saying, well, guys, just finally saw
• 5:54
  Speaker 1: Paddington two, and I gotta say that bear kind of
• 5:56
  Speaker 1: a naive dipshit and I no, fair point, half a
• 6:02
  Speaker 1: fair point, he's naive, but we love him for no.
• 6:07
  Speaker 1: So basically I responded to him saying, as a joke,
• 6:10
  Speaker 1: I just said I will kill you Benjamin, and Twitter
• 6:16
  Speaker 1: don't like that. So someone basically started like abusing the
• 6:20
  Speaker 1: reports stem and got me kicked off, and then everyone
• 6:23
  Speaker 1: was like, what are you? Why are you know? Hey,
• 6:25
  Speaker 1: that's not how it works. And Twitter was like, yeah, okay, sorry,
• 6:29
  Speaker 1: Well I'm glad you're back on Twitter. O me too,
• 6:32
  Speaker 1: Victory Jamie, what's your history with Paddington You harassed me
• 6:37
  Speaker 1: until I watched it on Christmas? I liked I did
• 6:40
  Speaker 1: remember I watched there was a TV series that I watched,
• 6:43
  Speaker 1: and when I was younger and I read some of
• 6:46
  Speaker 1: the books, it wasn't like it was weird. I was
• 6:48
  Speaker 1: more attached to Babar kid. You don't know him as
• 6:54
  Speaker 1: babe Bar baye Bar. I don't, well, I know, I
• 6:59
  Speaker 1: think it is bay Bar, but really, oh, I just
• 7:02
  Speaker 1: looked at someone like that. I was trying to cross.
• 7:04
  Speaker 1: I feel like, this is a moment when I realized,
• 7:07
  Speaker 1: why did I confidently correct you mid phrase? This is
• 7:12
  Speaker 1: like when one time I thought I knew how to
• 7:14
  Speaker 1: say you and McGregor's last Oh my god, Elwen, it's
• 7:18
  Speaker 1: you win, you win. That doesn't make it. You kept
• 7:21
  Speaker 1: saying I guess I said it. Really, I said it
• 7:26
  Speaker 1: really conivident. I was like, I like he was named
• 7:30
  Speaker 1: by ARNLD Schwarzenegger, so Gregor. You know, there's no way
• 7:35
  Speaker 1: to know how Babar. I don't even know who bab
• 7:40
  Speaker 1: bar ishant. Okay, I know British elephant suit crown, what
• 7:48
  Speaker 1: you want? I'm learning things there. Anyways, you know we
• 7:54
  Speaker 1: gotta get that friend. Where's the social justice bay Bar franchise?
• 7:58
  Speaker 1: Good question? To make it happen? So I made you.
• 8:00
  Speaker 1: I harassed you into watching it, both of them back
• 8:03
  Speaker 1: to back on Christmas, and I did love them, and
• 8:07
  Speaker 1: then I watched them back for this and I still
• 8:09
  Speaker 1: love them. It hasn't been that long. Yeah, what about Well,
• 8:13
  Speaker 1: I really you know that I love these movies. I
• 8:20
  Speaker 1: saw the first one, not right when it came out,
• 8:22
  Speaker 1: but I would say like late twenty fifteen into I think, Yeah,
• 8:27
  Speaker 1: I saw Paddington two in theaters four times, and I
• 8:32
  Speaker 1: just love it so much. It makes me cry. Even
• 8:34
  Speaker 1: when I'm watching it. The parts that don't make me cry,
• 8:37
  Speaker 1: I just think about the parts that do make me cry,
• 8:40
  Speaker 1: and then I cry. Anyway. So the act of crying
• 8:44
  Speaker 1: through Paddington has become like a sort of meta exercise,
• 8:47
  Speaker 1: and that crying is so much a part of it
• 8:49
  Speaker 1: that you have to think of either the fact that
• 8:51
  Speaker 1: you are crying or the lack of tears. Yes, yeah,
• 8:54
  Speaker 1: I appreciate when a movie tells me when to cry
• 8:57
  Speaker 1: via music, because sometimes you're like, oh, wait, I'm heartless,
• 9:02
  Speaker 1: how do I know? And then the movie goes like
• 9:04
  Speaker 1: n and you're like, oh, I'm yeah, that was Avengers Endgame.
• 9:10
  Speaker 1: I didn't know what the funk was going on. Oh yeah,
• 9:13
  Speaker 1: characters I've never heard of? So wait, did you watch Endgame?
• 9:16
  Speaker 1: Having not seen any of it, I'd seen like three
• 9:19
  Speaker 1: out of twenty, and then I went to see Endgame
• 9:21
  Speaker 1: and I was in I was weeping, but only when
• 9:25
  Speaker 1: I was told that is just it's I feel like
• 9:28
  Speaker 1: I'm getting off on a different thing here. But I'm like,
• 9:29
  Speaker 1: that is fascinating because I feel like, even with three
• 9:32
  Speaker 1: you kind of get it all, you understand. I mean,
• 9:34
  Speaker 1: it's easy to be like, oh, they're friends. Yeah, um
• 9:39
  Speaker 1: should I do the recap? Let's do it. So I'm
• 9:41
  Speaker 1: gonna recap both movies in a slightly less detailed way
• 9:46
  Speaker 1: than I normally do because we we have a finite
• 9:48
  Speaker 1: amount of time for the show. We got two movies
• 9:51
  Speaker 1: to talk ad here we go. So Paddington one, it's
• 9:56
  Speaker 1: about a little bear. I'm already crying. Um. He immigrates
• 10:04
  Speaker 1: to London from Darkest Peru. He's trying to find a
• 10:07
  Speaker 1: new home after an earthquake destroys his home that he
• 10:11
  Speaker 1: lives in with his aunt Lucy and uncle Pastuzo. Uh.
• 10:17
  Speaker 1: He goes looking for the explorer who his aunt and
• 10:22
  Speaker 1: uncle had met when the explorer went on an expedition
• 10:25
  Speaker 1: to Peru. And this explore discovered that the bears can talk,
• 10:29
  Speaker 1: and he introduces them to Marmalade and he teaches them
• 10:32
  Speaker 1: English and he is clearly actively trying to call any
• 10:37
  Speaker 1: and he's a cologne. But then he doesn't, so we
• 10:41
  Speaker 1: love him. He thought about it, but then he's like,
• 10:45
  Speaker 1: they can speak English. I won't colonize that he's bad.
• 10:50
  Speaker 1: So anyway. Uh. The little Bear arrives in London and
• 10:54
  Speaker 1: people aren't as welcoming as he thought they would be.
• 10:58
  Speaker 1: But eventually a family finds him at Paddington Station, which
• 11:03
  Speaker 1: is basically the Ellis Island of this movie. Right, It's
• 11:06
  Speaker 1: like if everyone who came to Ellis Island was named
• 11:09
  Speaker 1: Ellis Island. Yeah. Uh, and this is the Brown family. Um,
• 11:16
  Speaker 1: it's Mrs Brown who names him Paddington. Mr Brown, their
• 11:20
  Speaker 1: kids Judy and Jonathan and then a relative Mrs Bird,
• 11:25
  Speaker 1: who we meet a little later on. Is that Rown Mom? Yes,
• 11:29
  Speaker 1: that is Julie Walter's Yeah. Also in Mamma Mia. Yeah.
• 11:33
  Speaker 1: In Mary Poppin's Returns, whoa her career? She's had a salute, Julie, Yes,
• 11:44
  Speaker 1: what a strong four years. So the family takes Paddington
• 11:49
  Speaker 1: home and they promised to help him find this explorer.
• 11:53
  Speaker 1: Important to note that Mr Brown is pretty racist towards Bears.
• 11:59
  Speaker 1: He's a full on xenopope, I think, honestly in the
• 12:02
  Speaker 1: Brown family in the first movie, you're like, the Brexit
• 12:05
  Speaker 1: vote is split in this household. Yeah, it makes you
• 12:08
  Speaker 1: wonder why Mr and Mrs Brown are married. I wonder
• 12:12
  Speaker 1: this whole franchise why she doesn't dump his as. Yeah,
• 12:15
  Speaker 1: oh my god. This movie is the cute version of
• 12:18
  Speaker 1: Green Book because in that same sense, Linda Cardlini is like, no,
• 12:24
  Speaker 1: my husband's thrown a my spoiling green Book for anyone.
• 12:27
  Speaker 1: I'm just kidding. It spoils itself. Basically, he like throws
• 12:31
  Speaker 1: away two glasses that's like two black construction workers drink
• 12:35
  Speaker 1: out of, which is just a vile act of racism.
• 12:37
  Speaker 1: It's like they touched this, I can't have it in
• 12:38
  Speaker 1: my home, and she just looks it in the trash
• 12:40
  Speaker 1: and I was like, my husband like, she's just like, oh, racism,
• 12:44
  Speaker 1: such an inconvenience, wasting so many glasses. Learns to love
• 12:49
  Speaker 1: the manly just like Mr Brown well Sally Hawkins. I mean,
• 12:55
  Speaker 1: in that relationship, she must be addicted to emotional labor,
• 12:58
  Speaker 1: because that's all that is for her, is her being
• 13:00
  Speaker 1: like in the first movie, she's like, please don't be racist,
• 13:02
  Speaker 1: and the second movie she's like, please don't hate people
• 13:04
  Speaker 1: who got a prison so much. And every time Mr
• 13:07
  Speaker 1: Brown gets to be do the cathartic speech at the
• 13:10
  Speaker 1: end and be like I figured it out, I shouldn't
• 13:13
  Speaker 1: be racist, and we're like, yes, she's just gonna be
• 13:17
  Speaker 1: like ha ha, yeah, yes, yep, he did it. Good job.
• 13:21
  Speaker 1: So one of the reasons that Mr Brown isn't a
• 13:25
  Speaker 1: big fan of Paddington is that he does mess up
• 13:28
  Speaker 1: their house a lot because he's a clumsy little Berry
• 13:32
  Speaker 1: can't help it. Cute, but allegory falls away at this point,
• 13:35
  Speaker 1: by the way, and then meanwhile, Nicole Kidman is in
• 13:42
  Speaker 1: the movie with a wig. Nicole Kiman and Nicole Kiman's wig.
• 13:46
  Speaker 1: Please don't forget they're saying they are credited separately. Yes, yes, yes, yes,
• 13:49
  Speaker 1: the wig higher billing. Yeah, the wig is Union baby.
• 13:54
  Speaker 1: She finds out that this little bear is in town,
• 13:58
  Speaker 1: and then she goes looking for him because she wants
• 14:00
  Speaker 1: to kill and stuff him. And then there's also a
• 14:03
  Speaker 1: racist neighbor, Mr. Curry, who's trying to help Nicole Kidman
• 14:07
  Speaker 1: because he also hates bears. Meanwhile, Paddington and the Browns
• 14:13
  Speaker 1: continue to try to track down the explorer with the
• 14:15
  Speaker 1: help of Mr Gruber and Paddington's hat that leads them
• 14:19
  Speaker 1: to the Geographer's Guild, and then they learned the name
• 14:22
  Speaker 1: of the explorer, Montgomery Clyde. So then Paddington is about
• 14:26
  Speaker 1: to go like find Montgomery Cline, but then he overhears
• 14:29
  Speaker 1: Mr Brown being like, Paddington sucks and he's putting our
• 14:32
  Speaker 1: family in danger, and then Sally Hawkins is like kind
• 14:36
  Speaker 1: of so Paddington leaves and we cry. Then he goes
• 14:42
  Speaker 1: to the last m Clyde in the book, and it's
• 14:46
  Speaker 1: the same house that Nicole Kidman lives at and her
• 14:50
  Speaker 1: wig and her wig she kidnaps him and it turns
• 14:53
  Speaker 1: out that she is the daughter of the explorer, and
• 14:56
  Speaker 1: she is bitter that her late father refus used to
• 15:00
  Speaker 1: collect the specimen of this species of bears who can
• 15:05
  Speaker 1: stem with Daddy issues man home run. So then the
• 15:11
  Speaker 1: Browns go to rescue Paddington because they realize how good
• 15:15
  Speaker 1: this we better is for the family. And then Paddington
• 15:19
  Speaker 1: almost dies, but then the Browns save him and they
• 15:23
  Speaker 1: bring him into their family. Is one of their own.
• 15:27
  Speaker 1: The end of the first one of the first one, Yes,
• 15:31
  Speaker 1: and now onto Paddington to the best movie ever made.
• 15:35
  Speaker 1: Um Allegory is back. Yes, a different one. It appears
• 15:40
  Speaker 1: for a few all right, the first act set up,
• 15:43
  Speaker 1: it's gonna be just like this thing's like all right,
• 15:45
  Speaker 1: But what about when he's like making sandwich is all right?
• 15:48
  Speaker 1: It's it's a different movie. Then, I like, Wendy, I
• 15:51
  Speaker 1: want to imagine like the Paddington two pitch of like
• 15:54
  Speaker 1: someone busting down the door. They would be like, this
• 15:56
  Speaker 1: is an indictment of the prison industrial complex. They're like, yeah, sure,
• 16:03
  Speaker 1: hello listeners. It was at this point during the live
• 16:06
  Speaker 1: show that something happened to our recording the connection with
• 16:11
  Speaker 1: Curse Indoors. Yes, but it was only for five minutes,
• 16:14
  Speaker 1: so we only lost five minutes of audio. At this point,
• 16:17
  Speaker 1: the assassins came into the room so we were fighting
• 16:20
  Speaker 1: them off and Hugh Grant came in and it was like, yeah, um,
• 16:26
  Speaker 1: so here's what you missed. Yes, so we're just gonna
• 16:28
  Speaker 1: we're in the studio now, we're filling in the gaps.
• 16:31
  Speaker 1: Mind the gap because Britain, because of British Yes. Okay,
• 16:36
  Speaker 1: So here's the recap to Paddington two. Um. Paddington has
• 16:41
  Speaker 1: been living with the Browns for a few years now.
• 16:45
  Speaker 1: They all love each other. Everything is great until Paddington
• 16:49
  Speaker 1: is in the wrong place at the wrong time and
• 16:51
  Speaker 1: he likely story just so typical of Paddington um. And
• 16:57
  Speaker 1: he is accused of stealing a pop up book of London,
• 17:01
  Speaker 1: which is the same book that he was saving up
• 17:03
  Speaker 1: money for to buy as a gift to his brought Lucy,
• 17:07
  Speaker 1: Yes from Mr Gruber um because he wants to give
• 17:10
  Speaker 1: something to Aunt Lucy for her birthday and I also
• 17:13
  Speaker 1: had a birthday icon paying it forward. Less, we find
• 17:17
  Speaker 1: out that the actual thief is their new neighbor, Phoenix Buchanan,
• 17:22
  Speaker 1: played by Hugh Grant in the role of a lifetime
• 17:26
  Speaker 1: really incredible. Seeing Hugh Grant in this role made me
• 17:29
  Speaker 1: think about how he should have been count all off
• 17:31
  Speaker 1: in a series of unfortunate events. He's doing basically the
• 17:34
  Speaker 1: same character and doing circles around new Patrick Harris and
• 17:37
  Speaker 1: Jim Carey. Yes, yes, so Phoenix Buchanan stole the book
• 17:42
  Speaker 1: because it turns out that it's a treasure map to
• 17:45
  Speaker 1: Madame Koslova's fortune that Phoenix is also planning to steal.
• 17:49
  Speaker 1: But Paddington is tried, convicted, and sent to prison very
• 17:55
  Speaker 1: quickly this all happens, and honestly, I was just like, damn,
• 17:57
  Speaker 1: Parliament is so much more efficient. They were American justice
• 18:01
  Speaker 1: system in our in America, it would have been a
• 18:05
  Speaker 1: three month long televised event, right, But there's just a
• 18:09
  Speaker 1: female judge is like, fuck, you gotta jail. No, it's
• 18:13
  Speaker 1: a it's a male. It's a female lawyer in Paddington too,
• 18:16
  Speaker 1: but it's the male judge who gets his head buzzed
• 18:19
  Speaker 1: because of Paddington anyway, So he gets sent to prison
• 18:23
  Speaker 1: for Phoenix's crime, and the Brown's work to clear Paddington's name,
• 18:27
  Speaker 1: and eventually Mrs Brown figures out that it is Phoenix
• 18:31
  Speaker 1: Buchanan who's the real thief. But by that time a
• 18:34
  Speaker 1: few of the other prisoners have convinced Paddington to break
• 18:37
  Speaker 1: out of prison with them, but not before Paddington has
• 18:40
  Speaker 1: reformed the prison and made a lot of baked goods there, right,
• 18:44
  Speaker 1: I do love the prison before message. I will say,
• 18:47
  Speaker 1: when they escaped prison, we don't know what they're guilty of,
• 18:50
  Speaker 1: and it may in fact be very dangerous that certain
• 18:52
  Speaker 1: prisoners might be rapists literally like statists. I mean, at
• 18:58
  Speaker 1: least one shouldn't have got out of jail. Yeah, there's
• 19:01
  Speaker 1: plenty of false over convictions. Prison industrial complex is strong, yes,
• 19:07
  Speaker 1: but at least one there's like seven of them. I'm like,
• 19:09
  Speaker 1: at least one person really should have stated I'm hoping
• 19:11
  Speaker 1: they were all there on like minor marijuana possession charges. Yeah,
• 19:16
  Speaker 1: oh that's nice. Yeah, they just like live somewhere where
• 19:19
  Speaker 1: it's not quite legal and they got busted like three
• 19:22
  Speaker 1: years too early. I have no idea if marijuana is
• 19:24
  Speaker 1: legal in the UK or not. Listeners, English listeners, are
• 19:28
  Speaker 1: you high right now? And if so, is it legal? Um? So?
• 19:33
  Speaker 1: They the prisoners have convinced Paddington to break out with
• 19:36
  Speaker 1: them because they've convinced him that it's his only chance
• 19:38
  Speaker 1: to clear his name. So Paddington escapes and then he
• 19:42
  Speaker 1: realizes that they've lied to him, so he goes off
• 19:44
  Speaker 1: on his own and he contacts the Browns and they
• 19:47
  Speaker 1: tell him to meet them at Paddington Station. Wouldn't you
• 19:52
  Speaker 1: believe it? Because that is where the Koslova Traveling Fair
• 19:57
  Speaker 1: is about to leave from, and that is also where
• 20:00
  Speaker 1: they think Phoenix Buchanan is about to steal the fortune
• 20:03
  Speaker 1: from I love a third act. Everyone's got to be
• 20:06
  Speaker 1: in this location at this time, so they all they
• 20:10
  Speaker 1: find him. They're chasing after him on various trains, and
• 20:14
  Speaker 1: they all finally stop Phoenix, but then Paddington almost dies again.
• 20:20
  Speaker 1: I mean, the train scene is incredibly done. Like I
• 20:23
  Speaker 1: think for everyone at the live show, it was evoking
• 20:25
  Speaker 1: something a little bit different. For me, it was the
• 20:27
  Speaker 1: Bye Bye By music video. Sure sure for me it
• 20:30
  Speaker 1: was the end of Back to the Future three and
• 20:33
  Speaker 1: also the beginning of Indiana Jones and the Last Crusade.
• 20:37
  Speaker 1: For me, it was really just the by By By
• 20:38
  Speaker 1: music video beautiful. And then Mrs Brown saves Paddington with
• 20:45
  Speaker 1: the help of the prisoner bodies who come back for him,
• 20:48
  Speaker 1: and then At the very end, the Browns and the
• 20:51
  Speaker 1: whole neighborhood get together and they surprise Paddington by bringing
• 20:56
  Speaker 1: Lucy to London to see him, and we cry, Christ
• 21:00
  Speaker 1: it is so beautiful. I love this movie. So learn
• 21:03
  Speaker 1: he respects women, he does seminist icon Paddington. Can we
• 21:09
  Speaker 1: make that shirt? Please? I guess so. I feel like
• 21:12
  Speaker 1: he doesn't really, I'm sorry. I mean, he's not really
• 21:16
  Speaker 1: doing He's not out there at the protest. He's yet,
• 21:20
  Speaker 1: he's he's I think Paddington does the bare minimum, which
• 21:23
  Speaker 1: we appreciate, bear minimum, the bear there's the shirt doing
• 21:28
  Speaker 1: the bear minimum. That's not true. He does the bear maximum.
• 21:31
  Speaker 1: Can you say that? I think that's a good compromise,
• 21:34
  Speaker 1: a compromise. Once Paddington shows up at a rally, then
• 21:38
  Speaker 1: you know he'll achieve feministe. Let's put it to a
• 21:41
  Speaker 1: vote on our on our Twitter. We're gonna have the
• 21:43
  Speaker 1: different design options and then let's let the leaves decide. Yeah. Well,
• 21:48
  Speaker 1: you know they're going to be like, oh look bear,
• 21:50
  Speaker 1: God damn it, I don't want to make this shirt.
• 21:53
  Speaker 1: I'll make it. I'm not a very good artist, but
• 21:55
  Speaker 1: I'll for Paddington. I will design so this Okay, cool,
• 22:01
  Speaker 1: So we have to go to a quick break and
• 22:03
  Speaker 1: then we will come right back, and we're back. We're
• 22:10
  Speaker 1: still in the studio because yes, because the very beginning
• 22:14
  Speaker 1: of our discussion got cut off. But hopefully we'll find
• 22:17
  Speaker 1: a way to smoothly transition back into the live show.
• 22:21
  Speaker 1: Here we go. So, something that's stuck out to me
• 22:24
  Speaker 1: and I think it's worth, you know, discussing, is in
• 22:27
  Speaker 1: both of the Paddington movies there is a use of
• 22:30
  Speaker 1: what I've viewed to be kind of a trophy use
• 22:33
  Speaker 1: of sudden maternal instinct syndrome in regards to the Paddington
• 22:39
  Speaker 1: character that will work as an effective transition back into
• 22:44
  Speaker 1: the live show, which we see in a million movies
• 22:47
  Speaker 1: of like the second that Mary Brown sees Paddington, she's like,
• 22:50
  Speaker 1: we have to help him. I am a mummy, and
• 22:53
  Speaker 1: then in padding to do it kind of even doubles
• 22:56
  Speaker 1: down on that, where like Aunt Lucy sees padding to
• 23:00
  Speaker 1: in the little cub and it's like we're not moving
• 23:03
  Speaker 1: because I'm mommy, Like it's it's it's fairly intense. Yeah,
• 23:08
  Speaker 1: I choose to see all of that as Mary and
• 23:15
  Speaker 1: Judy and Mrs Bird just being very active participants in
• 23:18
  Speaker 1: the story. But I will, I mean, it is like
• 23:21
  Speaker 1: worth noting that we don't see any male character have
• 23:25
  Speaker 1: that inherent caring, which I wish they're too busy being
• 23:28
  Speaker 1: racist against say that. The one time where you do
• 23:32
  Speaker 1: see that sort of caring instinct from Mr Brown is
• 23:35
  Speaker 1: sort of shown as a joke where it's like they
• 23:37
  Speaker 1: go into the hospital with the motorcycle and he comes down.
• 23:39
  Speaker 1: It's like, oh, everybody, stay away, stay away. A protective person. Yeah,
• 23:42
  Speaker 1: that's true. It's funny. He doesn't feel that towards anyone
• 23:44
  Speaker 1: who is not his own children, right exactly. Yeah, Like
• 23:48
  Speaker 1: he would never extend that caring too, So it's like
• 23:51
  Speaker 1: caring and and it's like that I don't even know
• 23:53
  Speaker 1: where I fall on this, but it is definitely a
• 23:55
  Speaker 1: trope relegated to women of like something turns on inside
• 23:59
  Speaker 1: of you and you'll just pick up a bear, like
• 24:01
  Speaker 1: you'll just do it, like we're bringing it home. This
• 24:06
  Speaker 1: is my son now, Like now I see what you're saying,
• 24:10
  Speaker 1: And yes, I agree, and I would argue even that
• 24:12
  Speaker 1: like Mrs Bird ends up being like a caregiver, not
• 24:16
  Speaker 1: necessarily so much as a maternal figure, but she she
• 24:19
  Speaker 1: spends most of the movie cleaning up after Paddington, so
• 24:22
  Speaker 1: that's you know, she's forced into a caregiver type role.
• 24:26
  Speaker 1: So what I like about Mrs Brown is that we
• 24:29
  Speaker 1: know what she does for a fucking job that happens.
• 24:31
  Speaker 1: I was worried that And I don't know if this
• 24:34
  Speaker 1: is true in the books, like uh if there are
• 24:36
  Speaker 1: any book hits anyone here read a fucking book before
• 24:40
  Speaker 1: uh me either, But I think it's cool that, like
• 24:44
  Speaker 1: she has given a career, we know what it is
• 24:47
  Speaker 1: the entire franchise. It's not added as like an afterthought,
• 24:52
  Speaker 1: which because we're kind of given this like nuclear family,
• 24:56
  Speaker 1: like isn't really a given for for the mom to
• 24:59
  Speaker 1: even have of a job, much less we know what
• 25:01
  Speaker 1: it is or like how it affects their lives. And
• 25:04
  Speaker 1: even in the in the second movie, her job lends
• 25:07
  Speaker 1: itself to a skill that actually becomes pretty important to
• 25:10
  Speaker 1: the story because she draws descriptions of the different criminals
• 25:14
  Speaker 1: who were showing up, and which is what I think
• 25:17
  Speaker 1: is one of the movie's great strengths is that all
• 25:19
  Speaker 1: the female characters who we get to know who are
• 25:22
  Speaker 1: significant to the story are just that they are significant
• 25:25
  Speaker 1: to the story because they all have skills or interests
• 25:30
  Speaker 1: or a job that actually like contributes to the events
• 25:34
  Speaker 1: of the story and that they can, especially in the
• 25:38
  Speaker 1: second one, because there is like you know, it's like
• 25:41
  Speaker 1: we are like always looking out for Mary Sue kind
• 25:43
  Speaker 1: of tropes where in a lesser movie that isn't Paddington too,
• 25:49
  Speaker 1: Sally Hawkins being able to dive into like the ocean
• 25:53
  Speaker 1: or whatever body of water it is, and like almost
• 25:56
  Speaker 1: released Paddington would be like, how the fund does she
• 25:59
  Speaker 1: do that? But that's set up at the beginning of
• 26:01
  Speaker 1: the movie that she's been trapped to sing, she's been
• 26:04
  Speaker 1: swimming a lot, and the same as sort of lent
• 26:06
  Speaker 1: to um. Judy has has this interest in journalism that
• 26:10
  Speaker 1: set up at the beginning of the movie that becomes
• 26:12
  Speaker 1: useful to helping figure out what's happening to Paddington. I
• 26:17
  Speaker 1: wish that, like in the second movie, like Mary and
• 26:20
  Speaker 1: Judy should have started like a serial style podcast. Oh
• 26:25
  Speaker 1: where's this bear at? That? Did odd non do it? Did? Yeah?
• 26:31
  Speaker 1: That would be fun. Everything that we're describing probably just
• 26:34
  Speaker 1: sounds like how storytelling should work, you know, like the
• 26:37
  Speaker 1: female characters contributing to the events of the plot, But
• 26:41
  Speaker 1: if you've ever heard our show before, you know that
• 26:44
  Speaker 1: that's actually pretty rare. So get to do one thing
• 26:49
  Speaker 1: like out of nowhere, right exactly. But in this movie,
• 26:52
  Speaker 1: like all the female characters pretty much every step of
• 26:55
  Speaker 1: the way throughout both movies are contributing to the story
• 26:58
  Speaker 1: and have like skills and interests that pay off in
• 27:02
  Speaker 1: some significant way. Here's the question, do you think the
• 27:06
  Speaker 1: maternal instinct that comes from the women in this franchise
• 27:08
  Speaker 1: is sort of done that way because they need the
• 27:11
  Speaker 1: women to be the voice of reason and all the
• 27:13
  Speaker 1: men are like the buffoons sort of in a way
• 27:16
  Speaker 1: that it's like, if the women are the voice of reason,
• 27:19
  Speaker 1: they have to find the solution, and because the plot
• 27:22
  Speaker 1: is saved this child bear, it feels like being the
• 27:26
  Speaker 1: voice of reason is sort of coming off as maternal.
• 27:29
  Speaker 1: I like where you're thinking, DEMI, I still think that
• 27:34
  Speaker 1: it's like this movie accomplished, Like this whole franchise gets
• 27:38
  Speaker 1: to be so nuanced in so many ways, and that's
• 27:40
  Speaker 1: like one of the few ways where it didn't do it,
• 27:42
  Speaker 1: where like the men are so cartoonishly uninterested in helping
• 27:46
  Speaker 1: a helpless child in both of them that it almost
• 27:50
  Speaker 1: feels unrealistic or so I don't even know if that's
• 27:53
  Speaker 1: that cartoonish, because I mean this is where sort of
• 27:55
  Speaker 1: like the allegory comes in. Well, yeah, for especially Paddington One,
• 28:00
  Speaker 1: where like Mr Brown is just behaving the way a
• 28:03
  Speaker 1: lot of people would behave to you know, an immigrant
• 28:07
  Speaker 1: or an outsider, someone who's been mothered in a way
• 28:10
  Speaker 1: that is unfortunately pretty realistic for how a lot of
• 28:14
  Speaker 1: people behave. That's fair. I I just I do think
• 28:17
  Speaker 1: that like the maternal instinct turning on like a light
• 28:21
  Speaker 1: switch and like just sort of being something that is
• 28:23
  Speaker 1: integral to the plot, Like there's I don't know, like
• 28:26
  Speaker 1: there's a more nuanced way to accomplish that, because it
• 28:29
  Speaker 1: happens in so many movies of just like the man
• 28:32
  Speaker 1: doesn't have the time for it, and then the female
• 28:35
  Speaker 1: character is like, no, we have to, and it's like
• 28:37
  Speaker 1: that is a good thing, that is the thing that
• 28:39
  Speaker 1: all people should be capable of doing. But it it
• 28:43
  Speaker 1: does just sort of seem trophy to to relegate it
• 28:46
  Speaker 1: to her in a completely unnuanced way. But you're right,
• 28:49
  Speaker 1: like the fact that it is an allegory kind of
• 28:51
  Speaker 1: does shift that dynamic a little bit. I sometimes feel
• 28:55
  Speaker 1: like when people do that in movies where it's just like, oh,
• 28:58
  Speaker 1: the women have to be the voice reason the entire time,
• 29:00
  Speaker 1: it's because they're afraid that when people watch movies and
• 29:04
  Speaker 1: see a woman being like funny or even just like
• 29:08
  Speaker 1: flawed in any way, they'll be like, well, we can't
• 29:09
  Speaker 1: do that, people hate us for it's not perfect. And
• 29:12
  Speaker 1: it's like that's not it's not the problem. Yeah. So
• 29:15
  Speaker 1: there's so many Merry Sue characters too, It's just like
• 29:18
  Speaker 1: most times there's mary See characters. I feel like it's
• 29:20
  Speaker 1: written by like guys who are feeling insecure about like,
• 29:24
  Speaker 1: well I don't want girls to hate me. Let me
• 29:25
  Speaker 1: just like write a boring as character that gets everything right.
• 29:29
  Speaker 1: And that's not necessarily these characters. But you know this
• 29:32
  Speaker 1: movie is written by men. Yeah, so me with with
• 29:36
  Speaker 1: no mothering instinct to speak of, because like if there
• 29:41
  Speaker 1: is like an overly maternal character, or like a female
• 29:44
  Speaker 1: character is characterized in such a way that like she
• 29:47
  Speaker 1: just she's like the mommy who has to be the
• 29:49
  Speaker 1: mommy to everyone, like that definitely is something that I
• 29:52
  Speaker 1: tend to notice. And you know, depending on how severe
• 29:56
  Speaker 1: it is, will you know, annoy me that amount for
• 29:59
  Speaker 1: these I see like Mrs Brown, I guess just as
• 30:02
  Speaker 1: being more compassionate than maternal. But again, I just can't
• 30:08
  Speaker 1: criticize this movie, so I don't know, but I mean
• 30:12
  Speaker 1: it tips a little bit that way for me, but
• 30:14
  Speaker 1: it's like not to the point where I, I mean,
• 30:16
  Speaker 1: the good thing is, even though I feel like that's present,
• 30:19
  Speaker 1: there's still so much more to that character that we
• 30:22
  Speaker 1: know about, especially like between movies one and two, I
• 30:24
  Speaker 1: feel like there's an even more of an improvement on
• 30:27
  Speaker 1: how much like care is given to the female characters
• 30:32
  Speaker 1: in terms of they're always active participants, but in like
• 30:35
  Speaker 1: how much we know about them were In the first movie,
• 30:38
  Speaker 1: Judy's storyline is mostly like she has a crush on
• 30:40
  Speaker 1: a boy and at the end she introduces the boy
• 30:43
  Speaker 1: to her mom. And then in the second one, I
• 30:46
  Speaker 1: feel like, and I hope that, you know, all franchises
• 30:49
  Speaker 1: can kind of move in this direction in a lot
• 30:51
  Speaker 1: of ways of like, oh, maybe that was a little
• 30:54
  Speaker 1: bit lazy, and like, Okay, let's give her an interest.
• 30:57
  Speaker 1: Let's give her she basically starts Jezebel at the Getting
• 31:00
  Speaker 1: Him this movie, it's like this, She's like she starts
• 31:03
  Speaker 1: in All female newspaper Boys Loud and Yes, is it
• 31:08
  Speaker 1: implied that it's because she like felt sad about a
• 31:12
  Speaker 1: relationship ending. Sure, but that's also why I started in comedy.
• 31:14
  Speaker 1: So whatever one start. Yeah, I like started to write
• 31:23
  Speaker 1: a note being critical of that, and I'm like, Jamie,
• 31:25
  Speaker 1: you fucking did that. But it is cool, Like between
• 31:29
  Speaker 1: movies one and two it seems like, you know, the
• 31:32
  Speaker 1: writers were you know, taking notes. Even the first one,
• 31:36
  Speaker 1: though it's set up early on that she has an
• 31:39
  Speaker 1: interest in like language, and it's like she's learning Chinese
• 31:41
  Speaker 1: and she wants to open a small business. She's going
• 31:44
  Speaker 1: to be a business owner. Uh. And then that pays
• 31:46
  Speaker 1: off because she starts learned Paddington starts teaching her Bear,
• 31:50
  Speaker 1: and then she's able to communicate with him in Bear
• 31:53
  Speaker 1: and ends up helping to save his life because she's like, oh,
• 31:55
  Speaker 1: we need to go to the roof. He's going for
• 31:57
  Speaker 1: the roof. So um, at least like she's equipped with
• 32:00
  Speaker 1: that skill and that interest that again, like you know,
• 32:03
  Speaker 1: contributes to the events of the story. Um. In both movies,
• 32:07
  Speaker 1: we get like an overview of the Brown family where
• 32:10
  Speaker 1: it's basically like Paddington relaying to his aunt Lucie, like
• 32:15
  Speaker 1: just who the Browns are and what they do, And
• 32:18
  Speaker 1: I was kind of reminded of what happens in the
• 32:20
  Speaker 1: Royal tent West. Yeah. It was like the west planbe
• 32:23
  Speaker 1: Plan movie. Yeah, the West Yeah, the Weston flambe Plan movie.
• 32:30
  Speaker 1: That movie that is every every frame is yellow. So
• 32:35
  Speaker 1: in The Royal Tenant Bombs, which we talked about on
• 32:38
  Speaker 1: the show, there's like this voiceover narration and it's like,
• 32:41
  Speaker 1: look at all the boys. Here's all the things they've accomplished,
• 32:44
  Speaker 1: here's all the things they like to do, and here's
• 32:46
  Speaker 1: how awesome they all aren't, like visually similar to yeah yeah,
• 32:50
  Speaker 1: yeah yeah. And then for the female characters in The
• 32:53
  Speaker 1: Royal Tenant Bombs, it's like, here's all the boys that
• 32:56
  Speaker 1: she fucked at the end, so like that's all we
• 32:59
  Speaker 1: know about that. And that again does happen to like
• 33:01
  Speaker 1: a small degree with like Judy because it's like she
• 33:05
  Speaker 1: has a crush on Tony uh and you like wish
• 33:08
  Speaker 1: that the information was reversed, but at least the year right,
• 33:11
  Speaker 1: like the thing with like, Okay, there's at least more
• 33:13
  Speaker 1: to her than like likes a boy and likes the
• 33:16
  Speaker 1: boy and learning a language is better than I was
• 33:18
  Speaker 1: doing it. Twelve Should we just talk about sort of
• 33:23
  Speaker 1: the allegorical elements of these fine movies? I mean, where
• 33:27
  Speaker 1: do you kin? Yeah, sure, let's do it. So the
• 33:32
  Speaker 1: first one, Paddington one, is essentially an allegory for uh
• 33:38
  Speaker 1: An immigrants experience. I think it's a good allegory, except
• 33:42
  Speaker 1: that I think the problem might be that this could
• 33:48
  Speaker 1: have given visibility to an actual brown or black person
• 33:53
  Speaker 1: who is an immigrant and like seeing their story, and
• 33:57
  Speaker 1: instead it's a bear, and then everyone else's So wait,
• 34:03
  Speaker 1: are you saying that instead of Paddington's being a bear
• 34:06
  Speaker 1: he should have been a I'm not saying that necessarily
• 34:13
  Speaker 1: because if there's if you're if your take here is,
• 34:17
  Speaker 1: I can't criticize anything about this movie, however, an indigenous
• 34:24
  Speaker 1: Peruvian boy. Yes, um, I don't know if I'm communicating
• 34:29
  Speaker 1: my point very well. I say, I see what you're saying.
• 34:33
  Speaker 1: I mean, where there could have been visibility to an
• 34:35
  Speaker 1: immigrant who is from Peru who would probably be a
• 34:39
  Speaker 1: brown person. Instead it's a bear who speaks the Queen's English.
• 34:44
  Speaker 1: So I mean I think that that I mean for
• 34:45
  Speaker 1: this franchise. I don't know how possible it is to
• 34:48
  Speaker 1: make that edit without it becoming a very different Yeah,
• 34:55
  Speaker 1: but there is I mean, and then there is such
• 34:57
  Speaker 1: like a history with I mean, we can go straight
• 34:59
  Speaker 1: up Sally Hawkins movies specifically with other characters being you know,
• 35:04
  Speaker 1: like subbed out by like animals or by creatures, and
• 35:08
  Speaker 1: there's like such a history of that happening, which I
• 35:11
  Speaker 1: feel like this is one of the gentler examples of
• 35:14
  Speaker 1: that because you know, you can extend that allegory to
• 35:16
  Speaker 1: like early monster movies and like a lot of ship
• 35:19
  Speaker 1: like that were I don't know, Yeah, there's been there's
• 35:22
  Speaker 1: been a lot of like interesting I've got I've got
• 35:24
  Speaker 1: some quotes. Sure, there's been a lot of interesting stuff
• 35:27
  Speaker 1: written about how Paddington is like an other creature that
• 35:32
  Speaker 1: is representing a different group of people. I got some
• 35:35
  Speaker 1: hot facts, Jamie's hot facts, Hot facts with Jamie. So,
• 35:40
  Speaker 1: Paddington has been a political symbol for over sixty years,
• 35:45
  Speaker 1: uh so since or almost sixty years. Sorry my facts
• 35:48
  Speaker 1: are bad. But the the author of the original books
• 35:53
  Speaker 1: has always used Paddington as a as a political symbol.
• 35:58
  Speaker 1: As recently as two thousand and nine, Paddington was like
• 36:02
  Speaker 1: the voice of like his character was used in a
• 36:05
  Speaker 1: campaign to end the arrested detention of hundreds of child
• 36:09
  Speaker 1: asylum seekers in prison like conditions in the UK. Like
• 36:13
  Speaker 1: he's a huge like UK like immigration advocate, so me
• 36:19
  Speaker 1: an icon for a very long time, and like was
• 36:23
  Speaker 1: I was very curious about in the adaptation, like how
• 36:27
  Speaker 1: much of the intent was in the book versus how
• 36:29
  Speaker 1: much was translated. But he was written that way to
• 36:31
  Speaker 1: be because the author of the books had been a
• 36:35
  Speaker 1: Holocaust survivor, and like, there there were a lot of uh,
• 36:39
  Speaker 1: displaced children narratives that went into like the writing of
• 36:42
  Speaker 1: this book, So I thought that was interesting. One of
• 36:45
  Speaker 1: the things that also, like the only criticism from the
• 36:48
  Speaker 1: original creators of Paddington, the only criticisms of the movie
• 36:53
  Speaker 1: were the relationship between Paddington and Mr Gruber because apparently
• 36:59
  Speaker 1: also originally the fact that Paddington is from Peru was
• 37:02
  Speaker 1: a suggestion of an editor. He was originally from darkest Africa,
• 37:07
  Speaker 1: and then they were like, how about darkest Peru And
• 37:09
  Speaker 1: it's like, still fucking weird, still fucking racist, but sure
• 37:14
  Speaker 1: so originally the Mr Gruber Paddington's relationship was written to
• 37:19
  Speaker 1: be too Immigrants to London who were bonding, and so
• 37:24
  Speaker 1: the fact that a white actor was cast as Mr
• 37:27
  Speaker 1: Gruber kind of irked the original creators because they had
• 37:30
  Speaker 1: they would always have tea at Eleven's is and I
• 37:32
  Speaker 1: guess that that was something that Paddington had done in
• 37:35
  Speaker 1: Peru that was brought to London and they were that
• 37:38
  Speaker 1: was supposed to be their connection, and that was like
• 37:41
  Speaker 1: lost in translation in the movie. I literally just watched
• 37:45
  Speaker 1: this movie yesterday, but I can you help me remember
• 37:47
  Speaker 1: who Mr Grouper is. Jim Broadbent. He's the guy who
• 37:51
  Speaker 1: has has the antika, Yes, right, yeah, No, that does
• 37:55
  Speaker 1: feel like a role that they want you to believe
• 37:57
  Speaker 1: is like someone who's not from like with the accent
• 38:00
  Speaker 1: everything you I think they wanted to get the credit
• 38:02
  Speaker 1: of it being like a foreigner, but not actually give
• 38:05
  Speaker 1: the role to a person who wasn't from the UK. Yeah. Yeah,
• 38:09
  Speaker 1: so that was like the one thing that and I said, sorry,
• 38:11
  Speaker 1: the the editor of Paddington was a Holocaust survivor. The
• 38:15
  Speaker 1: writer was not. But they were the two people who
• 38:17
  Speaker 1: shaped the character, and so that was their one note,
• 38:20
  Speaker 1: which is like better than you know, most adaptations. Sure,
• 38:23
  Speaker 1: that's Jamie's hat facts. I love it. I mean, it's
• 38:26
  Speaker 1: no cat facts with Caitlin, it was are the cats
• 38:29
  Speaker 1: in these movies? There's no cats? Harsh. There's a dog
• 38:33
  Speaker 1: in the second one, but actually there's a dog in
• 38:36
  Speaker 1: both of them. There's a dog. Yeah. The dog scene
• 38:38
  Speaker 1: in the first one almost made me cry yesterday. I
• 38:40
  Speaker 1: don't know why. When he like picks it up and
• 38:42
  Speaker 1: takes it on the escalator. Just before that, the part
• 38:46
  Speaker 1: where he like steps his foot on the escalator and
• 38:48
  Speaker 1: like pulls his leg back, I almost I just started
• 38:50
  Speaker 1: being like, he's so afraid right now. I don't know why.
• 38:55
  Speaker 1: And then like also the scene at the end where
• 38:57
  Speaker 1: he's climbing up with the vacuums and then like one
• 38:59
  Speaker 1: of the vacuums stops and he just starts falling towards
• 39:02
  Speaker 1: the fire. I was like, oh my god, what what
• 39:03
  Speaker 1: the fund are they doing? I don't know what place
• 39:07
  Speaker 1: I'm in. But I have multiple points in both of
• 39:11
  Speaker 1: these movies. First, like I kept because we had like
• 39:14
  Speaker 1: a Paddington Bear toy at my house when I was
• 39:17
  Speaker 1: a little and I kept thinking that he was a
• 39:19
  Speaker 1: toy and not an actual bear, which at certain points
• 39:23
  Speaker 1: would make a big difference. Yeah, but I yeah, I
• 39:27
  Speaker 1: kept forgetting that he was actual bear who came from Peru. Yeah,
• 39:35
  Speaker 1: I guess I want to talk a little bit more
• 39:37
  Speaker 1: about each of the main female characters who we get
• 39:41
  Speaker 1: to know, starting with Mrs Brown, because she is kind
• 39:46
  Speaker 1: of largely responsible for getting the story going. Like she's
• 39:49
  Speaker 1: the worst time. Yeah, she's the one who approaches Paddington
• 39:53
  Speaker 1: at the station. She's the one who keeps challenging her
• 39:56
  Speaker 1: racist husband to like say, it's just help him, like
• 40:01
  Speaker 1: it's just for the night kind of Yeah, why are
• 40:03
  Speaker 1: they married? They have nothing in common any sense, Yeah,
• 40:10
  Speaker 1: Judy and Jonathan, And then in movie Too, in Paddington Too,
• 40:15
  Speaker 1: it's Mary who like is especially hell bent on trying
• 40:17
  Speaker 1: to figure out who the actual thief is. She's doing
• 40:21
  Speaker 1: all the drawing. She goes full Sarcanic. She's like, gotta
• 40:24
  Speaker 1: fun pinboard. She's like this means this, This means this.
• 40:28
  Speaker 1: He's just like, holy sh it. She like breaks and
• 40:32
  Speaker 1: enters into Phoenix's. She really goes like full investigative reporter. Yeah, yeah,
• 40:38
  Speaker 1: I just I guess I like that how active she
• 40:41
  Speaker 1: is and how much of a driving force she is
• 40:44
  Speaker 1: to like keep the narrative going. In both movies, and
• 40:47
  Speaker 1: both times, like in spite of her husband, she is
• 40:50
  Speaker 1: continuing to advocate for this bear who becomes her bear son.
• 40:56
  Speaker 1: And the first one she's like, I'm no, I love
• 40:59
  Speaker 1: this bear. Also he should be our son. And then
• 41:01
  Speaker 1: the second and she's like, he's our son, now, please
• 41:04
  Speaker 1: stop being rude the prisoners and like she does where
• 41:10
  Speaker 1: like Mr Brown, you can see he does inch forward
• 41:14
  Speaker 1: as the plot goes on in each movie, which is encouraging.
• 41:18
  Speaker 1: One thing I do not love about that character is
• 41:20
  Speaker 1: that he always gets a cathartic speech and moment for
• 41:23
  Speaker 1: making a very basic human decision where he's like, actually,
• 41:29
  Speaker 1: racism is bad. And every time like a white guy
• 41:33
  Speaker 1: says that, they get like a standing oh. And this
• 41:35
  Speaker 1: movie kind of gives that to him and this it
• 41:41
  Speaker 1: wins an oscar uh and kind of the same thing.
• 41:44
  Speaker 1: In the second one, he has like a little cathartic
• 41:46
  Speaker 1: speech and every time that happens, you're just like, yeah,
• 41:50
  Speaker 1: well you're your wife has been saying that for five
• 41:52
  Speaker 1: French well, Jamie. Men need to redeem themselves all the time.
• 41:57
  Speaker 1: There is a moment um in Ington to where Mr
• 42:01
  Speaker 1: and Mrs Brown are sneaking through Phoenix Buchanan's house and
• 42:04
  Speaker 1: then they go up to the attic and I see
• 42:06
  Speaker 1: like all of the costumes and then Mr Brown is like,
• 42:09
  Speaker 1: we were right, and then Mrs Brown is like we
• 42:14
  Speaker 1: because it was only her and he's trying to take
• 42:17
  Speaker 1: credit for her work. Yeah that felt like a little yeah,
• 42:21
  Speaker 1: little bone thrown. Sure, um, I guess and I just
• 42:25
  Speaker 1: like that Mrs Brown um challenges her shitty husband of
• 42:30
  Speaker 1: the time, it's true. But then there's a moment in
• 42:33
  Speaker 1: like Paddington One where towards the end there in the
• 42:36
  Speaker 1: Natural History Museum and he's like someone has to go
• 42:40
  Speaker 1: out this window to save Paddington and that someone is
• 42:43
  Speaker 1: going to be me, and he does this like display
• 42:46
  Speaker 1: of like kind of traditional like macho heroism, and then
• 42:51
  Speaker 1: Mrs Brown is like, oh, Henry, you're such a man,
• 42:56
  Speaker 1: and like she gets like all weak in the knees,
• 42:58
  Speaker 1: which I felt was unnecessary. But then that doesn't really
• 43:03
  Speaker 1: happen in Paddington Twoad. Mr Brown is like, I'm having
• 43:09
  Speaker 1: a midlife crisis and I'm getting old and I wasn't
• 43:13
  Speaker 1: promoted at work. So it's actually about his fragile male ego. Well,
• 43:19
  Speaker 1: there's also a little too to his credit like that
• 43:22
  Speaker 1: he there's like a little tiny like he's passed over
• 43:25
  Speaker 1: because he's older, and that is the first time he's
• 43:27
  Speaker 1: been marginalized in his life, and it blows his fucking
• 43:33
  Speaker 1: He becomes such an as he's like, wait a second,
• 43:35
  Speaker 1: I can't hear what are I fucking want? And then
• 43:39
  Speaker 1: a book and then he like signing up for yoga classes,
• 43:42
  Speaker 1: which I thought was funny. Yeah, uh, Judy, we talked
• 43:47
  Speaker 1: about her sort of like linguistics skills in the first
• 43:51
  Speaker 1: movie and then like her interest in journalism in the
• 43:54
  Speaker 1: second one. I like how that character grows. Yeah, she
• 43:57
  Speaker 1: and I feel like she and she might even be
• 44:00
  Speaker 1: like a little more integral to the plot than Jonathan is,
• 44:03
  Speaker 1: but they're about equal and Jonathan the first one. Like
• 44:07
  Speaker 1: in the first one, I was like, well, why do
• 44:08
  Speaker 1: we know about Judy's romantic interest in not Jonathan, but
• 44:12
  Speaker 1: he's younger. And then but then as he ages up,
• 44:15
  Speaker 1: we don't really find out that much about Like we
• 44:18
  Speaker 1: don't get his equivalent of Tony. We get Jay Dog, right, right,
• 44:23
  Speaker 1: Jay Dog might be his equivalent of Tony. That's true,
• 44:26
  Speaker 1: that's his kind, that's his He's like, listen, I've hit
• 44:29
  Speaker 1: Puberty's He's like trying to impress this kid, but that
• 44:34
  Speaker 1: they like bump fist with the fair yeah and spud
• 44:37
  Speaker 1: bounce Yeah. But what if? What if it's not he's
• 44:42
  Speaker 1: trying to play cool to this guy that he wants
• 44:45
  Speaker 1: to be cool with. But it's like he wants to
• 44:46
  Speaker 1: find common ground with his boy that he has a crush.
• 44:49
  Speaker 1: I hope, So where is that fan? Paddington's three um
• 45:00
  Speaker 1: Uddington's is voiced by Queer Icon Ben Wishaw of Cloud,
• 45:06
  Speaker 1: Oh God remember him, Big Cloud Atlas Room Ben Wishaw
• 45:16
  Speaker 1: isn't a movie. I think it's called Perfume or something
• 45:19
  Speaker 1: portrait of a killer in which the final scene is
• 45:23
  Speaker 1: an enormous orgy, and then up until that point he
• 45:26
  Speaker 1: has been murdering women and stealing their scent to make perfume.
• 45:32
  Speaker 1: Out of icon queer Icon Ben Wishaw makes sense, like, yeah,
• 45:37
  Speaker 1: he's the bear. It's a straight pipeline between those two kids.
• 45:51
  Speaker 1: I wanted to talk a little bit about the men
• 45:53
  Speaker 1: dressing in drag, which happens in both movies. Hilarious bit anyway,
• 45:58
  Speaker 1: A flawless nothing like such a staple in UK comedy too,
• 46:05
  Speaker 1: and has been for like a b jillion year like
• 46:08
  Speaker 1: I was. Unfortunately, I wasn't surprised at all that that happened,
• 46:10
  Speaker 1: because you're like, if there's more than fifty British people
• 46:13
  Speaker 1: in the cast, this will happen and you will feel
• 46:16
  Speaker 1: weird about it. It feels like there's always a moment
• 46:18
  Speaker 1: where someone goes over to the wreck and she's like,
• 46:20
  Speaker 1: I was thinking, what if I were a dressed for
• 46:22
  Speaker 1: this one? Right? And they was like, yeah, okay, like
• 46:26
  Speaker 1: what we did that happens in of movies made in
• 46:29
  Speaker 1: this country, so we can do it different. It'll be great, like, no,
• 46:32
  Speaker 1: we're going to do very tastefully. Well they sort of
• 46:36
  Speaker 1: didn't in this movie, unfortunately. So um In the first movie,
• 46:39
  Speaker 1: Mr Brown dresses as a like cleaning lady to get
• 46:43
  Speaker 1: into the geographer's guild, and then when he and Paddington
• 46:47
  Speaker 1: are telling this story doing the recap if you will,
• 46:51
  Speaker 1: to the rest of the family, Mrs Brown is all like, oh,
• 46:54
  Speaker 1: that sounds so brave, Henry, you're such a man. And
• 46:58
  Speaker 1: Mr Brown is like, you know, there's a time for
• 47:01
  Speaker 1: being boring and annoying and there's a time for being
• 47:03
  Speaker 1: a man. And Paddington says Mr Brown dressed up as
• 47:06
  Speaker 1: a lady and someone stuck pins in him, and then
• 47:09
  Speaker 1: the family is like what in address? What? What? What?
• 47:12
  Speaker 1: And then Mr Brown's like no, and then Paddington is
• 47:15
  Speaker 1: like it did look like a dress, and then Mr
• 47:17
  Speaker 1: Brown is like, well if a housecoat, it was quite
• 47:19
  Speaker 1: liberating actually, right, So it ends on you're like, well
• 47:25
  Speaker 1: it didn't. Yeah, I love I will say I love
• 47:28
  Speaker 1: how even in this bad taste joke they find a
• 47:30
  Speaker 1: way to paint Paddington is like naive in a way
• 47:33
  Speaker 1: where he's clearly not in on the offensive part of
• 47:36
  Speaker 1: the joke, like he contributes to this, but we still
• 47:39
  Speaker 1: love him for right, He's just like stated, yeah, he's
• 47:43
  Speaker 1: prettin brilliant. It's it's what every all right guy thinks
• 47:47
  Speaker 1: they're saying, Like, I'm just saying facts. Facts. Sometimes that's
• 47:53
  Speaker 1: bad what he's like, Actually, I didn't actually say anything
• 47:57
  Speaker 1: that was offensive. I just said what happened? Proof? Proof? Proof?
• 48:02
  Speaker 1: What if Paddington? All right? Oh no he's not don't
• 48:06
  Speaker 1: work Okay? No, seriously, Like what did Paddington vote for
• 48:11
  Speaker 1: on Brexit? Obviously he's against Brexit? I know, but I
• 48:14
  Speaker 1: think Mr Brown is like, oh couldus waiting the way Brown,
• 48:18
  Speaker 1: I'm against voting at all. No, Paddington is very political.
• 48:22
  Speaker 1: I think that only natural born citizens should be allowed
• 48:26
  Speaker 1: to vote. What if Paddington got radicalized on YouTube? Oh
• 48:30
  Speaker 1: my god, don't say three Paddington logs in anyway, I'm
• 48:38
  Speaker 1: a nice guy and the women don't seem to be
• 48:40
  Speaker 1: interested in me. No, don't make Paddington an in. So No,
• 48:45
  Speaker 1: I hope this Paddington is a sexual. Actually, there's a
• 48:48
  Speaker 1: thing called chats and Becky's it's the school. You're killing me.
• 48:55
  Speaker 1: I'm dying, Okay, hope if I if I told you that,
• 48:59
  Speaker 1: I can absolutely here patting saying like all cops are bastards. Okay. Anyway,
• 49:08
  Speaker 1: So this scene that we just described, it's like it's
• 49:11
  Speaker 1: another example of like a man presenting as feminine in
• 49:15
  Speaker 1: some way and then like that being for him. It's
• 49:20
  Speaker 1: not the worst example we've seen. I'm thinking of like
• 49:22
  Speaker 1: what women want to where like mel Gibson comes out
• 49:25
  Speaker 1: and all the stuff, and then his daughter is like god,
• 49:28
  Speaker 1: and there's literally some that are you know, followed by
• 49:31
  Speaker 1: dry heaving from the fragile milking right right, Like it
• 49:35
  Speaker 1: gets really bad. This isn't as bad, but it's still important.
• 49:38
  Speaker 1: This isn't a side. But did you know What Women
• 49:41
  Speaker 1: Want cost seventy million dollars to make? Yes, but there
• 49:44
  Speaker 1: was no scene in that movie that looks expensive. Yeah,
• 49:46
  Speaker 1: well the cruise that they cut away to for no reason.
• 49:50
  Speaker 1: Prom that they cut away changed and it's addressed. Really,
• 49:56
  Speaker 1: there's a scene where sorry, I'm on a totally different
• 49:59
  Speaker 1: thing now is the scene where is walking by to
• 50:01
  Speaker 1: talk to Helen Hunt and they stopped in the hallway
• 50:03
  Speaker 1: and there's like a person there who's waiting to talk
• 50:06
  Speaker 1: to someone, and it's James Cameron. They don't talk to him.
• 50:10
  Speaker 1: You don't know he's there unless you are looking for him.
• 50:12
  Speaker 1: But it's James Cameron. Honestly, I'm always looking for him
• 50:15
  Speaker 1: and I'm so embarrassed. I know it's usually under the scene.
• 50:18
  Speaker 1: So I don't blame you for not an eyesore like
• 50:20
  Speaker 1: I should have noticed him. Director isn't taking it back
• 50:26
  Speaker 1: to Paddington. Doesn't the guy who was like into Mr
• 50:30
  Speaker 1: Brown in Address really look like Christopher Nolan? Oh? He does,
• 50:34
  Speaker 1: and he co wrote the second movie. That's his name
• 50:37
  Speaker 1: is like Simon Farnaby or something like course. So in
• 50:41
  Speaker 1: that scene where Mr Brown is uh. In Drag there
• 50:45
  Speaker 1: is a man who pretty aggressively hits on Mr Brown
• 50:51
  Speaker 1: dressed as a woman. I'm interested in, like what our
• 50:53
  Speaker 1: queer listeners think about this, because the same character comes
• 50:57
  Speaker 1: back in Paddington two and he is very attracted to
• 51:00
  Speaker 1: Hugh Grant dressed is a nun. I have chosen to
• 51:04
  Speaker 1: think that it's either that this character is either just
• 51:09
  Speaker 1: like very attracted to kind of mask women, or that
• 51:14
  Speaker 1: he's queer and he doesn't really know it yet. We've
• 51:17
  Speaker 1: got to get a music sting to play under. I
• 51:20
  Speaker 1: have chosen to think of like do do do do do?
• 51:26
  Speaker 1: But both times like it's played as a joke and
• 51:30
  Speaker 1: the movie I to me, the joke isn't so much
• 51:33
  Speaker 1: that it's like, oh look how weird and wrong it
• 51:35
  Speaker 1: is that this guy is attracted to like a man
• 51:37
  Speaker 1: in Drag. It's more that he just simply is attracted
• 51:41
  Speaker 1: to a man. But I feel like it's written I mean,
• 51:42
  Speaker 1: it's like written for laughs, it's written to and I
• 51:46
  Speaker 1: am coming from a place of being you know, cis head.
• 51:49
  Speaker 1: So we're interested in what our listening think. For sure,
• 51:53
  Speaker 1: I keep feeling like I I I'm just kinda like, hm, well,
• 51:56
  Speaker 1: in defense of the more offensive position. But what I
• 52:00
  Speaker 1: will say about this is it feels like, at least
• 52:02
  Speaker 1: in the second one, they played the joke more as
• 52:05
  Speaker 1: the fact that he well, I guess it's still like
• 52:07
  Speaker 1: that's not great, but they play the joke more as
• 52:10
  Speaker 1: like it's not oh, he's a woman as much as
• 52:12
  Speaker 1: it is that like this man is like you are
• 52:14
  Speaker 1: a gorgeous woman. Like even the moment where he runs
• 52:17
  Speaker 1: away and it's just like a stop, that incredibly gorgeous woman.
• 52:20
  Speaker 1: It feels like that becomes the joke of like, incredibly
• 52:22
  Speaker 1: gorgeous is the part that you're supposed to laugh at.
• 52:25
  Speaker 1: And I'm like, is it worse that they're like, oh,
• 52:28
  Speaker 1: this person that he thinks is a woman and that
• 52:31
  Speaker 1: we are supposed to believe is not beautiful is beautiful
• 52:34
  Speaker 1: as the joke, in which case I'm like, well, that's
• 52:35
  Speaker 1: also not great, right. I don't know, I mean, yeah,
• 52:38
  Speaker 1: I'm not I don't know. I'm not qualified to make
• 52:40
  Speaker 1: the call. I don't know. Yeah. So if we've got
• 52:43
  Speaker 1: any people Paddington too complex on it, God damn it.
• 52:51
  Speaker 1: I wanted to talk a little bit about Aunt Lucy
• 52:55
  Speaker 1: because she mostly exists off screen. Paddington talks about her,
• 53:00
  Speaker 1: you know, very lovingly all the time. She seems to
• 53:03
  Speaker 1: have taught him everything that he knows about being like
• 53:06
  Speaker 1: a polite consider a little bear. In Paddington two, we
• 53:09
  Speaker 1: learned that it's Lucy who like spots baby Paddington and
• 53:12
  Speaker 1: then like jumpson rescues him. That maybe could be argued, Oh,
• 53:16
  Speaker 1: it's another like very maternal instinct international move. Yeah, she's like,
• 53:22
  Speaker 1: we're not going to London anymore. We have to raise
• 53:25
  Speaker 1: a baby again in defense of you. That move is
• 53:30
  Speaker 1: sort of back ended by that moment where she is
• 53:33
  Speaker 1: like risking her life to go like to scale down
• 53:36
  Speaker 1: into the rapids to save a person. I feel like
• 53:39
  Speaker 1: it doesn't become oh, I must take care of this
• 53:42
  Speaker 1: child until she realizes it's a child. It's just like
• 53:44
  Speaker 1: a purely a move of generosity or like out of
• 53:47
  Speaker 1: empathy for fellow bear. Right, Yeah, it's compassion and not
• 53:52
  Speaker 1: maternal instinct. But what I choose to think, Okay, And
• 53:58
  Speaker 1: then the other thing I wanted to say about her
• 54:00
  Speaker 1: was that I think it's it tends to be more
• 54:03
  Speaker 1: common for us to see if there's like a male
• 54:06
  Speaker 1: character who has a relationship with a family member in
• 54:08
  Speaker 1: a movie, it's often with another male character. Um you know,
• 54:13
  Speaker 1: it's like father and son or uncle and nephew something
• 54:17
  Speaker 1: like that. So I like that you see such a
• 54:19
  Speaker 1: positive relationship between a male and then a female. Relatively,
• 54:24
  Speaker 1: I feel like we don't see that quite enough. I
• 54:26
  Speaker 1: think that's true. There are a few, Yeah, I mean
• 54:29
  Speaker 1: I still I still am sort of like on the
• 54:31
  Speaker 1: maternal trope wave here, but I do think I mean,
• 54:34
  Speaker 1: it's interesting because in the first movie, especially, like there's
• 54:37
  Speaker 1: a lot of attention paid to Paddington and Mr Brown
• 54:41
  Speaker 1: trying to find their common ground, whereas for Mrs Brown
• 54:44
  Speaker 1: the common ground is never questioned, so there's really not
• 54:46
  Speaker 1: as much of a journey for that relationship to take
• 54:49
  Speaker 1: because they're always on the same page. That's not really
• 54:52
  Speaker 1: as present in the bare Thing. I feel like Aunt
• 54:54
  Speaker 1: Lucy and uncles are, see, they seem more grounded in
• 55:01
  Speaker 1: the allegory than the Browns are a lot of the time,
• 55:04
  Speaker 1: because they're just like in it less and they're connected
• 55:06
  Speaker 1: to his life in Peru and a lot of it. Like,
• 55:10
  Speaker 1: I don't know that Aunt Lucy seems make me cry
• 55:12
  Speaker 1: so much because she's like she is a prominent maternal
• 55:17
  Speaker 1: figure in his life, but she also represents his whole
• 55:20
  Speaker 1: past life in Peru, and like she seems to like
• 55:24
  Speaker 1: represent a lot of things to him and represent homesickness
• 55:28
  Speaker 1: and also he can't write his uncle his uncle died
• 55:31
  Speaker 1: and so yeah, the aunt Lucy thing that that doesn't
• 55:35
  Speaker 1: really I mean she she just symbolizes his whole childhood
• 55:38
  Speaker 1: to him and like everything that is familiar and good.
• 55:41
  Speaker 1: So yeah, I don't know, I gott no, I got
• 55:43
  Speaker 1: I don't know how any problem without Lucy. She's so nice. Yeah, yeah,
• 55:47
  Speaker 1: what do you think Paddington three would like? Allegory wise,
• 55:51
  Speaker 1: where do you see it extending to? Okay, so we
• 55:54
  Speaker 1: didn't really talk about I mean like prison reform for
• 55:56
  Speaker 1: Paddington too. We didn't go into a huge detail about
• 55:59
  Speaker 1: their simply not time. But Pattington three, oh gosh, I
• 56:05
  Speaker 1: mean marriage equality. What are the issues that can tackle
• 56:09
  Speaker 1: I want patting to to stop Brexit? Like do we
• 56:12
  Speaker 1: have time or is it like the wage gap? I
• 56:15
  Speaker 1: mean there's so much. Is it an abortion thing? Like
• 56:22
  Speaker 1: patting gets someone pregnant and then it's like it's your
• 56:27
  Speaker 1: right to choose and Mr Curry is like, Nope, it
• 56:29
  Speaker 1: shouldn't be a right to choose. It is her right
• 56:32
  Speaker 1: to choose. And at the end he's like, all right,
• 56:35
  Speaker 1: she can choose. An hour and a half later, Brown
• 56:38
  Speaker 1: is like she should have the right to choose, and
• 56:40
  Speaker 1: we all collap. Set up, you know how they keep
• 56:46
  Speaker 1: they set up like what they're good at, and how
• 56:48
  Speaker 1: it comes back in at the end. In the beginning,
• 56:51
  Speaker 1: for some reason, they set up that Mr Brown is
• 56:53
  Speaker 1: a terrific abortion doctor because I don't know, I don't
• 56:58
  Speaker 1: know if I'm just like weird weird set up. And
• 57:01
  Speaker 1: then by the animal like, oh, he's like the house
• 57:05
  Speaker 1: opening section this round is taken to giving a bulstions
• 57:08
  Speaker 1: to him out of this house because it's no longer legal.
• 57:15
  Speaker 1: A house has become a bit of an abultion. W
• 57:22
  Speaker 1: also slip in like, by the way in this world
• 57:24
  Speaker 1: it's illegal now. Yeah, we got to raise the stakes
• 57:27
  Speaker 1: in Paddington and also the world. Uh, And I mean
• 57:32
  Speaker 1: we didn't fully go into it just really quick with
• 57:34
  Speaker 1: the Milicent Nicole kidman, I think this is like a
• 57:38
  Speaker 1: villainous trope that we've come up against a bunch at
• 57:41
  Speaker 1: this point. But it's like in the same lane as
• 57:45
  Speaker 1: like Ursula the Sea Witch is science adjacent woman who
• 57:50
  Speaker 1: is a little older. Uh it does not seem to
• 57:54
  Speaker 1: be in a romantic relationship, has extreme daddy issues and
• 57:59
  Speaker 1: all this it's up to being a fucking murderer. Yeah,
• 58:03
  Speaker 1: like that whole it sucks because I mean that performance
• 58:06
  Speaker 1: is so good and the way the character plays out,
• 58:09
  Speaker 1: like I like watching that character, but there's so I
• 58:13
  Speaker 1: like that we get the context for her of like
• 58:16
  Speaker 1: this is why I feel that way. At least she's motivated,
• 58:19
  Speaker 1: but it's motivated by daddy issues, So it kind of
• 58:23
  Speaker 1: ends up just kind of being a wash for me.
• 58:25
  Speaker 1: The wig really should have gotten an oscar. Now. That said, though,
• 58:29
  Speaker 1: her performance is if a woman had helped write this movie,
• 58:34
  Speaker 1: that would have been a better character, right, because we
• 58:36
  Speaker 1: I mean we've talked about this a little bit before,
• 58:38
  Speaker 1: but we especially in children's movies it seems or like
• 58:41
  Speaker 1: family targeted movies because we see this in Incredibles two,
• 58:45
  Speaker 1: we see it and like you said, like a little
• 58:47
  Speaker 1: Mermaid and any other like kind of like who are
• 58:54
  Speaker 1: like stem adjacent and that being villainized often that I
• 59:01
  Speaker 1: wanted to briefly talk about Mrs Bird Also, she's mostly
• 59:05
  Speaker 1: seen vacuuming in the movie, but she often will like
• 59:10
  Speaker 1: swoop in at the end and like do something significant.
• 59:14
  Speaker 1: I do like that she kind of uses people's biases
• 59:17
  Speaker 1: against old people against them, because like she shows up
• 59:20
  Speaker 1: in the at the end of the first movie and
• 59:23
  Speaker 1: like goes to the security guard and it's like, oh,
• 59:26
  Speaker 1: will you help a frail old woman out of the cold,
• 59:30
  Speaker 1: and like she's like, I'm not frail, but he doesn't
• 59:33
  Speaker 1: know that. And then she gets plastered and it's great.
• 59:38
  Speaker 1: It's very brave. There's one moment where she pulls a
• 59:40
  Speaker 1: gun and then at the side gig because it's just foam.
• 59:43
  Speaker 1: She was going to shoot Hugh Grant in the head.
• 59:48
  Speaker 1: She didn't know it was a fake gun, and she
• 59:51
  Speaker 1: was ready to murder him because it was like a
• 59:59
  Speaker 1: set up. She was like, human is going to walk
• 1:00:01
  Speaker 1: in and then I will shoot him. She had a
• 1:00:03
  Speaker 1: lot of time to think about, like I'm about to
• 1:00:06
  Speaker 1: see a dead fucking fan. It's like I'm still doing this.
• 1:00:10
  Speaker 1: Yeahs like she's done it before. She's yeah, it was
• 1:00:14
  Speaker 1: very premeditated. I thought she walked like a old friend.
• 1:00:20
  Speaker 1: I think in the third Paddington movie, they should learn
• 1:00:22
  Speaker 1: how to say Paddington's bear name. Oh there's such a
• 1:00:27
  Speaker 1: weird whatever. Well, it's like if we're going with the
• 1:00:30
  Speaker 1: allegory of he's he's immigrated to this country, there immediately like, yeah,
• 1:00:34
  Speaker 1: I don't know how to say that your name is
• 1:00:36
  Speaker 1: where we fucking are right now? I think the third
• 1:00:41
  Speaker 1: movie they should learn how to say his goddamn name.
• 1:00:44
  Speaker 1: Mr Brown tries, but he says something very rude apparently,
• 1:00:48
  Speaker 1: so I want like the third movie to open with
• 1:00:51
  Speaker 1: Mr Brown just like very casually, like looking over like
• 1:00:53
  Speaker 1: a Rosetta stone of how to do bear, and then
• 1:00:56
  Speaker 1: by the end it's like, okay, he says it in
• 1:00:58
  Speaker 1: a way that like Paddington has helped, right, Yeah, I
• 1:01:01
  Speaker 1: don't know. That's like if you were born and then
• 1:01:02
  Speaker 1: they're like, what's up Brocton Samaritan Loft is you know?
• 1:01:09
  Speaker 1: I see your point. I see your point. I choose
• 1:01:11
  Speaker 1: to think. I choose I think we shouldn't Like, does
• 1:01:17
  Speaker 1: anyone have any other final thoughts about either Paddington movie?
• 1:01:21
  Speaker 1: Since I asked it, I now I'm like, what would
• 1:01:23
  Speaker 1: I want to happen in Paddington three? And this is
• 1:01:26
  Speaker 1: just a earnest pitch for Paddington three I think it
• 1:01:29
  Speaker 1: would be great if something happens with Mr Curry, like
• 1:01:32
  Speaker 1: a minor offense that gets him brought into court and
• 1:01:35
  Speaker 1: they find out that he's from a different country and
• 1:01:37
  Speaker 1: he's going to get deported. Paddington is the one who's like,
• 1:01:40
  Speaker 1: but Mr Curry is a part of our neighborhood. We
• 1:01:42
  Speaker 1: have to save him. And everyone's like, he sucks, he's
• 1:01:44
  Speaker 1: a fucking asshole, he's racist as ship. Why would you
• 1:01:47
  Speaker 1: do this? And he's like, well, because that's what we do,
• 1:01:49
  Speaker 1: and we're part of a community. We look after even
• 1:01:52
  Speaker 1: the worst parts because then how are we how are
• 1:01:54
  Speaker 1: we any better than them? And basically he goes around
• 1:01:57
  Speaker 1: and gets like a petition signed for Mr Curry to
• 1:01:59
  Speaker 1: be saved, and the entire time Mr Cray still hang
• 1:02:02
  Speaker 1: on him. At the end, he's just kind of like,
• 1:02:04
  Speaker 1: this is my friend. People like it? That nice? Yeah?
• 1:02:11
  Speaker 1: I love it. Did anyone notice what appears to be
• 1:02:15
  Speaker 1: the black lesbian couple who live nearby? Yeah, I mean
• 1:02:19
  Speaker 1: they don't hardly say anything or do anything, but I
• 1:02:22
  Speaker 1: was like, that's sweet. It was it would have been
• 1:02:26
  Speaker 1: so easy for them to pass the Bechdel test. Yeah,
• 1:02:29
  Speaker 1: they've been allowed to speak have them go like, hey,
• 1:02:31
  Speaker 1: deb hello Jennifer, we're lesbians, right, Yes, a true passing trailblazing, plazing. Well,
• 1:02:42
  Speaker 1: speaking of the Bechdel tests, yes, starting with Paddington One,
• 1:02:46
  Speaker 1: does that pass? That one does? Yeah, that one passes,
• 1:02:50
  Speaker 1: I think better than the second one. Yes. In Paddington One,
• 1:02:54
  Speaker 1: Mrs Brown and Judy talk about a Victorian bathing pond.
• 1:02:57
  Speaker 1: They talk about the sewers. The sewer exchange is so
• 1:03:00
  Speaker 1: fun because I'm like, oh, this scene is passing, but
• 1:03:02
  Speaker 1: they're just talking about the sewers in more detail every
• 1:03:06
  Speaker 1: time she's like, you know, the sewers, She's like, what
• 1:03:08
  Speaker 1: the sewers under the ground? What the sewers under the ground?
• 1:03:12
  Speaker 1: We could walk in them? Oh yeah, yeah, you know.
• 1:03:18
  Speaker 1: And then their their third interaction that passes is about
• 1:03:20
  Speaker 1: like toiletries. So it's a lot of like bathroom based discussions,
• 1:03:26
  Speaker 1: which is like, yeah, I think women should talk more
• 1:03:29
  Speaker 1: about bathroom stuff. We talk about it a lot. You
• 1:03:32
  Speaker 1: and I often exchange sludge. Yeah, I refuse to get
• 1:03:38
  Speaker 1: more content and I also do too, okay um. And
• 1:03:44
  Speaker 1: then Mrs Brown and Mrs Bird talk about the weather
• 1:03:47
  Speaker 1: at some point, and Paddington to however, Paddington two is trickier,
• 1:03:53
  Speaker 1: I think from a number of perspective, mainly because Paddington
• 1:03:57
  Speaker 1: is not with women for most of this movie. He
• 1:03:59
  Speaker 1: is in an all male prison uh and is solving
• 1:04:03
  Speaker 1: the prison industrials. It's like four women were incarcerated in
• 1:04:15
  Speaker 1: the UK. This really wouldn't have been an issue, but
• 1:04:17
  Speaker 1: but he like that. That is, like, I think one
• 1:04:20
  Speaker 1: of the major things that prevents Paddington too from passing more. Yes,
• 1:04:25
  Speaker 1: I agree, Um, there's I think only one conversation that
• 1:04:29
  Speaker 1: I found that passed, which was Mrs Brown and um
• 1:04:32
  Speaker 1: Madam Coslova talking about the pop up book and then
• 1:04:37
  Speaker 1: about her great name. We only know the last name Coslova,
• 1:04:42
  Speaker 1: so that's a name, okay, um, But still the context
• 1:04:46
  Speaker 1: of that conversation station is still like, oh, there's a
• 1:04:49
  Speaker 1: bear who's been wrongfully incarcerated. Yeah. I don't think the
• 1:04:55
  Speaker 1: second one, but I was saying that second one didn't
• 1:04:58
  Speaker 1: pass because he only The other conversation of note was
• 1:05:01
  Speaker 1: Mrs Brown and Mrs Bird talking about actors being the
• 1:05:04
  Speaker 1: most evil and vile people on the planet, which true,
• 1:05:07
  Speaker 1: but that conversation, yeah, that conversation has about Yeah, Phoenix
• 1:05:10
  Speaker 1: Pachan well, but it's also about it's a meta joke
• 1:05:13
  Speaker 1: about the profession of acting, and in that sense is
• 1:05:16
  Speaker 1: it It's actually brilliant and it could pass the test
• 1:05:20
  Speaker 1: they're talking about Hugh Grant. They're I'm ruining Paddington. I'm sorry.
• 1:05:27
  Speaker 1: The first one passes, yeah a lot, Yes, the second one.
• 1:05:30
  Speaker 1: Paddington's not around women for most of the movie, right,
• 1:05:33
  Speaker 1: and a good way. Women are around each other though,
• 1:05:35
  Speaker 1: and they don't. They're so focused on helping Paddington that
• 1:05:38
  Speaker 1: that's the only thing that's like they're doing. It's weird
• 1:05:40
  Speaker 1: because it's like the women in the movie are mostly
• 1:05:42
  Speaker 1: doing investigative journalism the whole movie, but the subject of
• 1:05:46
  Speaker 1: their story is a male bear, So like, what can
• 1:05:49
  Speaker 1: you do? Here's my question. When I describe a movie
• 1:05:53
  Speaker 1: as a motherly figure mostly doing investigative work to release
• 1:05:58
  Speaker 1: an improperly incarcerated family member, am I talking about Paddington too?
• 1:06:02
  Speaker 1: Or if Real Street could talk the Question of the
• 1:06:07
  Speaker 1: Century or Green Book? The first one the second one
• 1:06:15
  Speaker 1: better for it? Yeah, that's just proof that it improved
• 1:06:18
  Speaker 1: over time. Yeah. I love when franchises slowly learned piece
• 1:06:24
  Speaker 1: by piece. But the one will have like a light
• 1:06:26
  Speaker 1: drag scene. Let's write the movie on our nipple scale
• 1:06:31
  Speaker 1: zero to five nipples based on its representations women. This
• 1:06:35
  Speaker 1: is tricky. This is tricky because it is the best
• 1:06:39
  Speaker 1: franchise ever made. That's exactly what I have people. I
• 1:06:44
  Speaker 1: can't tell you how often people I say that and
• 1:06:46
  Speaker 1: people still think I'm joking. It happens all the time.
• 1:06:49
  Speaker 1: I know. But it's got like better hit rates than
• 1:06:52
  Speaker 1: the Godfather. Like I don't know what, sixties percent of
• 1:06:56
  Speaker 1: the Godfather movies are good. A hundred percent of the
• 1:06:58
  Speaker 1: Paddington movies are good. That's true. So yeah, um yeah,
• 1:07:04
  Speaker 1: I love I love these movies. I'll give it a three.
• 1:07:07
  Speaker 1: I mean, they are like allegories for important topics, and
• 1:07:11
  Speaker 1: I suppose a way that is more digestible to most
• 1:07:15
  Speaker 1: audiences just because it's like there's a cute bear. But um,
• 1:07:19
  Speaker 1: the female characters, like we said, they're they're playing an
• 1:07:22
  Speaker 1: active role in the story from start to finish. They
• 1:07:24
  Speaker 1: are equipped with like skills and interests that are important
• 1:07:28
  Speaker 1: to the story. But you know, there's those kind of
• 1:07:30
  Speaker 1: weird moments where the men in drag and how that's
• 1:07:34
  Speaker 1: kind of mishandled. Uh. There is the villainization of a
• 1:07:38
  Speaker 1: woman in stem so um three nipples and I whoa,
• 1:07:45
  Speaker 1: how many nipples does a bear have? Three? I'm going
• 1:07:50
  Speaker 1: to give off all three of my nipples will go
• 1:07:54
  Speaker 1: to Paddington's. I'm also gonna go, uh three nipples. I mean,
• 1:07:58
  Speaker 1: it's so much of the movie, Is it really Paddington
• 1:08:01
  Speaker 1: that every female character is by nature going to be
• 1:08:04
  Speaker 1: a supporting role? Uh? There are. There were those little
• 1:08:07
  Speaker 1: things you were talking about that kind of bugged me.
• 1:08:09
  Speaker 1: There was like making sure that the teen girl had
• 1:08:12
  Speaker 1: a romantic narrative thing that I was like whatever, Like
• 1:08:15
  Speaker 1: that didn't impact the story literally at all. But in general,
• 1:08:18
  Speaker 1: I mean, it's like it's a lovely franchise and I
• 1:08:20
  Speaker 1: feel like the messages that it has are so there's
• 1:08:24
  Speaker 1: not a social justice franchise for children that is active
• 1:08:29
  Speaker 1: besides this one. Yeah, and you know, it's like it's
• 1:08:32
  Speaker 1: I mean, the movies are great. I'll give three nippies.
• 1:08:36
  Speaker 1: I'm gonna give one to Sally Hawkins, one to Paddington,
• 1:08:42
  Speaker 1: and one to the fish from the Shape of Water.
• 1:08:44
  Speaker 1: All right, you can yeah, yeah, I didn't realize that. Okay, yes,
• 1:08:48
  Speaker 1: all right, I'm gonna gonna give it the total recall
• 1:08:52
  Speaker 1: three nips. I think that I think that, like again,
• 1:08:57
  Speaker 1: like you said, centering this movie around a male character
• 1:09:00
  Speaker 1: does sort of mean that a lot of it's gonna
• 1:09:02
  Speaker 1: skew mail. But I also think that they are like
• 1:09:04
  Speaker 1: smaller parts of the dynamics that I'm kind of impressed by,
• 1:09:07
  Speaker 1: Like how the family Unit it feels like a lot
• 1:09:10
  Speaker 1: of movies earlier, just a lot of things won't put
• 1:09:13
  Speaker 1: like a group together where the balance is upset by
• 1:09:16
  Speaker 1: the number of women being more than the number of
• 1:09:17
  Speaker 1: men because it feels like like, oh, that's that's a
• 1:09:19
  Speaker 1: feminine group then, And for it to be like that
• 1:09:22
  Speaker 1: with the family before they adopt Paddington into the circle
• 1:09:26
  Speaker 1: does feel like a thing that it's like, Oh, that
• 1:09:28
  Speaker 1: means they're gonna focus more on women characters when this
• 1:09:31
  Speaker 1: family becomes a part of the movie, and I think
• 1:09:34
  Speaker 1: that's very cool. But I also think that it's like
• 1:09:37
  Speaker 1: when they started this, it felt like they definitely like, yeah,
• 1:09:40
  Speaker 1: we're gonna make this a franchise. So for them to
• 1:09:42
  Speaker 1: be like, well, the first run out, we are still
• 1:09:44
  Speaker 1: gonna make the villain a woman does feel like the
• 1:09:48
  Speaker 1: kind of like quote unquote risk that Hollywood people would
• 1:09:51
  Speaker 1: be like, oh, yeah, yeah, we'll get the diversity in
• 1:09:53
  Speaker 1: there if we if we get another one, but this
• 1:09:55
  Speaker 1: first one's got to be a man, and like for
• 1:09:56
  Speaker 1: them to be like, no, no, no no, we're just gonna
• 1:09:58
  Speaker 1: We're gonna have like Nicole Kidman play uh, Like Wacky
• 1:10:01
  Speaker 1: Woman feels like something I would be surprised to see
• 1:10:05
  Speaker 1: in any other franchise because often, I mean we've talked
• 1:10:08
  Speaker 1: about this too, that if there's a movie with a
• 1:10:10
  Speaker 1: female villain, it's usually in a movie that also has
• 1:10:13
  Speaker 1: a female protagonist. It's rare to see a movie where
• 1:10:16
  Speaker 1: like could a woman pose a threat to a male character?
• 1:10:20
  Speaker 1: Could a woman pose a threat to a tiny bear?
• 1:10:24
  Speaker 1: Brave questions being asked. You, I agree, it does feel
• 1:10:28
  Speaker 1: like yeah, and seeing that dynamic and not in like
• 1:10:32
  Speaker 1: a sort of like fem fatale sort of way where
• 1:10:34
  Speaker 1: it's like she's gonna fuck the protagonist and that's that's
• 1:10:38
  Speaker 1: why she's the villain. Like I think there was a draft,
• 1:10:45
  Speaker 1: um no, but yeah, I don't know. I think it.
• 1:10:49
  Speaker 1: It still has a ways to go, and they do
• 1:10:51
  Speaker 1: give a lot of the focus to the male characters
• 1:10:54
  Speaker 1: of the franchise, but they also I want It's like,
• 1:10:56
  Speaker 1: are we rating this against the average movie or we
• 1:11:00
  Speaker 1: rating it against like the idea of a perfect film.
• 1:11:03
  Speaker 1: Oh man, I think like five is like our perfect Yeah,
• 1:11:09
  Speaker 1: then I think of three. It's like it does a
• 1:11:10
  Speaker 1: little bit better than the average film does. But I
• 1:11:12
  Speaker 1: also think it has some glaring things where like still
• 1:11:16
  Speaker 1: the drag stuff, you're like two times okay? Yeah, well, DENNI,
• 1:11:20
  Speaker 1: thank you so much for joining us. Thank you for
• 1:11:26
  Speaker 1: where can people follow you online? Would you like to plug? Oh?
• 1:11:30
  Speaker 1: I would love to plug this marmale She's been sitting
• 1:11:34
  Speaker 1: in my pocket for the entire show. I uh, it
• 1:11:39
  Speaker 1: is getting a little warm, but it's you know, Marmalide's
• 1:11:42
  Speaker 1: good in any in any sense. This is smuckers gorgeous.
• 1:11:45
  Speaker 1: I gotta shout out the brand. Um. You can follow
• 1:11:48
  Speaker 1: me at Electra Lemon pretty much anywhere. Listen to punch
• 1:11:51
  Speaker 1: Up the jam My podcast. Yeah, you've both been on
• 1:11:54
  Speaker 1: it within wonderful guests. Thank you for doing that. And
• 1:11:58
  Speaker 1: you know, go for a walk sometimes, joy treat yourself nice, yeah,
• 1:12:02
  Speaker 1: self care. Thank you so much for coming to the show.
• 1:12:06
  Speaker 1: Happy birthday, Caitlyn. That was our show. Yes, that was
• 1:12:12
  Speaker 1: the Paddington Show. Thank you again to our wonderful guest
• 1:12:15
  Speaker 1: Demi A. Did you eBay so great? Please listen to
• 1:12:19
  Speaker 1: his podcast Punch Up the Jam and truly just anything
• 1:12:22
  Speaker 1: that he does, he's wonderful, so good. Um, thank you
• 1:12:26
  Speaker 1: so much to Sandy Junio for recording the show Friend
• 1:12:29
  Speaker 1: of the Pod for us, Friend of the Podcast. Thanks
• 1:12:32
  Speaker 1: to everyone who came out to see the show, and
• 1:12:35
  Speaker 1: in a special thanks to anyone who brought a donation
• 1:12:39
  Speaker 1: for Project Caged Birds. Yes, we absolutely you guys are
• 1:12:43
  Speaker 1: the best. And thank you to The Ruby as always,
• 1:12:45
  Speaker 1: the Ruby for having us saying us And now for
• 1:12:50
  Speaker 1: the regular business. You can find us online on Twitter, Instagram, Facebook.
• 1:12:54
  Speaker 1: If you're still on Facebook, why are you still on Facebook?
• 1:12:56
  Speaker 1: What's going on? Uh? You can find us at Bactel
• 1:13:00
  Speaker 1: Cast on all of those platforms. Yes, you can subscribe
• 1:13:05
  Speaker 1: to our Patreon a k A Matreon, our padding Chin Treon.
• 1:13:11
  Speaker 1: That one didn't really work nope, um, but I tried
• 1:13:15
  Speaker 1: and that's all that matters. I did the Bear Maximum.
• 1:13:18
  Speaker 1: There are new design I like the Bear Maximum. I
• 1:13:22
  Speaker 1: just I'll make the Bear Maximum. Okay, okay, yeah, okay, good,
• 1:13:25
  Speaker 1: thank you so much. So you can buy that that
• 1:13:29
  Speaker 1: shirt someday soon on our t public store t public
• 1:13:33
  Speaker 1: dot com slash the Bectel Cast, and then back to
• 1:13:36
  Speaker 1: the Matreon plug. You can go to patreon dot com
• 1:13:39
  Speaker 1: slash bactel Cast and sign up for our Matren which
• 1:13:43
  Speaker 1: is too bonus episodes every single month, plus our backlog
• 1:13:48
  Speaker 1: of all of our existing Matron episode, so nearly fifty
• 1:13:51
  Speaker 1: bonus episodes. If you burn through the main feed, there's more.
• 1:13:55
  Speaker 1: This month we did into the spider Verse, and we
• 1:13:57
  Speaker 1: are also even upcoming matre an episode about who frame
• 1:14:01
  Speaker 1: Rat a Rabbit? Yes, because it was my birthday month
• 1:14:04
  Speaker 1: selection and that's what I picked. We did cartoons. I'm
• 1:14:09
  Speaker 1: going to do a quick pluggy if you're an international
• 1:14:11
  Speaker 1: listener living in just like Paddington. Yes, it listens to
• 1:14:16
  Speaker 1: the podcast and all residents of the UK are cordially invited.
• 1:14:21
  Speaker 1: I'll be at the Edinburgh Fringe Festival all of August
• 1:14:24
  Speaker 1: doing my show Boss Whome Is Girl, So if you're
• 1:14:26
  Speaker 1: around there, perhaps there'll be some Bite tal cashas as well.
• 1:14:29
  Speaker 1: We don't know. Oh yeah, we're working on it. That's
• 1:14:32
  Speaker 1: a tease. I'm gonna go to Paddington Station while I'm there.
• 1:14:37
  Speaker 1: I'm just gonna roll around on the ground. So I'm
• 1:14:39
  Speaker 1: just gonna soak it up here, and then someone's going
• 1:14:41
  Speaker 1: to show up and be like, we've got to adopt
• 1:14:43
  Speaker 1: this Adora woman. I'm like, please look after this woman,
• 1:14:48
  Speaker 1: and then someone will take me home. So yeah, look
• 1:14:52
  Speaker 1: out for all of that. And thanks for listening everyone.
• 1:14:56
  Speaker 1: Thank you for indulging me and letting me do this
• 1:14:58
  Speaker 1: Paddington episode. It was a gift. I had such a
• 1:15:01
  Speaker 1: great time and I love these movies so much. Okay, bye,