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1-800-Wuthering Heights · 1-800-1800

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ring ring hello is this weathering heights it's me i'm kathy
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hello you've reached 1
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SPEAKER_01: 800 1800 1 800 1800 i have a burning question 1 800 1800
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SPEAKER_00: I have a burning question.
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SPEAKER_03: So I'll take that as a yes.
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SPEAKER_03: It's me.
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SPEAKER_03: I'm Kathy.
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SPEAKER_03: Yes, it's Wuthering Heights.
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SPEAKER_02: Is it Kathy or is it Catherine?
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SPEAKER_02: Isn't it Kathy?
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Well,
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there's something in the book where basically I think
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Heathcliff called...
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kathy kathy and edgar called kathy katherine and then when and
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edgar doesn't call
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her kathy because it's heathcliff's nickname for her but then
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when he has a
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daughter named katherine he calls her kathy and nelly says this
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thing that like
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he's able to nickname her kathy because it's different and it's
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like not blemished
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with heathcliff and then heathcliff calls katherine linton
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katherine not kathy
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SPEAKER_02: because they're different um
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SPEAKER_02: And in a nutshell, that's why this book is really confusing.
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It's also like Catherine Linton could refer to either of them
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as could like
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SPEAKER_03: Catherine Earnshaw Heathcliff Earnshaw.
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SPEAKER_02: I have to show you.
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SPEAKER_02: It's so confusing.
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So like I've been deep in Wuthering Heights now for like a week
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because I was
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SPEAKER_02: preparing to see the new movie.
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SPEAKER_02: I was rereading the book.
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SPEAKER_02: I watched the 2012 film adaptation.
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SPEAKER_02: I started watching.
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SPEAKER_02: Which I didn't know existed.
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SPEAKER_02: I know I missed that.
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i saw the 1939 film adaptation partially and so rebecca who's
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not interested in any
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of this has been like what are you talking about and she's been
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forced to watch all
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the old weathering heights with me and the preview several
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times so i had she was
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like can you just explain it to me so i had to make her a
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diagram because she just
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SPEAKER_02: didn't get it and i just want to show it to you and ask what you think
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there's a little ghost the ghost the ghost represents when
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Kathy's ghost haunts
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Lockwood at the beginning which is what sets off the whole
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story and I'm reminded
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of this diagram because I'm looking at your copy of Wuthering
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Heights which is just
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SPEAKER_02: astounding can you describe it to the listeners
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SPEAKER_03: So I reread my high school copy of Wuthering Heights,
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SPEAKER_03: which I somehow peeled off the cover,
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SPEAKER_03: leaving only the white paper underneath.
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SPEAKER_03: And then my friend and I wrote all over it.
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SPEAKER_03: But you did replace the title, which is helpful.
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Well,
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yeah,
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because I and it's on the spine because I wanted to know what
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was on the spine.
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SPEAKER_03: But then it's like a quote from Zoolander, which he's a model.
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idiot are you talking about Heathcliff you think it's really
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hard for me to know
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like I there's also it says Ollie loves Eli Stone I have no
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idea who that would be
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referring to but you've also taken something from in the book
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which is you've
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written C E C H C L yes Catherine Earnshaw Catherine Heathcliff
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Catherine Linton so
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SPEAKER_02: you were studying hard
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SPEAKER_03: Oh, I was like, what did I write there?
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SPEAKER_03: Oh, that's smart of you.
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SPEAKER_03: Yeah.
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SPEAKER_03: Yeah.
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SPEAKER_03: So I was also keeping track of Catherine's changes.
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I mean,
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and there's some sort of interest in the last name on here as
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well.
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SPEAKER_03: Yeah.
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SPEAKER_03: Just in general.
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SPEAKER_02: I think it's astonishing.
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SPEAKER_02: And I think that what's helpful about your high school copy is like,
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I've been trying not to dip my toe into the Emerald Fennell
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universe and like what
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SPEAKER_02: people are saying online about the new movie.
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But one thing I have seen is like the new movie is basically
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like if the middle
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SPEAKER_02: school girl who read it made the film adaptation,
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SPEAKER_02: what would it be like?
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SPEAKER_03: We can look at some of my...
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annotations i bet they're smarter i have it's like at the
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beginning of every
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chapter i had written like what happens in it as my for my
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study guide although i
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did give up for part two but it's like do chapter what is this
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chapter this chapter
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four nelly begins the story of wh and tg i don't even know who
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that is weathering
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heights and thrushkosh grave with heathcliff's arrival and
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early childhood with the
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SPEAKER_03: urn shots okay that's good
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SPEAKER_03: Chapter two, Lockwood gets stuck.
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SPEAKER_03: I can't read that.
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SPEAKER_03: Spending the night at the Grange meets Catherine and Harriton,
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SPEAKER_03: still unfriendly arrival reminiscent of Isabella's.
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SPEAKER_03: It's also not true.
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SPEAKER_03: He doesn't get stuck at the Grange.
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SPEAKER_02: He gets stuck at the Heights.
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SPEAKER_02: Yeah.
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SPEAKER_02: But it's an honest mistake.
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Yeah,
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it's an honest mistake from someone who was probably not paying
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that close attention.
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I mean,
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if the cover of the book tells you anything,
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it's that I wasn't paying attention.
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Stays in Kathy's room,
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sees her ghost,
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is escorted home by emotionally troubled Heathcliff.
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SPEAKER_03: That sums up the book.
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SPEAKER_02: That says it really well.
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SPEAKER_02: That says it all.
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SPEAKER_02: Okay.
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SPEAKER_02: Rewind, Madeline.
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SPEAKER_02: Why are we here?
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I guess I'm like a little confused about what we're going to
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talk about because we
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both reread Wuthering Heights in anticipation of seeing the
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Emerald Fennell film.
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SPEAKER_02: But we might as well have read the Bible before seeing like Zoolander.
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SPEAKER_03: Like it had nothing to do with the other.
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SPEAKER_03: It's something biblical about Zoolander for sure.
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SPEAKER_03: And speaking of Zoolander,
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SPEAKER_03: Margot Robbie had the most Mugatu curly,
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SPEAKER_03: like who from Whoville hair I've ever seen.
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SPEAKER_02: In an outfit that was straight out of the 1890s.
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SPEAKER_02: It was so wrong.
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SPEAKER_03: But I'm not even here to like be a correctionist.
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SPEAKER_03: I guess what we're doing here, it's like, okay, so we reread the book.
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SPEAKER_03: We saw the movie.
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SPEAKER_03: And I want to preface this by saying I do not need faithful adaptations.
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SPEAKER_03: I do not need historically accurate adaptations.
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SPEAKER_03: I am for...
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artistic expression using the past as a media using the past
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and these stories that
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have become so entrenched in our culture that like every high
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school girl has read
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it it's like the myths of our time and myths are meant to be
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retold and changed and
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adapted to the current moment i just don't think emerald fennel
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successfully did
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SPEAKER_03: that agree
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yeah i mean or she did because it was like a shallow vapid
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interpretation of a
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story did it offend me a little bit because and i think this is
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why people are all
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jazzed up about it is because everybody does have their own
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personal attachment to
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this story and she is in a way dragging emily bronte's good
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name in the mud
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SPEAKER_03: Yeah,
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SPEAKER_03: what I will say is on rereading the book,
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SPEAKER_03: I did a sub-stack note,
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SPEAKER_03: which is my form of Twitter.
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SPEAKER_03: Why is there a second half of the book?
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SPEAKER_03: I totally disagree.
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SPEAKER_03: Emerald Fennell also had that note.
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SPEAKER_02: Yeah.
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SPEAKER_03: She said the volume two, don't want it.
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SPEAKER_02: Okay, but I said this to you.
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SPEAKER_02: Defend volume two.
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Okay,
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so for those who've never read the book,
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I think there's a few of you who haven't.
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SPEAKER_02: Basically, let's give a brief plot summary.
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The book begins when a man named Lockwood rents a house called
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Thrush Cross Grange.
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SPEAKER_02: Which is so like yeast infection.
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SPEAKER_02: It's so hard to say.
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SPEAKER_02: Thrush.
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SPEAKER_02: Yeah.
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Someone at work had thrush recently,
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like got it from their kids and was saying thrush to me.
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SPEAKER_03: Isn't that a yeast infection?
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SPEAKER_02: You can get it in your mouth.
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SPEAKER_02: Yeah, but I think that is what it is.
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SPEAKER_02: I think you're right.
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SPEAKER_02: Okay,
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SPEAKER_02: so Lockwood rents Thrushcross Grange being like,
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SPEAKER_02: I'm such a,
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SPEAKER_02: what do you call it when you're like a loner?
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He's a loner,
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so he wants to go to the Yorkshire countryside wilds and rent
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this house.
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SPEAKER_02: Yeah, he's like retreating from society.
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SPEAKER_02: But then it turns out,
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SPEAKER_02: compared to everyone else who lives in the neighborhood,
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SPEAKER_02: he's an absolute social butterfly.
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SPEAKER_02: Well,
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also his immediate impulse on renting this house in the country
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to be by himself is
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SPEAKER_03: to go over to the neighbor's house to hang out.
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with the opposite of what you should do especially when your
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neighbor and landlord
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is a man named heathcliff so he walks into this house he walks
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into a house called
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wuthering heights and he finds a man named heathcliff who's
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like in his probably
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like late 30s 40s i think that he's like an old man when edgar
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dies he's 39 yeah so
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SPEAKER_03: i think heathcliff is the same 35 but it's described as like old and
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SPEAKER_02: He meets this guy named Heathcliff.
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SPEAKER_02: He meets a young woman who he's introduced to as Mrs. Heathcliff.
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SPEAKER_02: And then he sees an old man named Joseph and a young man named Harriton.
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And he's like,
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I don't understand the relationship between these four people.
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SPEAKER_02: There's also a maid named Zilla.
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SPEAKER_02: He doesn't get it.
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SPEAKER_02: They're all absolutely miserable.
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like beating each other in front of him they don't offer him
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tea they're rude and
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then he's snowed in and lockwood is like can you have send a
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boy to bring me home
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i'm gonna get lost and heathcliff is like absolutely not we
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can't spare the men
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yeah but turns out he doesn't really have that many men but
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it's not because he's
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poor it's just because he's a cheapo and so lockwood is like
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well then fine i have
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SPEAKER_02: to stay the night and heathcliff is like
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if you'll do you'll do he's basically like sleep under a tree
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in the yard if for
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all i care yeah and then he lets him into a room which doesn't
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really make sense he
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lets him into the no that maid feels takes pity on him at zilla
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oh is he actually
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supposed to like sleep he's supposed to sleep in the yard
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literally because
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heathcliff doesn't trust because heathcliff's such a miserly
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old goat that he
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doesn't trust him to like even be in the kitchen by himself
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because he might steal
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SPEAKER_03: like plums or something and they have like pewter dishes
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yeah which are hard to put in your bag um but so he's like in
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like shivering on a
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chair and then zilla comes and takes pity on him and brings him
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up to this bedroom
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which has this interesting interior design which is like it's
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basically like a
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window seat but it's a bed and it's also a cupboard i was so
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confused in the 2012
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film version there's a good rendition of it and it's really
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cute okay like i would
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SPEAKER_02: have loved having a bed like this when i was a little girl can
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is it like a wood closure that was what was confusing yeah and
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it has like a wicket
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window which is also a big 19th century thing because it's like
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you can prop open a
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wicket but you don't get like the snow in because of the way
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the window opens okay
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so he hops into this little bed he's a little creeped out he
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picks up a book that
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he finds inside the wicket window thing and it is like like
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madeline's high school
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SPEAKER_02: version of weathering heights is scrawled all over with no it's
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SPEAKER_02: And the name Catherine Earnshaw, Catherine Heathcliff, Catherine Linton.
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SPEAKER_02: Yeah.
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SPEAKER_02: And he's like, who are these people and why is it the same name?
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And then he notices those three sets of initials are carved in
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the window.
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And then he starts sleeping and having nightmares and like an
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icy girl's hand like
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SPEAKER_02: comes through the window.
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SPEAKER_02: He has visions.
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SPEAKER_02: He starts screaming in his sleep.
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SPEAKER_02: Heathcliff bursts in and like, what the hell are you doing in here?
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SPEAKER_02: Yeah.
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SPEAKER_02: Yeah.
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SPEAKER_02: And then Lockwood goes out of the room and then hears Heathcliff sobbing
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SPEAKER_02: inconsolably,
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SPEAKER_02: being like,
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SPEAKER_02: Kathy,
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SPEAKER_02: come visit me.
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SPEAKER_03: Come in, come in, like calling, summoning the ghost in.
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SPEAKER_03: Yeah.
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SPEAKER_03: And so then he goes back to Thrush Grange and goes to the maid there.
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SPEAKER_03: And I liked when he was like, I bet she's like all maids, a gossip.
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Yeah.
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yeah and Nellie is a gossip Nellie is a gossip and just tells
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him the whole story
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from beginning to end and in high high level like brief strokes
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basically the story
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is that there was this family called the Earnshaws and the dad
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goes into Liverpool
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one day he's supposed to come home with gifts for his two
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children Harriton is that
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SPEAKER_02: his name
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no hindley the son hindley sorry he comes home he's supposed to
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have gifts for
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hindley his son and his daughter katherine he brings them gifts
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but they're all
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messed up because also on the way home the dad decides to do
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what you do take in a
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SPEAKER_02: beggar child a beggar child
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With no name who doesn't really speak English,
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who's like dirty and like ambiguous.
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SPEAKER_02: Racially.
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SPEAKER_02: Racially.
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SPEAKER_02: And Hindley is instantly like, this sucks.
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SPEAKER_02: I'm jealous.
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SPEAKER_02: Catherine is instant.
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SPEAKER_02: Catherine at first is like, ew, and spits on him.
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SPEAKER_02: And then she's like, oh, wait, this is fun.
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SPEAKER_02: I love having a child in the house.
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and then they name him Heathcliff and basically he grows up on
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the margins of this
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family and Catherine and Heathcliff have this close intense
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bond and Hindley's
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jealous always and the dad is has like a Christian spirit
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towards Heathcliff and
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wants to you know his wants his family to treat him well and
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basically long story
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short the dad dies Hindley takes over abuses Heathcliff
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horribly turns into a slave
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SPEAKER_02: of the family essentially yeah Catherine what I love about
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weathering heights is that no character is good yeah they're
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all really complicated
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well yeah i think it was arguable that kathy's actually the
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worst she's pretty bad
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she's yeah the least redeeming yeah but i think she's redeemed
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in the second volume
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where her daughter katherine kind of inherits this generation
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of trauma and
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So basically like it's so complicated but the great betrayal is
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that Kathy ends up
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SPEAKER_02: marrying a neighboring guy who lives at Thrushcross Grange.
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Who's like rich and blonde and beautiful even though she's been
12:58
in love with
12:59
Heathcliff like since like they were like grew up basically in
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love with each
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SPEAKER_03: other.
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The other complicated thing about the story is,
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of course,
13:05
like the incest.
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SPEAKER_03: Yeah, I know.
13:07
SPEAKER_03: But it's sort of like we can't touch it.
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SPEAKER_02: We can't touch it.
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SPEAKER_02: And like if you're marrying your cousin,
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SPEAKER_02: it's not that weird to be in love with your surrogate brother.
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SPEAKER_03: Also, like there's I mean, and I really can't stress this enough.
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SPEAKER_03: No one else.
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SPEAKER_03: In the world.
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SPEAKER_03: The world.
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SPEAKER_03: They're so isolated.
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SPEAKER_03: There are these two houses,
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SPEAKER_03: and then you abstractly hear that there's a village not that far,
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SPEAKER_03: but there is no interaction with it at all.
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SPEAKER_02: Yeah,
13:35
SPEAKER_02: especially there's servant boys who come and get a pail of milk,
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SPEAKER_02: but they're not boys you marry.
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SPEAKER_02: It's in that type of class.
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SPEAKER_02: Also,
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SPEAKER_02: their class is really interesting because...
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SPEAKER_02: And I actually think that Emerald Fennel describes it kind of well,
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SPEAKER_02: where it's like...
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SPEAKER_02: I mean,
13:53
SPEAKER_02: this isn't even true in the book,
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SPEAKER_02: but it's kind of true in the book,
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SPEAKER_02: which is like in the movie,
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SPEAKER_02: the Lintons are rich from textiles and the Earnshaws are rich from land.
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SPEAKER_02: And so it's just very different types of wealth,
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SPEAKER_02: but they're both kind of in this sort of like upper middle class.
14:08
yeah i think emerald fennel is kind of enjoying like having the
14:12
withering heights
14:13
house be this like kind of thing that would only exist in
14:17
england which is like
14:18
very old family very proud like they have the stone above the
14:22
door that says that
14:23
the house was built in 1513 or whatever but no money and then
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the kind of like
14:30
SPEAKER_03: intrusion of wealth and like the purchase of
14:33
an old thrush of an old house by this wealthy family which is
14:36
like actually not in
14:37
the book no I mean yeah already living there yeah but they're
14:41
so isolated that even
14:42
their closest neighbor they never see yeah but basically the
14:46
way that Kathy gets
14:47
like swept into the the Linton family is that she and
14:50
Heathcliff are playing and
14:52
SPEAKER_02: they're like looking in the windows of Thrushcross and
14:54
And then the family sees them and gets scared because they
14:57
don't understand who it
14:59
SPEAKER_02: is looking in the window because they live in the middle of nowhere.
15:01
SPEAKER_02: And Kathy and Heathcliff run off.
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SPEAKER_02: The dogs are sent after them.
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SPEAKER_02: One of the dogs bites Kathy and she gets hurt.
15:09
SPEAKER_02: And Heathcliff is like banished instantly.
15:11
SPEAKER_02: But they realize that Kathy is like the neighbor's girl.
15:13
SPEAKER_02: Yeah, there's a lot less dog attack.
15:15
in the movie and yeah there's less dog attacks and less abuse
15:20
of dogs yeah which
15:21
apparently emily bronte had a weird relationship with her dog
15:24
whose name is keeper
15:25
what did she she like abused keeper but like loved keeper like
15:29
classic stuff yeah
15:30
SPEAKER_02: um
15:31
So then Kathy marries Edgar Heathcliff is pissed because he
15:35
also overhears Kathy
15:36
talking about it with Nellie and he only hears it's like tragic
15:40
because he only
15:41
hears what the worst part of what she says it would degrade me
15:44
to marry Heathcliff
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SPEAKER_03: but I love him but he only hears it would degrade me to marry Heathcliff.
15:49
SPEAKER_02: Yeah.
15:49
SPEAKER_02: And she does this thing in the book that also is in the movie,
15:52
SPEAKER_02: which is so moving where Nellie's like,
15:54
SPEAKER_02: where is the obstacle?
15:55
SPEAKER_02: And Kathy touches her heart and touches her head.
15:58
SPEAKER_02: And she's like, it's in here, wherever the soul lives.
16:01
SPEAKER_02: Yeah.
16:01
SPEAKER_02: I just got chills doing that.
16:03
SPEAKER_02: Wow.
16:04
SPEAKER_02: I mean, it's so beautiful.
16:04
beautiful so heathcliff runs off and disappears for years
16:08
kathy's married to edgar
16:10
basically heathcliff comes back looking hot as fuck and he's a
16:13
gentleman now and
16:14
he's rich and over the course of a couple of years he moves in
16:19
with hindley his
16:19
former abuser hindley has a gambling problem and he uses his
16:23
money to basically
16:24
SPEAKER_03: like own hindley's ass now
16:26
yeah and ends up owning weathering heights hinley has a son
16:29
named harriton earnshaw
16:30
who will play a part later who like is raised like a normal
16:33
child until he's two
16:34
and then is basically left to be a wild dog never taught to
16:37
read or write um is
16:39
SPEAKER_02: treated like a brute and like not only by his own father but also then by
16:42
SPEAKER_02: heathcliff who becomes his guardian basically right
16:45
SPEAKER_02: And so and then when Heathcliff comes back all hot,
16:48
SPEAKER_02: Kathy and Heathcliff,
16:50
SPEAKER_02: they don't have an affair.
16:51
SPEAKER_02: They just have like an emotional connection still.
16:53
SPEAKER_02: Yeah.
16:54
And then Kathy is pregnant and still having this intense
16:57
relationship with
16:58
SPEAKER_02: Heathcliff,
16:59
SPEAKER_02: not sexual,
17:00
SPEAKER_02: not consummated.
17:00
SPEAKER_02: Nothing's consummated.
17:01
SPEAKER_02: It's a 19th century novel.
17:03
And like the relationship to pregnancy is super interesting
17:06
because like you don't
17:07
SPEAKER_02: find out she's pregnant until she's giving birth.
17:10
SPEAKER_02: Which is the same thing that happens with Heathcliff and Isabella,
17:13
who is Edgar's sister and who he basically marries out of spite
17:17
and knocks her up.
17:18
And basically Isabella disappears with the baby and Kathy dies
17:22
giving birth to
17:23
SPEAKER_02: Catherine,
17:24
SPEAKER_02: the baby.
17:25
SPEAKER_02: And Isabella has a son named Linton Heathcliff.
17:29
SPEAKER_02: It's like impossible.
17:30
SPEAKER_00: You got that right.
17:33
SPEAKER_02: And then in part two,
17:35
you see the way that Heathcliff and Edgar are still basically
17:38
competing for Kathy's
17:40
legacy via arranged marriage between Linton Heathcliff and
17:44
Catherine Linton.
17:45
SPEAKER_02: And...
17:48
it all and then ultimately Linton Heathcliff dies and it's all
17:54
Heathcliff trying to
17:55
like collect all the land yeah basically like Heathcliff is
17:59
just trying to like
18:00
like he's trying to keep Harriton Earnshaw like stupid because
18:03
he doesn't want him
18:04
to like make his way in the world or realize that he's been
18:07
thieved horribly yeah
18:09
SPEAKER_03: and like all of the he's just so cruel and conniving but
18:12
But basically something that's interesting as you're recounting
18:17
the plot of the
18:18
SPEAKER_03: book is like,
18:19
I'm thinking about what Emerald Fennell did in order to
18:22
basically collapse the two
18:23
SPEAKER_03: volumes into this one narrative.
18:27
And she combined the character traits of Catherine Linton and
18:32
Catherine Earnshaw and
18:35
Like in this way that makes Catherine Earnshaw more redeemable
18:41
than I think she is
18:42
SPEAKER_03: as a character in the book.
18:44
SPEAKER_02: And are you the quality more sympathetic?
18:47
SPEAKER_02: Do you think the quality she gets from Catherine Linton are like...
18:50
i mean katherine linton is complicated too but she ultimately
18:53
like is redeemable
18:54
well because katherine earnshaw her like cynicism and
18:59
monstrosity like ends up
19:02
hurting everyone and she can't like turn it off and reach like
19:07
the vulnerability
19:08
SPEAKER_03: underneath
19:09
Catherine Linton the daughter does I think she like has this
19:14
cruel streak but she
19:16
underneath it and that's why like Nellie always describes her
19:20
as like actually very
19:21
sweet and like well and like she's she's like she has enough of
19:25
Edgar in her that
19:26
SPEAKER_03: she's like also a sweet girl and she sacrifices herself basically yeah
19:31
yeah she like she does believe that her cousin is good and that
19:35
she should marry
19:35
him and feels a sense of duty but then what Nellie says is like
19:40
because when
19:41
Catherine Linton after her husband dies she's just like hates
19:44
Heathcliff and she
19:45
hates Harriton and Nellie is like like everybody in this family
19:48
she has a way of
19:49
SPEAKER_02: taking pleasure in other people's suffering yeah
19:51
And but yet through Nellie's guidance,
19:54
she teaches Harriton to read and they fall in love.
19:56
And so like the love of Heathcliff and Kathy is revived in the
20:00
love of Kathy and
20:01
SPEAKER_02: Catherine and Heathcliff.
20:03
SPEAKER_02: Sorry, Harriton.
20:05
SPEAKER_02: But also what I have to say once Heathcliff is completely removed.
20:10
yeah what i have to say is that is justice for nelly like
20:15
justice for nelly this is
20:17
this is such an important part of the book which is that the
20:20
entire thing is a
20:22
narrated memory of the maid told to lockwood lockwood very very
20:27
vaguely does engage
20:29
with the current world of weathering heights like he goes over
20:32
there and gets sick
20:33
and then he goes back when he's well and sees the love of
20:36
catherine and heriton
20:38
but he at the very end did you get to this part in rereading
20:40
where I finished it do
20:42
you remember this part then where like basically he goes around
20:45
the front of
20:45
Wuthering Heights and he sees Harriton and Catherine like
20:48
kissing and he's like oh
20:49
my god and then he goes he doesn't want to interrupt them
20:51
because he's like if I
20:52
was Harriton I'd be pissed if I was interrupted so then he goes
20:55
to the back of the
20:56
house to the kitchen and Nellie tells him what's been happening
21:00
and then Nellie's
21:00
SPEAKER_02: like all right do you want to come say hi to Harriton and Catherine and
21:04
Lockwood says no and Nellie's like well that's really rude but
21:07
he's he's like
21:08
jealous in part because he got a crush on yeah but I also think
21:12
like he he's like
21:14
us so he can't engage like he can't actually be a part of the
21:17
story he has to hear
21:18
it do you know what I mean yeah can't really interact with them
21:21
which is also like
21:23
in the movie i actually thought nelly's character was kind of i
21:26
think if it's like
21:27
in if you know you know situation where like basically
21:30
katherine earnshaw gets mad
21:32
at nelly for like taking pleasure in her suffering and i think
21:35
there's a few points
21:36
in the book where nelly is like well basically there's this
21:39
quote at the end of the
21:40
SPEAKER_02: book um which if you just please hold i'll pull it up for you holding
21:48
SPEAKER_02: I'm finding it.
21:50
SPEAKER_02: I thought this was so interesting.
21:53
SPEAKER_02: Basically, this is Nellie talking.
21:58
SPEAKER_02: I seated myself in a chair and rock to and fro,
22:01
SPEAKER_02: passing harsh judgment on my many derelictions of duty,
22:04
SPEAKER_02: from which it struck me then,
22:06
SPEAKER_02: all the misfortunes of all my employers sprang.
22:09
SPEAKER_02: It was not the case in reality,
22:11
SPEAKER_02: I am aware,
22:11
SPEAKER_02: but it was in my imagination that dismal night,
22:14
SPEAKER_02: and I thought Heathcliff himself less guilty than I.
22:18
oh isn't that interesting again i just got chills like there's
22:21
a way that nelly is
22:23
well she does manipulate the story a lot yeah like i think if
22:27
there's a bronte
22:28
stand in it's nelly for sure yeah because she's like on the
22:31
margins of the world
22:33
it's in her imagination and like the movie does get right that
22:37
like when catherine
22:38
earnshaw is sick like nelly is the one kind of like controlling
22:42
the narrative yeah
22:43
SPEAKER_02: because she communicates between catherine and edgar yeah and he goes
22:47
SPEAKER_02: The other thing is also like Nellie grows up with them.
22:49
SPEAKER_02: She's the fourth.
22:50
SPEAKER_02: Yeah.
22:51
SPEAKER_02: And so there's like this child labor thing that they never grow out of.
22:56
SPEAKER_02: Yeah.
22:57
SPEAKER_02: It's really interesting.
22:58
SPEAKER_02: Yeah.
22:59
SPEAKER_02: I love Nellie.
23:00
SPEAKER_02: So I thought Nellie's character was well developed in Emerald.
23:03
It's such a crazy thing that like obviously doesn't ever happen
23:06
anymore where
23:07
people like grow up in a house with child servants who then
23:10
like grow into their
23:10
SPEAKER_03: servants and they have to like.
23:13
SPEAKER_03: I think it might be happening some places.
23:14
SPEAKER_03: Yeah.
23:15
SPEAKER_03: I mean, not yet, but I just mean in like... It didn't happen to us.
23:19
SPEAKER_03: Yeah, all of my servants were adults.
23:22
SPEAKER_02: I mean, like my teenage babysitters sort of grew up with me.
23:24
SPEAKER_02: That's true.
23:25
SPEAKER_02: You know?
23:26
SPEAKER_02: Yeah.
23:28
So there's a movie version of this amazing,
23:31
spectacular,
23:32
complicated story.
23:34
SPEAKER_02: And the movie...
23:37
SPEAKER_03: Okay, I want to defend the movie for a second.
23:39
SPEAKER_03: I didn't like it.
23:40
SPEAKER_03: I see what she wanted to do.
23:43
SPEAKER_02: What do you think she wanted to do?
23:45
SPEAKER_03: Because I do think,
23:46
SPEAKER_03: like,
23:46
SPEAKER_03: rereading this,
23:47
SPEAKER_03: it's like,
23:47
SPEAKER_03: I really did enjoy it,
23:48
SPEAKER_03: and I remember enjoying it in high school,
23:50
SPEAKER_03: although,
23:50
SPEAKER_03: like,
23:51
SPEAKER_03: I don't think I ever,
23:51
SPEAKER_03: it was,
23:52
SPEAKER_03: like,
23:52
SPEAKER_03: so important to me,
23:53
SPEAKER_03: maybe,
23:54
SPEAKER_03: in the way it was to some other people.
23:55
SPEAKER_03: But...
23:59
SPEAKER_03: it is sort of like a teenage fantasy.
24:02
Like it feels like it was written by a very young woman and it
24:05
has like a bit of a
24:06
SPEAKER_03: fairy tale about it.
24:08
And there were points at which I was like,
24:11
this is a bit gratuitous in the read.
24:13
SPEAKER_03: So I think Emerald Fennell captured that aspect of it.
24:17
I just think she like only captured that aspect of it and like
24:22
didn't capture any
24:24
SPEAKER_03: of the kind of like,
24:29
I mean,
24:29
it's just the least subtle interpretation I've ever seen of
24:32
anything.
24:33
SPEAKER_02: Yeah.
24:33
SPEAKER_02: And,
24:34
SPEAKER_02: you know,
24:34
the last time we did a major reread plus watch of the
24:39
contemporary adaptation was
24:40
SPEAKER_02: Frankenstein.
24:41
And I was thinking about that while watching where like a
24:44
common ground is that a
24:45
very complex family history is compressed into something far
24:49
more intelligible to
24:50
SPEAKER_03: modern audiences.
24:50
SPEAKER_03: You cannot make a movie with as many characters as are in this book.
24:55
SPEAKER_03: Mm-hmm.
24:57
SPEAKER_03: But I'm like,
24:58
SPEAKER_03: I think that...
24:58
SPEAKER_03: So I actually think that part was effective,
25:00
like compressing the second half of the book basically into the
25:02
first part of the
25:03
SPEAKER_02: movie.
25:03
Which is what Andrea Arnold also does in the 2012 adaptation,
25:06
which is far more faithful.
25:08
SPEAKER_03: Okay.
25:08
SPEAKER_02: And so in that way, I get it.
25:10
SPEAKER_02: Like nobody needs to do part two.
25:11
SPEAKER_02: I can let go of that.
25:13
SPEAKER_02: Yeah.
25:13
SPEAKER_02: I can try to let go of that.
25:15
SPEAKER_02: Yeah.
25:16
SPEAKER_02: But I guess like I...
25:18
do think it would be nice to like hint at the possibility of
25:23
that part too like i
25:25
think that like hindley should have been a character yeah um
25:28
and i didn't you know
25:29
what i really didn't like when katherine names heathcliff and
25:33
she's like daddy i'm
25:34
SPEAKER_02: naming him after my brother
25:36
yeah i'm like what the hell like it's actually cooler for him
25:40
not to be named after
25:40
your dead brother because heathcliff is like not a name it's
25:44
like a constant it's a
25:45
landscape yeah like he is the land itself yeah what do you
25:49
think i couldn't tell if
25:50
i thought the relationship to nature was well articulated in
25:53
the emerald fennel
25:55
SPEAKER_02: Because I think it's really well done in the Andrea Arnold.
25:58
SPEAKER_02: Because there's like this,
25:59
these amazing scenes of the children versions of Heathcliff and
26:02
Catherine,
26:02
SPEAKER_02: like in the moors,
26:03
SPEAKER_02: like in the mud,
26:05
SPEAKER_02: doing disgusting things,
26:07
SPEAKER_02: like rolling around.
26:08
SPEAKER_02: I loved it.
26:09
SPEAKER_03: I mean, their first like sexual contact is in... The barn?
26:15
SPEAKER_03: No, in the moors.
26:16
I mean,
26:16
like there's the moment in the barn,
26:17
but then when she's like jerking off in the rocks.
26:20
SPEAKER_03: Did you like that when she was jerking off in the rocks?
26:22
SPEAKER_03: Yeah, I loved when she was jerking off in the rocks.
26:25
SPEAKER_03: No, I mean, that's what I'm saying.
26:26
SPEAKER_03: Like, there was no subtlety.
26:28
Like,
26:29
there was no,
26:30
like,
26:30
suggestion that the landscape was,
26:32
like,
26:32
part of their relationship.
26:34
SPEAKER_03: It was, like, quite explicitly she was, like, jerking off on the rocks.
26:38
SPEAKER_02: And he, like, then licks her fingers.
26:40
SPEAKER_03: Yeah.
26:40
SPEAKER_03: To put it bluntly.
26:41
SPEAKER_03: Yeah.
26:42
SPEAKER_02: Yeah.
26:42
Whereas in,
26:42
like,
26:43
in the Andrea Arnold version,
26:45
like,
26:45
it's not consummated.
26:46
But you get the sexual tension and the love between Heathcliff
26:50
and Catherine.
26:50
SPEAKER_02: Yeah.
26:51
SPEAKER_02: And I think in some ways I'm like,
26:53
SPEAKER_02: yeah,
26:53
SPEAKER_02: it actually is like everyone reading this is like,
26:55
SPEAKER_02: I wonder what it would be like if they had sex.
26:57
SPEAKER_02: So it's like, cool.
26:58
SPEAKER_02: We can see two really attractive people doing it.
27:01
well it's also i think there's something interesting about
27:03
emerald fennel's
27:04
sexuality yeah what the hell is going on there like because
27:08
there's also the
27:09
bathtub scene in saltburn like she has like aestheticized
27:12
sexuality so much that
27:14
it's actually not sexual like it's so removed i mean have you
27:20
seen promising young
27:21
SPEAKER_03: woman no
27:23
SPEAKER_03: That's one where they murder rapists.
27:25
SPEAKER_02: Yeah.
27:26
SPEAKER_02: I mean,
27:26
the entire plot device of Promising Young Woman is that Carrie
27:31
Mulligan plays a
27:32
SPEAKER_02: woman who,
27:33
SPEAKER_02: after suffering this insane trauma,
27:35
does this basically a game with herself where she goes to a bar
27:39
and she pretends to
27:40
SPEAKER_02: get really drunk,
27:41
SPEAKER_02: waits till a bad guy decides to take her home,
27:44
SPEAKER_02: lets him kind of fool around with her sort of unconscious body,
27:47
SPEAKER_02: and then wakes up sober and goes,
27:49
SPEAKER_02: what are you doing?
27:51
completely sober when he thinks that he's about to get to like
27:54
assault someone
27:54
who's unconscious yeah and that's the device and i feel like
27:58
there's a lot about
27:58
like voyeurism yeah and confrontation that's in all of these
28:03
movies and yeah i
28:04
don't get it it's not i'm just like well explored thinking
28:07
about like there's a
28:09
scene where they're like kind of hooking up and then it cuts to
28:12
like a slug on a
28:14
SPEAKER_03: window yeah and i'm just like
28:18
SPEAKER_03: I don't know.
28:18
It's so,
28:18
it's almost like porn or something where it's like,
28:22
it's only visual.
28:24
SPEAKER_02: Yeah.
28:24
SPEAKER_02: Well, like the eggs too.
28:25
SPEAKER_02: The eggs.
28:26
SPEAKER_02: Because there's this like major plot point of eggs in a bed,
28:29
SPEAKER_02: like cracked raw eggs and like the way that the yolks get.
28:33
SPEAKER_03: Yeah.
28:35
But it's like,
28:35
it's,
28:36
that felt so different to me than like the peach scene in.
28:40
SPEAKER_03: Exactly.
28:40
SPEAKER_03: What's it called?
28:41
SPEAKER_02: Call Me By Your Name.
28:42
SPEAKER_02: Call Me By Your Name is also a really good title for other guys.
28:44
SPEAKER_02: Yeah.
28:48
SPEAKER_03: Oh, God, it is.
28:49
SPEAKER_02: Yeah,
28:49
SPEAKER_02: because I think,
28:50
SPEAKER_02: like,
28:50
SPEAKER_02: in the peach scene and,
28:51
SPEAKER_02: like,
28:51
SPEAKER_02: in more subtle,
28:52
SPEAKER_02: sophisticated sexual content,
28:55
SPEAKER_02: you...
28:57
are you see something that's revolting and you were like why is
28:59
this actually
29:00
turning me on yeah whereas in all of emerald fennel's work
29:04
you're like no you're
29:05
making me want to like go to the nunnery put the chastity belt
29:08
on and like close my
29:10
eyes forever yeah you know it's sort of like i mean this is so
29:13
mean to emerald
29:14
fennel but it's sort of like when the real housewives get like
29:16
really bawdy and i'm
29:17
SPEAKER_03: like
29:19
SPEAKER_03: I don't believe you.
29:22
SPEAKER_03: Like, I don't know what you're doing.
29:24
SPEAKER_02: Yeah.
29:26
SPEAKER_02: I mean, part of what I was also thinking about.
29:28
So this film was produced by Margot Robbie,
29:31
who stars as Catherine Earnshaw.
29:34
SPEAKER_02: And I was thinking,
29:36
SPEAKER_02: I was trying to imagine what their conversations would be being like,
29:39
SPEAKER_02: yeah,
29:39
SPEAKER_02: I really want to play Catherine.
29:41
SPEAKER_02: And I don't.
29:42
SPEAKER_02: Should we discuss the casting?
29:43
SPEAKER_02: Yeah.
29:44
SPEAKER_02: Okay.
29:45
SPEAKER_02: So what were your thoughts on Margot?
29:47
SPEAKER_02: Yeah.
29:47
well i thought she was terrible in the role or i thought she
29:50
was terrible for the
29:51
role i don't think she was terrible for the role i think she
29:53
played it actually
29:54
pretty well yeah but she was she's too old she's too old the
30:00
whole i mean the other
30:01
like thing is that emily bronte died at the age of 29 and so
30:06
and like in the book
30:07
edgar dies at 39 like this whole edgar dies at 39 after there's
30:11
two generations of
30:12
SPEAKER_03: these
30:13
like twisted love stories like Catherine Earnshaw dies at 29
30:18
and I know Margot
30:20
Robbie claims to be 35 to be 35 but there is absolutely no
30:25
fucking way yeah should
30:26
we just okay so I don't I don't want to be ageist and I'm like
30:29
if Hollywood and the
30:31
patriarchy made Margot Robbie feel the need to lie about her
30:34
age I shouldn't be
30:34
SPEAKER_02: publicly shaming her for it but well you're lying about your age and
30:39
SPEAKER_02: Well, I have receipts to back that up.
30:41
SPEAKER_02: Do you?
30:42
I have access to interviews with her from like 2005 in
30:47
Australia saying I'm 23 years old.
30:49
And then I have access to interviews with her in the United
30:52
States in 2016 being
30:53
SPEAKER_02: like,
30:53
SPEAKER_02: I'm 25 years old.
30:53
SPEAKER_02: Yeah, it's not adding up.
31:00
um i also just think like and i i've said this too and i was
31:04
gonna write a
31:04
newsletter about it that's gonna come out on thursday also but
31:07
like even if she was
31:09
like i think there are 35 year olds or 45 year olds who could
31:12
have played the role
31:15
still i also just think she's wrong like kathy is feral yeah
31:20
like she's an animal
31:22
And like Margot Robbie plays female characters who have an
31:25
animal side like I,
31:26
SPEAKER_02: Tonya and Barbie.
31:28
SPEAKER_02: No, I'm just kidding.
31:28
SPEAKER_02: Not Barbie.
31:29
SPEAKER_02: But like she was in Mary Queen of Scots.
31:31
SPEAKER_02: Like I guess she does, but I never find it that convincing.
31:34
SPEAKER_02: Yeah.
31:34
Like I read this interview with her years ago where she talks
31:36
about how she like
31:37
SPEAKER_02: always channels a different animal for each character.
31:39
SPEAKER_03: Yeah.
31:40
and like i tanya was like a a badger or something which i'm
31:44
like yeah you look like
31:46
a badger when you're playing that sure your hair was so messy
31:48
it's just like but
31:49
she's too prettified like because emerald and margo are
31:52
unwilling to let go because
31:53
i think emerald actually is unwilling to let go of the like
31:56
aesthetics of her
31:57
universe and so if i also think that like wuthering heights was
32:00
way too stylized
32:01
like well yeah it was insane i mean i feel like we'll get to
32:04
that but let's finish
32:05
SPEAKER_03: the casting conversation because i have a lot to say about that
32:07
SPEAKER_02: Okay, so I just thought she was weird for the part.
32:11
SPEAKER_02: Yeah, who would you have cast?
32:12
SPEAKER_02: Did we discuss this?
32:14
I actually think Amanda Seyfried,
32:15
though not the right age,
32:16
would have been really good.
32:17
SPEAKER_03: She would have been good.
32:18
SPEAKER_03: I feel like Saoirse Ronan actually could have been really good.
32:21
SPEAKER_03: Who else?
32:24
I was kind of listening to the soundtrack being like,
32:27
Charlie XCX could have done it.
32:28
SPEAKER_03: Yeah.
32:29
SPEAKER_03: She's wild.
32:30
SPEAKER_02: Yeah.
32:31
SPEAKER_03: Though I don't know if she has enough pathos.
32:33
SPEAKER_03: Well, people are loving her movie, so I don't know.
32:35
SPEAKER_03: Maybe there's more there.
32:37
SPEAKER_02: Yeah.
32:39
I think like a really unexpected casting like Charlie XCX or
32:41
someone completely
32:42
SPEAKER_02: unheard of would have been cool.
32:44
SPEAKER_03: Yeah.
32:44
SPEAKER_03: I'm just like...
32:47
she's yeah she just wasn't right and i just feel like it was
32:50
all marketing like
32:51
yeah it's because people think margot robbie's hot and people
32:53
think jacob belordi
32:54
is hot he is hot i think he was much better cast he was good he
32:59
was good and
33:00
emerald fennel chose him because when she was making salt burn
33:02
with him she in one
33:04
scene she realized that he looked just like the illustration of
33:07
heathcliff in her
33:08
SPEAKER_02: childhood version of weathering heights and i was like okay okay yeah
33:11
SPEAKER_02: I mean, he is like the perfect man.
33:14
SPEAKER_02: Yeah.
33:15
SPEAKER_02: Except I will say his limbs are so freakishly long.
33:17
SPEAKER_02: And when he's riding a horse, I was really distracted.
33:20
SPEAKER_03: He did look like a chicken flapping its wings trying to fly.
33:22
Him riding a horse was like me standing on a horse flapping my
33:25
wings trying to fly.
33:27
SPEAKER_03: Yeah, it was a bit intense.
33:29
SPEAKER_02: But he was so hot.
33:31
SPEAKER_02: But it wasn't sexy.
33:32
SPEAKER_02: I just was like, what a beautiful specimen of man.
33:35
SPEAKER_02: That was my take.
33:36
SPEAKER_02: Yeah.
33:36
SPEAKER_03: Yeah.
33:38
SPEAKER_03: I was not attracted to him.
33:40
SPEAKER_03: I'm going to be honest.
33:42
I've like never really understood like what it means to have a
33:45
celebrity crush or
33:46
SPEAKER_02: like,
33:46
I feel like sometimes I'm watching a movie and I feel a flutter
33:49
of something.
33:51
SPEAKER_03: I did not feel that.
33:52
SPEAKER_02: PQs.
33:52
SPEAKER_02: Do you know what that means?
33:53
SPEAKER_02: No, it's that.
33:54
SPEAKER_02: You're not going to like it.
33:55
SPEAKER_02: Pussy quivers.
33:57
SPEAKER_02: I heard that on Love Thy Nader, the show about Brooks Nader.
34:00
SPEAKER_03: That is horrible.
34:01
SPEAKER_02: PQs.
34:02
SPEAKER_03: Yeah, I didn't get any PQs.
34:05
SPEAKER_02: I just had like chills in a bad way.
34:08
SPEAKER_02: Yeah.
34:08
SPEAKER_03: I was like skewed out.
34:10
SPEAKER_02: Yeah.
34:11
SPEAKER_02: And that's just unfortunate because like when two beautiful,
34:13
SPEAKER_02: I guess I was like recently I've been,
34:15
SPEAKER_02: we've talked about this,
34:16
like actors deserve to be paid as well as they are because what
34:20
they're doing is
34:21
SPEAKER_02: the most embarrassing job on earth.
34:22
SPEAKER_02: Insane.
34:23
And I,
34:23
when I was watching the film yesterday,
34:25
judging it,
34:26
I was like,
34:26
I couldn't do that.
34:27
SPEAKER_03: Like,
34:27
SPEAKER_03: There's just no way.
34:29
SPEAKER_03: No.
34:29
SPEAKER_03: I mean, and like that was like actually pretty tame.
34:31
Like I would literally rather be a garbage man than like play
34:34
aqua woman and like
34:35
SPEAKER_03: spend six weeks suspended in the air,
34:37
SPEAKER_03: like pretending to cry about like being broken up with.
34:41
SPEAKER_02: Yeah.
34:43
The thing about like when I think about being suspended from a
34:46
harness dressed as
34:46
SPEAKER_02: aqua woman,
34:47
SPEAKER_02: I'm like,
34:47
SPEAKER_02: well,
34:48
SPEAKER_02: with my figure,
34:49
SPEAKER_02: it's just not a great idea.
34:50
SPEAKER_02: But I'm like, probably every woman feels as insecure as I do.
34:53
SPEAKER_02: Yeah.
34:53
SPEAKER_02: It just probably feels horrible.
34:55
SPEAKER_02: Yeah.
34:55
SPEAKER_02: Yeah.
34:56
SPEAKER_02: Like no one should have to see that.
34:57
SPEAKER_03: And you've been like starving yourself to be able to do that.
35:00
SPEAKER_03: Yeah.
35:01
SPEAKER_03: So you're like weak in the head.
35:02
SPEAKER_03: Yeah.
35:03
SPEAKER_03: There's just no reason.
35:04
SPEAKER_03: But I guess I enjoy the movie.
35:06
SPEAKER_03: So.
35:07
SPEAKER_02: So the thing about.
35:08
SPEAKER_02: I'm glad someone's willing to humiliate themselves.
35:10
SPEAKER_02: I'm really grateful.
35:11
SPEAKER_02: In these days, that's all we have.
35:12
So the other thing about Heathcliff in the book is that he's
35:15
described as racially ambiguous.
35:17
SPEAKER_02: And Jacob Lorty is a white Australian man.
35:19
SPEAKER_03: And Margot Robbie is a white Australian woman.
35:21
I mean,
35:21
I feel like we should also address the Australian elephant in
35:24
the room.
35:24
SPEAKER_03: Yeah.
35:27
which is that emerald fennel is so like posh and british that
35:30
she was like oh these
35:31
SPEAKER_03: people are like wild animals who live in the wilderness like australians
35:36
unbelievable they're also like i don't know enough about like
35:39
commonwealth accents
35:40
to really understand what was happening with jacob alordi's
35:43
voice but he was he was
35:45
kind of playing english as if he was american but then i was
35:48
remembering that he's
35:48
australian he was doing a and i didn't know if it was like a
35:51
heathcliffism or if he
35:52
SPEAKER_02: was like pretending if that's what he thinks yorkshire people sound like
35:55
SPEAKER_03: I don't know what Yorkshire people sound like.
35:57
SPEAKER_03: He was doing weird voices.
35:59
He was also like had like a well in the book Heathcliff is
36:03
often described as like growling.
36:05
SPEAKER_03: Yeah.
36:05
So I feel like maybe he was trying to do that but then he was
36:07
just sort of speaking like softly.
36:10
I mean I've met people from parts of England north of London
36:14
and it is really a
36:15
SPEAKER_02: different dialect.
36:17
SPEAKER_03: I have two, but like Manchester, which I feel like is a bit more like.
36:21
SPEAKER_03: It's intense.
36:22
SPEAKER_03: It's intense.
36:22
SPEAKER_03: But is that what Yorkshire sounds like?
36:24
SPEAKER_02: I went to Yorkshire.
36:25
SPEAKER_02: I went to York with my mom once.
36:27
SPEAKER_02: Old York.
36:28
SPEAKER_02: And we stayed at a convent.
36:29
SPEAKER_02: It was awesome.
36:30
SPEAKER_02: What did the nuns sound like?
36:31
SPEAKER_02: Do an impression.
36:32
SPEAKER_03: Gosh, they were just so happy we were there.
36:34
SPEAKER_03: Gosh.
36:37
SPEAKER_03: Um,
36:38
SPEAKER_03: so yeah,
36:39
the race of Heathcliff is also something I've been seeing a lot
36:41
of discourse about.
36:44
SPEAKER_03: Lots of people have lots of opinions.
36:45
SPEAKER_03: It didn't offend me.
36:46
SPEAKER_03: It didn't offend me either.
36:48
SPEAKER_03: I,
36:48
SPEAKER_03: I said to you and I'll say again,
36:51
SPEAKER_03: like when I read a 19th century novel and someone is described as like,
36:56
SPEAKER_03: which is how Heathcliff is described in the book,
36:58
SPEAKER_03: he's described as like dark as a gypsy and like,
37:01
SPEAKER_03: and I think she calls him like pretty black.
37:04
Yeah.
37:05
SPEAKER_02: She says, like, his dad was maybe a Chinese emperor.
37:08
SPEAKER_02: Yeah.
37:09
SPEAKER_02: She says a lot of things that are all conflicting and different.
37:12
SPEAKER_02: That are all conflicting and different.
37:13
Because also,
37:13
what the hell did Emily Bronte know about any of these things?
37:16
SPEAKER_03: Well, nothing, because she, like, never left her house.
37:18
SPEAKER_03: But... But...
37:21
SPEAKER_03: That's just what I said to Mabel initially is like,
37:24
SPEAKER_03: I understand when you're reading that as a contemporary reader.
37:27
And I think Bronte is leaving it more of an open question
37:29
because Heathcliff's
37:30
SPEAKER_03: parentage is unknown.
37:32
But it is a really common thing for white people to be
37:34
described in 19th century
37:36
SPEAKER_03: novels as dark as a gypsy or pretty black.
37:40
Those are descriptors that are used for white people with dark
37:45
coloring who have a wild nature.
37:48
SPEAKER_03: I'm not condoning this as a practice.
37:49
SPEAKER_03: I'm just like...
37:51
SPEAKER_03: When I read that as someone who reads a lot of 19th century fiction,
37:55
SPEAKER_03: I don't like take it literally.
37:58
yeah I mean it's like in Jane Eyre there's a far more like
38:03
legible plot about
38:04
someone of a different race which is that like Jane Eyre is a
38:08
governess in a house
38:09
where there turns out to be a secret wife locked in the attic
38:12
who the man of the
38:14
house married while he was like living in the Caribbean okay as
38:18
a sugar planter so
38:20
like and there's lots of scholarship on like who what that
38:23
woman is like and who
38:24
SPEAKER_02: she might be and what she represents um
38:28
i don't know i'm just like there's a lot of i think that people
38:32
who are into 19th
38:34
century fiction get excited about these moments where you see
38:38
or like can peek at a
38:39
larger world and something that i was thinking about like right
38:43
before i started
38:44
rereading weathering heights i put down a book i had just
38:46
started reading that my
38:47
dad gave me which is a new historical non-fiction work called
38:51
the zorg have you
38:52
SPEAKER_02: heard about this no no
38:54
which is about the slave ship where that like doing the
38:57
transatlantic slave trade
38:59
basically like an entire ship of slaves was murdered
39:03
purposefully to like oh for
39:05
insurance yeah and it and it's all about the liverpool that's
39:09
what started there
39:10
anti-slavery movement in England exactly and it's been like
39:13
shrouded in all of this
39:14
mythology and basically this historian like has done a more
39:19
correct history that
39:20
also like acknowledges the gaps it's really interesting I don't
39:22
remember the name
39:22
of the author but like it it does make sense and I was reading
39:27
some of the like
39:27
SPEAKER_02: racist stuff about Heathcliff like
39:29
liver like they did live in this isolated world but they were
39:32
close enough to
39:33
liverpool which was like became had like people like indian
39:37
people who worked on
39:38
ships that were going back and forth to colonies and enslaved
39:41
people yeah and the
39:42
brutality even for english people like the way that they would
39:45
get staff or like a
39:48
crew for a slave ship was that they would work with the
39:51
captains of ships would
39:52
SPEAKER_02: work with gangs and go to pubs and find out who owed money to the pub
39:57
owner and instead of putting those people in jail they would
40:00
get those people to
40:01
work the crew of a slave ship and your chances of survival its
40:05
own sort of an
40:06
indenture yeah like the horrible abuses that it creates like in
40:10
every aspect of
40:11
society is so poisonous it's also I learned a lot about like
40:15
Liverpool's geography
40:16
and docking system basically Liverpool like could not compete
40:19
with London as a
40:20
SPEAKER_02: place for like shipping because it had a really really shallow um
40:26
like yeah what do you call it shore coastline and so they had
40:30
to build these like
40:31
huge docks anyway very interesting stuff fascinating which i
40:36
know is not what we're
40:36
talking about no it kind of is i mean i think it is because it
40:39
was like a very apt
40:40
SPEAKER_02: thing to read right before reading this yeah
40:43
SPEAKER_03: Yeah.
40:43
I just think like some of the discourse about the Heathcliff
40:47
race thing was a
40:47
SPEAKER_03: little like,
40:49
SPEAKER_03: I don't,
40:49
SPEAKER_03: I don't know that I think Jacob Elordi was the wrong casting.
40:52
SPEAKER_03: I do think Margot Robbie was, you know.
40:55
Also in the 2012 Andrea Arnold version of Wuthering Heights,
40:59
Heathcliff is black.
41:00
yeah and has like he shows up at Wuthering Heights with scars
41:03
on his back from
41:04
being whipped he's also branded on his back with someone yeah I
41:07
was there was
41:07
something bothering me about casting Jacob Elordi and then
41:10
fetishizing like there
41:12
that there were scars on his back that was a little like yeah
41:15
that was yucky
41:16
SPEAKER_02: Yeah.
41:16
SPEAKER_02: But also like the Andrea Arnold,
41:17
SPEAKER_02: like then in the movie,
41:20
SPEAKER_02: the Hinsley like uses the N word all the time with Heathcliff.
41:23
SPEAKER_02: And I'm like, that's not in the book.
41:25
SPEAKER_02: And like, but I see it as an interesting interpretation.
41:27
SPEAKER_02: And like,
41:28
SPEAKER_02: honestly,
41:28
if something like generates more empathy towards like people
41:32
who are victimized by
41:32
SPEAKER_02: the slave trade,
41:33
SPEAKER_02: I'm like,
41:33
SPEAKER_02: okay,
41:34
SPEAKER_00: cool.
41:34
SPEAKER_00: Like that is...
41:35
a good take I think it's a realistic interpretation because
41:38
like no matter how
41:40
isolated and charming the Brontes were in their house like they
41:43
were profiting off
41:44
of slavery so it was everybody in England at the time so like
41:47
if you want to put
41:48
SPEAKER_02: slavery into the home of Wuthering Heights like more power to you yeah
41:52
SPEAKER_03: OK,
41:52
should we talk about the one other weird race thing in the
41:54
Emerald Fennell version,
41:56
SPEAKER_03: which is that so Heathcliff's rival,
41:58
SPEAKER_03: Edgar Linton,
41:59
is both emotionally and intellectually his rival in the sense
42:05
that he's sort of a
42:06
SPEAKER_03: soft,
42:06
SPEAKER_03: rich boy as opposed to Heathcliff.
42:08
But he's also described as physically his rival in the sense
42:11
that he's like blonde
42:12
SPEAKER_03: haired and blue eyed.
42:13
SPEAKER_03: And for some reason,
42:14
SPEAKER_03: despite casting Jacob Elordi as Heathcliff,
42:17
SPEAKER_03: the racially ambiguous character,
42:20
Emerald Fennell made the decision to cast a racially ambiguous
42:23
person as Edgar
42:26
SPEAKER_03: Linton.
42:26
SPEAKER_03: Yeah.
42:28
SPEAKER_03: Which again, I'm fine.
42:30
I don't care about like correct race casting,
42:33
but I was a little like,
42:35
that's a cop out.
42:36
SPEAKER_02: Here's the quote from the text.
42:38
SPEAKER_02: Heathcliff says this to Nellie talking about Edgar.
42:41
But Nelly,
42:42
if I knocked him down 20 times,
42:43
that wouldn't make him less handsome or me more so.
42:46
I wish I had light hair and a fair skin and was dressed and
42:49
behaved as well and had
42:50
SPEAKER_02: a chance of being as rich as he will be.
42:53
yeah so it's pretty clearly written out here and then Nellie's
42:57
like you're so
42:58
handsome Heathcliff actually because that's the thing they're
43:00
like you're confusing
43:01
looking but then she goes who knows but your father was emperor
43:04
of China and your
43:05
SPEAKER_02: mother an Indian queen each of them able to buy up with one week's income
43:08
weathering heights and thrush cross grange together which is
43:11
what happens like yeah
43:12
it doesn't really matter what Heathcliff's origins are like he
43:15
does he does the
43:16
thing I guess I'm just like it feels like that choice of
43:19
casting was her being like
43:21
no it's not about race yeah and i'm i also and i would just
43:25
like cast someone else
43:28
as heathcliff i didn't think that guy was like amazing at being
43:31
edgar he was like
43:32
kind of a bitch yeah i think in the andrea arnold he's like the
43:37
thinnest blonde guy
43:39
which i thought was more accurate like in terms of like he's
43:41
supposed to be really
43:42
weak he's like shuddering also like he and heathcliff are
43:45
childhood rivals in this
43:47
SPEAKER_02: way that's like so important to the story yeah
43:50
doesn't really work when he shows up when they're 40 years old
43:53
he like has gray
43:54
hair yeah there's like an amazing scene where young heathcliff
43:57
throws gravy at
43:59
young edgar it's like it's so awesome that's yeah that is a
44:03
good scene i did think
44:05
that the like isabella um casting was good yeah and like her
44:10
but also she was also
44:11
SPEAKER_03: too old
44:12
she was i thought she was a bit more appropriately aged she in
44:15
that she just read
44:16
as like shuddering and like immature but did look like she was
44:20
in her mid-30s also
44:23
yeah i just think they couldn't cast an actual young person
44:25
across from margot
44:26
SPEAKER_02: robbie at that point also i know it would make it too intense yeah
44:30
Okay,
44:30
so should we talk about sort of the visual universe of
44:33
Wuthering Heights,
44:34
the movie?
44:35
SPEAKER_03: Yeah.
44:35
SPEAKER_03: I mean,
44:36
I think that the thing that I am thinking about and sort of
44:39
encapsulating the
44:41
visual universe of the movie is the wedding night scene when
44:45
Edgar is standing in
44:47
SPEAKER_03: the mirror,
44:48
SPEAKER_03: you know,
44:48
SPEAKER_03: waiting for his new bride to appear and Margot Robbie appears in a clear,
44:54
SPEAKER_03: glad trash bag.
44:55
SPEAKER_03: Yeah.
44:57
SPEAKER_03: It's like in Project Runway, unconventional materials challenge.
45:01
SPEAKER_03: But the inspo is like 80s goatee.
45:03
SPEAKER_03: She looks like an Easter basket.
45:06
SPEAKER_03: It is like cellophane.
45:10
SPEAKER_03: And it's just like, it all looked so cheap and gaudy.
45:16
SPEAKER_03: And...
45:18
SPEAKER_03: I think that there was so much plastic.
45:23
And I think that's part of the reason there was such a problem
45:25
incorporating the
45:26
landscape is because she had over-aestheticized everything to
45:32
such a degree that it
45:33
SPEAKER_03: then doesn't really make it...
45:35
SPEAKER_03: It undermines the beautiful shot of the moors.
45:39
SPEAKER_00: You can't have that.
45:40
SPEAKER_03: Justice for the moors.
45:41
SPEAKER_03: Justice for the moors.
45:42
SPEAKER_03: You can't have that in this pans labyrinth looking fish tank.
45:48
SPEAKER_03: Like, I was just like, what the fuck is this?
45:50
SPEAKER_03: I didn't like it.
45:51
SPEAKER_03: The worst part was the skin room.
45:53
SPEAKER_03: Yeah.
45:54
Which is that basically the production team wanted Catherine
45:59
Earnshaw's bedroom at
45:59
SPEAKER_02: Thrust Cross Grange to be,
46:01
SPEAKER_02: like,
46:02
SPEAKER_02: as if she's enveloped in her own skin.
46:04
SPEAKER_02: And then Edgar...
46:06
is like do you like it i based it off your skin and it's like
46:09
latex pink walls with
46:10
like veins and freckles but it's also like so when you
46:13
initially told me that i
46:14
thought it was just like a production design decision i didn't
46:17
know it was a plot
46:18
point it was a plot point and like so i thought it would just
46:21
like match her skin
46:22
and be kind of like fleshy and she'd be like pressed up against
46:25
it and it would
46:25
just be like a little like yucky like flesh but it was like
46:28
literally the veins
46:29
SPEAKER_03: were painted onto the walls it was just like
46:31
SPEAKER_03: She needs to stop herself short like one level of like association.
46:38
SPEAKER_03: Do you know what I mean?
46:39
SPEAKER_03: Like Emerald Fennell needs to pull herself out of being so explicit.
46:43
SPEAKER_02: I mean,
46:43
SPEAKER_02: I'm like,
46:44
SPEAKER_02: if we had unlimited money and resources,
46:46
SPEAKER_02: what would Mandy Line books look like?
46:48
SPEAKER_02: I mean, maybe they would be incomprehensible.
46:50
SPEAKER_02: Yeah.
46:50
SPEAKER_02: So it's like,
46:51
I feel really grateful that our art is limited by material
46:55
constraints because we
46:57
SPEAKER_02: are definitely producing more refined,
46:59
SPEAKER_02: interesting work as a result.
47:01
but i mean she just lacks subtlety yeah i also wait i do want
47:06
to say back to
47:07
frankenstein sorry but like jacob olorty playing in the course
47:10
of one year the
47:11
creature in frankenstein and then heathcliff is super
47:14
interesting what do you think
47:15
he's feeling psychologically coming off of that i kind of i i
47:18
don't want to be like
47:19
one of the other desperate girls online but i am like i would
47:21
like to talk to him
47:22
about that and i'd like for him to come on 1-800-1800 to talk
47:24
to us about it
47:26
because i think he would be delighted to come on i'm just
47:28
curious too yeah i mean i
47:29
know he's like a serious guy and he's a thoughtful person he's
47:32
a reader he's a
47:32
reader and those are really complicated but also similar
47:37
characters to inhabit
47:39
they're like the monsters of english society in the 19th
47:42
century yeah the other and
47:46
for that to all be housed in six foot five full of australian
47:49
man is really
47:50
SPEAKER_02: interesting i
47:51
yeah like for the perfect guy to be made into you love jacob i
47:58
like don't i didn't
47:59
i mean obviously he's so high and if he was like standing in
48:03
front of me i'm sure i
48:04
would be like rendered like senseless but watching him on tv
48:08
i'm like not really
48:09
SPEAKER_03: moved
48:10
i'm not usually moved i just i guess i'm also like he doesn't
48:14
do it for me in
48:15
euphoria he doesn't i've never seen you like but i think that i
48:19
am like emerald
48:20
fennel like i do like a period drama but also like i wasn't a
48:25
again i was like this
48:26
SPEAKER_02: isn't that hot like pride and prejudice with keira knightley hot like
48:31
really hot i don't know like i'm trying to think of another one
48:33
that's hot another
48:35
period piece that i love but in pride and prejudice did they
48:37
kiss like one time at
48:39
the end yeah and you're like you've earned it it was just
48:41
gratuitous sexuality as
48:42
you said like also like yeah i was i went into this movie
48:46
wanting to like it
48:46
because people have been hating on it so hard and like wanting
48:49
to be able to defend
48:50
SPEAKER_03: it
48:50
And even like through the first like half hour,
48:53
45 minutes,
48:54
I was like,
48:54
I think I can do it.
48:56
SPEAKER_03: I can do it.
48:56
SPEAKER_03: Like, it's OK.
48:58
SPEAKER_03: And then the sex started and it did not stop.
49:02
SPEAKER_03: And I was like, I can't.
49:03
SPEAKER_03: There's nothing I can say about this.
49:05
SPEAKER_02: Then we were like checking the time.
49:07
SPEAKER_02: We were checking the time.
49:08
SPEAKER_03: I Googled the runtime during the movie, which is not a good sign.
49:12
SPEAKER_02: No, like I never really liked that.
49:13
SPEAKER_02: Like I'm, when I'm in it, I'm in it.
49:16
SPEAKER_02: I don't know if it's because I am like that a lot.
49:18
SPEAKER_02: Yeah.
49:18
SPEAKER_02: But I was not that captivated.
49:20
SPEAKER_02: And for me,
49:21
that's really crazy because like we cried during the
49:23
commercials before the movie,
49:24
SPEAKER_02: but we didn't cry during the movie.
49:26
SPEAKER_03: I cried during the commercial.
49:28
I cried during a commercial for a movie about a woman who like
49:30
goes to Italy.
49:31
SPEAKER_03: The tagline of which was goes for the pasta gets lost in the sauce.
49:35
SPEAKER_03: I cried during the commercial for that.
49:37
SPEAKER_03: And didn't cry during Wuthering Heights.
49:39
And it was also a moment in the preview for that film where the
49:43
girl reveals that
49:44
SPEAKER_02: she doesn't have a mother.
49:44
Catherine Earnshaw doesn't have a mother,
49:46
but like it didn't do it for me.
49:47
SPEAKER_03: She was like, we're your family now.
49:49
SPEAKER_03: And I was moved to tears.
49:51
SPEAKER_02: I guess I do.
49:52
SPEAKER_02: I did think it like captured...
49:54
well what is so relevant to me about the book which is like
49:58
what is it like to be a
49:59
woman who's horrible like yeah who can't you know like when
50:02
basically at the
50:03
beginning of the movie when young Catherine like is having a
50:07
absolute hysterical
50:08
meltdown and her dad gets pissed at her and is like well and he
50:10
gets too pissed at
50:11
her like more than necessary but like I did that to my parents
50:13
all the time and
50:14
they were like well you don't deserve like that I'm not taking
50:16
you out to breakfast
50:17
SPEAKER_02: Mabel yeah and like the way that you feel when you know you've acted out
50:21
horribly but you feel so bad for yourself like i did think that
50:25
is the feeling of
50:26
SPEAKER_02: weathering heights and that was in the movie yeah at least i was a pretty
50:30
well-behaved kid lucinda if you want to call should we get your
50:37
mom she'll tell you
50:38
no she'll tell you my brother was the one who was a bit of
50:40
trouble i guess once i
50:42
had a brother i would do stuff like that because i would like
50:44
torment him yeah but
50:45
SPEAKER_03: when it was just me and my parents i never would do
50:48
Yeah I mean I would have been perfect if I just had my parents
50:50
but like when you
50:51
have siblings and you're like you want to torture them and then
50:54
your parents see
50:54
you and you're like oh god that was so embarrassing like and I
50:58
wish I hadn't acted
50:59
SPEAKER_02: this way I mean I feel like that all the time.
51:00
Yeah there's like a famous story where I punched my brother in
51:03
the face and then
51:03
SPEAKER_03: accused him of biting my hand.
51:07
it's like the punishment did not match the crime um yeah i mean
51:12
what i said to you
51:13
is what i'll say again which is since this movie came out i was
51:17
forced to and happy
51:19
happy to do so to like re-engage with weathering heights reread
51:22
it which was a
51:23
delight like i devoured this book and i wouldn't have been
51:27
rereading it yeah not
51:28
for the movie so thank you for that emerald and margo and jacob
51:32
thank you all
51:33
um and it made me think about like what are the other like 19th
51:37
century novels that
51:38
you just like have to rip through you can't put them down yeah
51:43
like i do think i
51:43
was like i could do a little jane austen reread that sounds fun
51:46
and you've never
51:47
like read some of them right i haven't so i would love to do
51:50
that with you okay and
51:52
then we could watch the kira knightley we're watching we're
51:53
reading pride of
51:54
SPEAKER_02: prejudice um anything else
51:59
SPEAKER_03: Yeah, I do feel like we gave short shrift to the set design.
52:02
SPEAKER_03: Oh, yeah.
52:02
SPEAKER_03: Let's talk about that.
52:05
um what did you think about it um i hated the houses i thought
52:10
they were hideous
52:11
and stupid that's the thing they like were ugly and cheap and
52:14
it was another
52:15
situation where like i wanted to like it and i understand i'm
52:17
like the thing is i'm
52:19
smart i understand what she was doing she was trying to make
52:22
them like a like bawdy
52:23
70s romance i just feel like there was a way to do that that
52:27
was better like i
52:31
SPEAKER_03: I'm not upset that she failed to achieve the 1820s or whatever.
52:35
SPEAKER_03: I'm upset that she failed to achieve the kind of,
52:38
SPEAKER_03: like,
52:38
SPEAKER_03: Suspiria-type thing that she was trying to do.
52:41
SPEAKER_02: Have you seen The Love Witch?
52:42
SPEAKER_02: Yeah.
52:43
SPEAKER_02: Yeah, like, that's better.
52:43
SPEAKER_03: That's way better.
52:45
SPEAKER_03: Like, that's what she was going for.
52:48
SPEAKER_03: Like,
52:48
SPEAKER_03: it was,
52:49
SPEAKER_03: like,
52:49
SPEAKER_03: totally,
52:49
SPEAKER_03: like...
52:50
SPEAKER_03: Yeah,
52:50
SPEAKER_03: Suspiria is,
52:51
SPEAKER_03: like,
52:51
SPEAKER_03: probably one of her big references,
52:53
SPEAKER_03: I would guess,
52:54
SPEAKER_03: actually.
52:54
SPEAKER_03: Yeah.
52:55
SPEAKER_03: And, like, she just, like...
52:59
like everything just looked like it was from Party City I guess
53:03
it's like Emerald
53:04
Fennell kind of wishes she was Sofia Coppola I guess like I
53:07
think what Sofia
53:08
Coppola could stand to have more of in her films is like a bit
53:11
more passion yeah
53:12
and I think Emerald Fennell is overflowing with passion but I
53:15
think Sofia Coppola
53:16
does visuals really well like I think the two of them should
53:20
collab her visuals are
53:21
pristine yeah like so well thought out but like with an edge of
53:25
something more like
53:26
SPEAKER_02: yeah yeah
53:27
i just thought it was like the beguiled did you see that no i
53:30
didn't see that
53:31
that's one with nicole kidman right and like l fanning they're
53:34
like living it's
53:35
sort of like a southern gothic sophia coppola like that
53:40
representation of the 19th
53:41
century was just like much more beautiful i think than yeah the
53:45
like weird like
53:46
SPEAKER_03: plastic
53:48
SPEAKER_03: I mean,
53:48
there's literally a scene where it's like supposed to be this
53:51
like sumptuous room
53:53
that she's walking into after she gets married where they've
53:55
like given her all of
53:56
SPEAKER_03: these gowns and the gowns are like Renaissance fair,
53:59
SPEAKER_03: like princess costumes from Party City.
54:02
And the thing in the middle of the room is like dripping with
54:06
truly cellophane.
54:07
SPEAKER_03: Yeah, I tried to take a picture, but I couldn't.
54:10
SPEAKER_02: And then there's like some moments where the absurdity is funny.
54:13
Like when she goes and finds her dad dead and he's like
54:16
surrounded by an absurd
54:18
SPEAKER_02: number of empty bottles.
54:19
SPEAKER_03: Like two mountains of bottles.
54:20
SPEAKER_02: I was like, okay, that's like kind of funny, but also not.
54:23
SPEAKER_02: I don't know.
54:24
SPEAKER_02: I guess it was like kitsch, but it wasn't like self-aware about it.
54:29
SPEAKER_02: Like the meanest thing I could say is like, I do think that...
54:32
it is worse than bridgerton in terms of like historical
54:37
inaccuracy and cheapness
54:40
yeah which is like really really negative of me don't watch
54:45
bridgerton but like in
54:46
bridgerton when i watch bridgerton i'm like this is really
54:49
garish but i'm now i'm
54:50
SPEAKER_02: like whoa bridgerton is showing a huge amount of restraint um
54:56
and like bridgerton also inhabits this like fantasy of regency
55:00
england and yeah
55:02
wuthering heights was inhabiting it wasn't specific enough i
55:04
guess it was like it
55:06
was every decade of the 19th century plus some of the 20th yeah
55:10
it was so many
55:11
different she was only wearing materials that had been invented
55:14
in the wake of
55:14
SPEAKER_03: world war ii yeah like
55:17
though i just think that it was not very rigorous in its
55:20
references and so it was
55:22
too much and it was trying to like it dulled my senses like i
55:25
wasn't turned on
55:26
because it was too sexual i wasn't like amazed because it was
55:29
too so bright you
55:30
know yeah and i just i think we go to films not for the
55:34
spectacle but also for the
55:35
SPEAKER_02: editing and i think that film could have used a lot of editing
55:40
yeah like just to give you guys some like visuals like the
55:44
floor in thrushcross
55:45
grange is painted like glossy red and the walls have sconces
55:50
that are shaped like
55:51
hands oh my god the fireplace the fireplace was a million
55:55
plaster casts of hands
55:57
going up the chimney yeah i was just like this isn't like
56:00
kitschy and fun this is
56:01
just like ugly yeah and then the like urns at the entrance to
56:05
thrushcross grange
56:06
SPEAKER_02: are fish tanks they were plastic fish tanks like what
56:11
i there was all this christmas decoration stuff there was like
56:14
a scene where they
56:15
like cut to his bed and i laughed you remember yeah his green
56:18
bed it's like but
56:20
it's like it was like fake painted gold wood like and then this
56:25
green like velour
56:26
SPEAKER_03: wrapped all over it
56:29
it was like a golf course so cheap it was like trump it was
56:34
like it was like cheap
56:35
trump yeah like i'm telling you like like trump would never
56:38
trump's apartment looks
56:39
SPEAKER_03: better than that yeah like and that is crazy yeah
56:44
SPEAKER_02: I was really, I was not impressed by that.
56:48
SPEAKER_02: I guess shout out to my mom.
56:49
SPEAKER_02: My mom saw the movie before we did.
56:51
SPEAKER_02: And I asked her what she thought.
56:52
SPEAKER_02: And she said, I only have one word to describe how I felt befuddled.
56:56
SPEAKER_02: And the whole time I was watching, I was like, wow, my mom was right.
56:58
SPEAKER_02: I am befuddled.
56:59
i know i was befuddled and i really just went in with such like
57:04
generosity of
57:05
spirit in a way that i like don't actually usually go into
57:07
movies and i was i was
57:12
shown that that's the wrong i mean way to receive the world i
57:16
remain hopeful for
57:18
what for like something next time like i'll be there the next
57:23
time any of the
57:24
SPEAKER_02: people involved in this film make something
57:26
SPEAKER_02: Yeah, we'll have no choice.
57:29
SPEAKER_02: I'm a Margot Robbie stan.
57:30
SPEAKER_02: No, you're not.
57:32
SPEAKER_02: You're a Margot Robbie truther.
57:33
SPEAKER_02: I'm a Margot Robbie stalker.
57:36
SPEAKER_02: Yeah.
57:37
SPEAKER_02: Yeah.
57:38
SPEAKER_02: I was befuddled in a word.
57:42
SPEAKER_02: Yeah.
57:43
SPEAKER_02: Yeah.
57:43
okay all right well i hope you guys loved it let us know what
57:47
you think like
57:47
subscribe comment share this episode it's usually a paid
57:52
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57:53
to give it to you for free because you deserve it monkeys yeah
57:56
you crazy monkeys
57:57
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