Latest / The Bechdel Cast / Lion King (1994) with Naomi Ekperigin

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Lion King (1994) with Naomi Ekperigin · The Bechdel Cast

• 0:00
  Speaker 1: On the beck dol Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in them? Are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands? Do they have individualism? The patriarchy? Zef in
• 0:11
  Speaker 1: best start changing it with the Bechdel Cast. Hello and
• 0:16
  Speaker 1: welcome to the Bechtel Cast. My name is Caitlin Dronte
• 0:19
  Speaker 1: and he's Jamie Loftiz. And here we are talking about
• 0:22
  Speaker 1: women in film once again. Wow, brave of us, honestly,
• 0:26
  Speaker 1: so brave, incredible. We should get awards. We got one
• 0:30
  Speaker 1: once oh yeah, that Female Comedy Award for Yeah. So
• 0:36
  Speaker 1: it's about damn time we have another one here that
• 0:39
  Speaker 1: wyah demand it anyway, So we talk about the representation
• 0:44
  Speaker 1: of women in movies, using the Bechtel test as a
• 0:48
  Speaker 1: way to initiate a larger conversation. Jamie, what's the Bechtel Test? Oh,
• 0:53
  Speaker 1: I'll tell you. I'm sorry, I was just burping off. Um,
• 0:57
  Speaker 1: I will tell you. The Bechtel test is a medium
• 0:59
  Speaker 1: match invented by queer cartoonist Alison Bechdel that requires of
• 1:05
  Speaker 1: a piece of media that there be two female identifying
• 1:08
  Speaker 1: characters who talk to each other about something other than
• 1:11
  Speaker 1: a man. They also need to have names. It is
• 1:13
  Speaker 1: also sometimes called the back to Wallace test because it
• 1:15
  Speaker 1: was a collaborative effort. How do I do? That? Was incredible?
• 1:20
  Speaker 1: I honestly was just holding on second Purp that whole time.
• 1:23
  Speaker 1: And if you could just take it away, I'm going
• 1:24
  Speaker 1: to take care of that. Sure. So today an anticipation,
• 1:30
  Speaker 1: thank you, an anticipation of the upcoming live action remake
• 1:37
  Speaker 1: of Disney's The Lion King. We are talking about The
• 1:41
  Speaker 1: Lion King. Blankang there. God. I mean, Disney is evil enough,
• 1:46
  Speaker 1: but the fact that they're making us cover every single
• 1:48
  Speaker 1: one of their fucking movies as a part of their
• 1:50
  Speaker 1: sinister world takeover scheme, I resent it. It's tiring. I
• 1:54
  Speaker 1: am excited to see this movie. I will be seeing it.
• 1:58
  Speaker 1: I haven't seen any of the live remakes in theaters,
• 2:01
  Speaker 1: but this is the one. I'm a loser. They're nice
• 2:05
  Speaker 1: because you have Amcy Stubbs there, but this, this, I
• 2:08
  Speaker 1: think is the one that's going to break me because
• 2:10
  Speaker 1: I love the link ship. So let's talk about the
• 2:14
  Speaker 1: one from nine and here to join us in that conversation,
• 2:18
  Speaker 1: We've got comedian actor co host of Couples Therapy podcasts,
• 2:23
  Speaker 1: and you know her from our when Harry Met Sally
• 2:26
  Speaker 1: episode and our Black Panther episode time. Yes, it's Naomi
• 2:32
  Speaker 1: comparagon and welcome. So you are making history right now
• 2:37
  Speaker 1: on the Bechtel Cast as our first ever three time guest. However,
• 2:42
  Speaker 1: this is the first time that it's just the three
• 2:46
  Speaker 1: of us all at once talking together. Because the first time,
• 2:49
  Speaker 1: if you recall for when Harry met Sally, I wasn't.
• 2:52
  Speaker 1: Jennie was on presidence. It's just you and I and
• 2:54
  Speaker 1: in the Mike's Hard Lemonade you drink in her honor,
• 2:56
  Speaker 1: that was I feel like a presence. I felt like
• 2:59
  Speaker 1: I was there. You were embodied in that Mike's Hard lemonade. Yes, yes,
• 3:03
  Speaker 1: And then the second time Jamie and I were both president,
• 3:06
  Speaker 1: but so was if you wadi Way was talking about
• 3:09
  Speaker 1: Black Panther with all of us history making anyways, so
• 3:15
  Speaker 1: welcome back. Thanks for being here so much for having,
• 3:18
  Speaker 1: of course, for Disney's first black film. We'll tell us
• 3:22
  Speaker 1: about your history in relationship with the Lion King. Well,
• 3:25
  Speaker 1: I do recall seeing The Lion King in the movie theaters.
• 3:28
  Speaker 1: What was that? I would have been ten. I would
• 3:32
  Speaker 1: have been ten prime time I saw it, and I
• 3:35
  Speaker 1: saw it with my cousin and the probably aunt took
• 3:38
  Speaker 1: us and I was like, did it come out over
• 3:39
  Speaker 1: the summer April? Okay, So we saw it together and
• 3:44
  Speaker 1: I remember my cousin who was um. She was always
• 3:47
  Speaker 1: like a cool tough girl, you know, and I remember her.
• 3:50
  Speaker 1: She cried during the Lion King and I was like,
• 3:52
  Speaker 1: and she was like, somebody's like. I was like, this
• 3:57
  Speaker 1: movie got us all. Wait it says jun Sorry, I
• 4:02
  Speaker 1: was looking at the soundtrack. Never mind that came out
• 4:07
  Speaker 1: so we can all get cromed. Because I started it
• 4:10
  Speaker 1: was like full of bops watching it was like single
• 4:13
  Speaker 1: soundtrack is and it's like all the most of the
• 4:16
  Speaker 1: songs are in the first half of the movie and
• 4:19
  Speaker 1: then there's not many songs in the second half this movie.
• 4:22
  Speaker 1: We're watching it back, You're like, there's some weird tone
• 4:25
  Speaker 1: ship going on, but I'm here for it. There's like
• 4:28
  Speaker 1: in the final battle scene, it's like timon and drag
• 4:31
  Speaker 1: cut to murder scene, cut to Rafiki is a ninja
• 4:35
  Speaker 1: cut to murder scene. Like it's so wild, totally inconsistent,
• 4:42
  Speaker 1: but I love it. Paste a little funky as well,
• 4:44
  Speaker 1: pasteball funky as well. I felt like in rewatching again
• 4:47
  Speaker 1: obviously at the age ten, I wasn't sitting here being like, wow,
• 4:49
  Speaker 1: these total shifts, but it did feel like, you know,
• 4:53
  Speaker 1: watching it grown, I was like, really, you've got thirty
• 4:57
  Speaker 1: minutes before it really pops off. And then everything happened
• 5:00
  Speaker 1: real fast, and they basically used two musical numbers to
• 5:03
  Speaker 1: cover the space of like ten years one of them right,
• 5:07
  Speaker 1: and then they use the other one to cover like romance,
• 5:10
  Speaker 1: like in the space of one song. Okay, I guess there, Okay,
• 5:15
  Speaker 1: I definitely have sex. There is a in the like
• 5:21
  Speaker 1: I like, I remember that. So that shot of Nala
• 5:25
  Speaker 1: being like sexy it's in the grass and she's like
• 5:29
  Speaker 1: I was like, how did they fake this lion look
• 5:33
  Speaker 1: like a coquette? You know what I mean? This is
• 5:36
  Speaker 1: you can tell this is a male dominated production for
• 5:38
  Speaker 1: many reasons. But the lion fucked me as is like
• 5:42
  Speaker 1: ship It's insane. That is that is I'm literally blown away,
• 5:49
  Speaker 1: Like I was like, how did they? And I just like,
• 5:50
  Speaker 1: we gotta get an animator on the horn. We gotta
• 5:53
  Speaker 1: figure out what that brainstorm this what's the brainstorming conversation?
• 5:58
  Speaker 1: It's like, how do I convey horny nos in this
• 6:01
  Speaker 1: lion's eyes and then what is the art technique? And
• 6:06
  Speaker 1: it creates the centrality and I was like watching there.
• 6:09
  Speaker 1: They released it on DVD at some point with a
• 6:12
  Speaker 1: ton of like extra features and some of them are
• 6:14
  Speaker 1: on YouTube, and like the animators really really studied animals
• 6:19
  Speaker 1: to be able to like animate them. So I'm like,
• 6:20
  Speaker 1: did they get a lion horny? Like is that based
• 6:23
  Speaker 1: on did they watch lions have sex? And they're like,
• 6:26
  Speaker 1: this is actually not gross, this is actually really helpful
• 6:29
  Speaker 1: for my job. Well, you know, they did legit go
• 6:31
  Speaker 1: to Africa, they went to Kenyan, was like, Okay, what's
• 6:34
  Speaker 1: going on here, Let's get boots on the ground. And
• 6:36
  Speaker 1: I believe part of that was watching animals fuck and
• 6:39
  Speaker 1: being like this is productive, guys, Yeah, this is actually
• 6:42
  Speaker 1: for art. Just the camera. They tell h R they're
• 6:46
  Speaker 1: taking the day off, but they're actually going to watch
• 6:48
  Speaker 1: animals have sex. What a messy? So in theaters did
• 6:57
  Speaker 1: you watch it much after that? Or is that like
• 7:00
  Speaker 1: the only time. I feel like I must have seen
• 7:02
  Speaker 1: it a couple of times after that, But that might
• 7:04
  Speaker 1: have been my peak of Disney, you know what I mean,
• 7:07
  Speaker 1: Like ten eleven years old, that's when I'm watching all
• 7:11
  Speaker 1: that stuff and I like them all and then I
• 7:13
  Speaker 1: kind of age outing, So that was so definitely. Lion
• 7:16
  Speaker 1: King from me is probably like the peak Disney when
• 7:19
  Speaker 1: that drone was amazing. Yes, Jamie, what about you? What's
• 7:22
  Speaker 1: your relationship? Oh? Man, I love this movie very much.
• 7:25
  Speaker 1: I might have. I think I was too young to
• 7:28
  Speaker 1: see it in the theaters. I was just one when
• 7:30
  Speaker 1: I came up there. When were you born? Was born
• 7:34
  Speaker 1: in August two? Okay, I have to go. I did
• 7:38
  Speaker 1: not sign up to doctor someone who didn't see Clue
• 7:40
  Speaker 1: listen to theaters. Originally, that's my rule for all human interaction.
• 7:44
  Speaker 1: You did not see Clu, listen to the theaters, I
• 7:46
  Speaker 1: can't with you. I might have. Might my mom went
• 7:49
  Speaker 1: and left me on the floor. She didn't do that.
• 7:52
  Speaker 1: She did that a few times, and I was a kid.
• 7:53
  Speaker 1: There's like a rated like PG thirteen or our movie,
• 7:57
  Speaker 1: and she'd bring me and then she'd just be like
• 7:59
  Speaker 1: here you go, and that I would just like sit
• 8:00
  Speaker 1: on the floor and listen. She definitely I think it
• 8:05
  Speaker 1: was the wedding planner that I remember sitting on the
• 8:08
  Speaker 1: floor and hearing but not being able to watch. Uh.
• 8:12
  Speaker 1: But I mean, I've seen this movie easily a hundred times.
• 8:15
  Speaker 1: Like we my mom ran a daycare out of our
• 8:18
  Speaker 1: house and so there was a VHS in at all times,
• 8:22
  Speaker 1: and like, this is a crowd pleaser. You can shut
• 8:25
  Speaker 1: up a house full of kids by turning on the
• 8:27
  Speaker 1: Lion King. Yeah, I loved it. We had I remember,
• 8:31
  Speaker 1: between me and my all of my cousins, they were
• 8:33
  Speaker 1: like McDonald's toys and they're like a little Finger puppets,
• 8:37
  Speaker 1: and everyone was allowed to go to McDonald's once a
• 8:39
  Speaker 1: week and we were trying to like crowdsource the full
• 8:42
  Speaker 1: set and I don't know, I just love it so much.
• 8:44
  Speaker 1: Sing along tapes we had, like those didn't even have
• 8:47
  Speaker 1: those Disney sing along Disney joints. Loved about Little Cricket. Yeah,
• 8:54
  Speaker 1: Gott and he'd be like, let's sing Lion King again.
• 8:56
  Speaker 1: And then my mom was like, cool, I'm going to bed. Um. Yeah,
• 9:00
  Speaker 1: I love this movie and and watching it back. What
• 9:03
  Speaker 1: what is interesting to me now is like the production
• 9:06
  Speaker 1: history of this movie, because it's like, I don't know,
• 9:09
  Speaker 1: it is genuinely hard for me to get excited about
• 9:11
  Speaker 1: these live action remakes just seeing them, but the production
• 9:15
  Speaker 1: aspects and like the stuff that they're updating and the
• 9:17
  Speaker 1: stuff they're not, and like that is interesting to me.
• 9:20
  Speaker 1: So like finding out about the history of this a
• 9:23
  Speaker 1: little bit was was cool. But man, Lion King Knight
• 9:27
  Speaker 1: forms the world to me, I love it so much
• 9:29
  Speaker 1: the same same. I was eight when it came out.
• 9:31
  Speaker 1: I think I probably saw it in the theater, promptly
• 9:34
  Speaker 1: got it on VHS, saw it probably eighty times throughout
• 9:39
  Speaker 1: my childhood. Yeah, I love it a whole lot, but
• 9:43
  Speaker 1: this is one of the ones that I haven't seen
• 9:44
  Speaker 1: that recently. It's probably been a good ten or more
• 9:47
  Speaker 1: years since I watched it. He was reminded when rewatching it.
• 9:53
  Speaker 1: The Stampede sequence is so visually just cinematically incredible, like
• 9:59
  Speaker 1: the music and the visuals and the animation and just
• 10:02
  Speaker 1: the emotion and oh my, it's I'm gonna cry, but
• 10:07
  Speaker 1: it's yeah, I'm so good. I mean we also just
• 10:10
  Speaker 1: like the opening, and rewatching totally forgot. I was like,
• 10:13
  Speaker 1: oh my god, nobody speaks for about four and a
• 10:16
  Speaker 1: half to five in that first three minutes, like just
• 10:21
  Speaker 1: literally setting a scene like Disney was like we in Africa, bitch,
• 10:24
  Speaker 1: you know what I mean? Honestly, how much the Black
• 10:26
  Speaker 1: panther take from Lion. We'll talk about that later, but
• 10:31
  Speaker 1: but it was like like they just really take like
• 10:33
  Speaker 1: hear all the animals, here are them coming across the
• 10:37
  Speaker 1: plane to this big moment, you know what I mean.
• 10:39
  Speaker 1: Like it just thought they took their time with setting
• 10:43
  Speaker 1: the scene in a way that maybe now because we're
• 10:46
  Speaker 1: so used to animated ship and everything is animated all
• 10:49
  Speaker 1: the time now, that like you don't need to do that.
• 10:52
  Speaker 1: But it just had the very like a there's a
• 10:54
  Speaker 1: majestic quality, a grandeur to it that I felt they
• 10:57
  Speaker 1: really leaned into. It's beautiful and it feels like one
• 11:01
  Speaker 1: of those like a movie that takes a very young
• 11:03
  Speaker 1: audience seriously and they're like, oh, kids will be able
• 11:05
  Speaker 1: to handle this, because I feel like they're like, it's
• 11:08
  Speaker 1: the animals. Kids like animals. But it is it's like
• 11:10
  Speaker 1: this beautiful grand set up in the animation in this movie.
• 11:13
  Speaker 1: For all of the criticisms I'm sure we all have,
• 11:16
  Speaker 1: is so beautiful and like I get I cry at
• 11:19
  Speaker 1: the beginning. I was crying the whole way through when
• 11:22
  Speaker 1: I watched it by myself, I was it really I mean,
• 11:25
  Speaker 1: it's a lot and like and the fact that This
• 11:28
  Speaker 1: is like the the movie that basically a whole generation
• 11:31
  Speaker 1: of kids learned about the concept of death from Whore,
• 11:35
  Speaker 1: like learned how to rationalize it if they had already
• 11:37
  Speaker 1: experienced it is like hoof, it's I can't I can't
• 11:42
  Speaker 1: think about Mufasa without crying, Like Disney off up. It's
• 11:48
  Speaker 1: like because they're always killing a parent, you know what
• 11:50
  Speaker 1: I mean, It's like always like either if not usually
• 11:52
  Speaker 1: the mom is already dead. That's either the background is
• 11:55
  Speaker 1: a dead mom or the insding incident is a dead parent.
• 11:58
  Speaker 1: But something about Mufassa and I was like, how dare
• 12:02
  Speaker 1: this one? I can't allow? This is one I can't
• 12:04
  Speaker 1: take the Shakespearean gravet talk. I mean, you know it's
• 12:08
  Speaker 1: a lot, don't you love they did to They're like, yeah,
• 12:11
  Speaker 1: why don't we just do like an African animal version
• 12:14
  Speaker 1: of Hamlet? Like would that be a little bit? There's Oh,
• 12:19
  Speaker 1: I can't wait to talk about the development of this
• 12:21
  Speaker 1: movie because Disney is evil always and so they're they're
• 12:25
  Speaker 1: just they love to steal and not give proper credit.
• 12:29
  Speaker 1: But I mean it is like the elements of Hamlet
• 12:33
  Speaker 1: that this movie uses. You're just like, why why did
• 12:36
  Speaker 1: you do that, but it's so good. But then we
• 12:38
  Speaker 1: get Rose and Cranson guilded Stern. The movie gets so
• 12:45
  Speaker 1: silly in the middle for like twenty minutes, and you're
• 12:48
  Speaker 1: just like, oh, this is great. We're like where all
• 12:50
  Speaker 1: of a sudden, we're in the rainforest. We're a totally
• 12:53
  Speaker 1: different climate. It's unclear how close the rainforest is to Pride,
• 12:58
  Speaker 1: for you were joking it might be like mile away,
• 13:01
  Speaker 1: because I think I was dead right. They think he
• 13:03
  Speaker 1: did right. But then but then at the same time,
• 13:05
  Speaker 1: not it got to him. So she was doing her
• 13:07
  Speaker 1: regular hunting and came upon them that I don't know, well,
• 13:17
  Speaker 1: I don't know, you know, I figure it out. Well,
• 13:20
  Speaker 1: today that's what we're doing here. Today, we're figuring it out. Okay,
• 13:22
  Speaker 1: So I'll do the recap of the film. Okay, So
• 13:29
  Speaker 1: we are somewhere in Africa where exactly unclear the African part.
• 13:37
  Speaker 1: We learn about the circle of life through a song
• 13:41
  Speaker 1: and all the visuals that Nami was describing. We also
• 13:44
  Speaker 1: learned about what do they call it when there's a
• 13:46
  Speaker 1: king and a queen, a monarchy. We also learned about monarchy.
• 13:52
  Speaker 1: We see a baby lion cub that has just been
• 13:55
  Speaker 1: born and that's symbol RAFFII, who everyone thinks, including the movie,
• 14:02
  Speaker 1: is a bad boon but is actually a man. Drill
• 14:05
  Speaker 1: holds him up to the sky his baby Simba Cub
• 14:09
  Speaker 1: and the light shines on r and his parents, Mufasa
• 14:16
  Speaker 1: and Sarabi are so proud. Then we flashed forward to
• 14:21
  Speaker 1: sometime later when Simba is a little bit older as
• 14:23
  Speaker 1: a kid. Now he's Jonathan Taylor, Thomas Darling, Yes Darling,
• 14:32
  Speaker 1: his uncle Scar, voiced by Jeremy Irons giving you high Camp.
• 14:37
  Speaker 1: Oh my god, the met Gala. Jeremy Irons. We were
• 14:46
  Speaker 1: talking about this where Caitlyn and I watched it last
• 14:48
  Speaker 1: night and we were I wish that, like every animated
• 14:52
  Speaker 1: project had like Bob's Burger's Rules, where everyone has to
• 14:56
  Speaker 1: be in the room recording together at the same time,
• 14:58
  Speaker 1: because I just want a video CEO of James Earl
• 15:01
  Speaker 1: Jones and Jeremy Irons yelling at each other. I don't
• 15:05
  Speaker 1: want them in different rooms, right, I'm pawing at each other.
• 15:10
  Speaker 1: So Uncle Scar is mean, he's jealous of Mufasa because
• 15:17
  Speaker 1: Mufasa is king and Scar isn't. He's and yeah, Scars
• 15:22
  Speaker 1: like he's he's slinkier. He's also darker, darker right on
• 15:30
  Speaker 1: the lot of coding happening with Disney villains including Scar. Yes,
• 15:36
  Speaker 1: we'll talk about that big queer coat in Comba to
• 15:39
  Speaker 1: be for sure. So Mufasa tells his son's Simba that
• 15:44
  Speaker 1: he's going to be king someday, and he tells Simba
• 15:48
  Speaker 1: about their kingdom and he will rule everything but this
• 15:52
  Speaker 1: shadowy area off in the distance. And then Simba finds
• 15:55
  Speaker 1: out from Scar that that place is an elephant graveyard
• 16:00
  Speaker 1: where the hyenas, where the hyenas live, and then Scar
• 16:03
  Speaker 1: kind of subtly coaxes Simba to go there. So Simba
• 16:08
  Speaker 1: sings a song about how he just can't wait to
• 16:10
  Speaker 1: be kings. Yes, and that's not Jonathan Taylor Thomas singing,
• 16:14
  Speaker 1: it's the older black. That's a black person. Don't get
• 16:17
  Speaker 1: me started what they do in this movie. And then
• 16:25
  Speaker 1: Simba and his best friend Nala go to the elephant graveyard,
• 16:29
  Speaker 1: but they are chased by three hyenas, who we learned
• 16:34
  Speaker 1: that Scar had sent to kill Simba. Mufassa shows up
• 16:38
  Speaker 1: and saved them, and Foss is like, Simba, you freaking idiot,
• 16:44
  Speaker 1: You put yourself in danger. You put Nala in danger.
• 16:47
  Speaker 1: You do it at James Earl Drones voice starting with
• 16:50
  Speaker 1: you freaking idiot, you freaking idiot. That's why he's the
• 17:00
  Speaker 1: only original cast member back baby, when you got it,
• 17:03
  Speaker 1: you got it? Yeah. Jerry Irons is twirling his mustache
• 17:09
  Speaker 1: and fury somewhere. So Simba's all sad because he messed
• 17:14
  Speaker 1: up to bed and now Scar has to figure out
• 17:17
  Speaker 1: a new plan to get rid of Simba, and he
• 17:20
  Speaker 1: sings what I think is the best song of the
• 17:23
  Speaker 1: movie about being prepared to introduce the third Reich into
• 17:29
  Speaker 1: his led to the community. Big Lenny Reef install vibes. Also,
• 17:35
  Speaker 1: I'm sorry, way too long with a song, maybe because
• 17:37
  Speaker 1: I don't like Scar. I was like, I think you
• 17:39
  Speaker 1: can pull it back, sweetie. I just think it should
• 17:42
  Speaker 1: go on longer. Oh my god, it should last the
• 17:47
  Speaker 1: length of titanicly hours and fourteen minutes. Green Fog, I
• 17:52
  Speaker 1: love it. So he decides to have the hyenas cause
• 17:59
  Speaker 1: a will to Best stampede, which Simba gets trapped in
• 18:04
  Speaker 1: the middle of and then Fossa has to go and
• 18:07
  Speaker 1: save him, which he does, but then as mufass is
• 18:09
  Speaker 1: trying to get back to safety, Scar sort of launches
• 18:12
  Speaker 1: Mufassa back into the stampede and kills him, and then
• 18:16
  Speaker 1: we all children learn that life is not fair. Yeah's
• 18:20
  Speaker 1: the most sobering moment of your childhood is when Scar
• 18:26
  Speaker 1: sinks his fucking claws and muf and he goes that
• 18:31
  Speaker 1: key and you're like, Jerry ares no, he throws him off.
• 18:36
  Speaker 1: It's and then the stampede moves on and Simba's looking
• 18:41
  Speaker 1: all around and we we know what's happening, and but
• 18:45
  Speaker 1: Simba's finds Mufassa and then he crawls under his big
• 18:49
  Speaker 1: pack and we are crying. It's really sad, and the
• 18:55
  Speaker 1: Scar comes up and he's like, Simba, if it weren't
• 18:58
  Speaker 1: for you, your father still be alive. We learned about
• 19:01
  Speaker 1: death and gaslight back to back a lot, and he's
• 19:05
  Speaker 1: like he makes Simba think that Foster's death with Simba's fault,
• 19:09
  Speaker 1: and he's like, your mom is going to hate you.
• 19:11
  Speaker 1: Everyone hates you now, so you just should run away
• 19:15
  Speaker 1: and never return. What do you think Simba's like eight Yeah,
• 19:18
  Speaker 1: at this point he's like a decade and then he
• 19:21
  Speaker 1: liked it becomes at eighteen year old. I think he
• 19:24
  Speaker 1: comes back with big college freshman energy. He's like, I'm back.
• 19:30
  Speaker 1: He's like coming back for thanksging like I'm a vegan.
• 19:33
  Speaker 1: Now I've studied abroad. I took a soology and I
• 19:37
  Speaker 1: feel ready to do because it's really eliminating. I was
• 19:42
  Speaker 1: raised by my two gay uncles and now I'm very cultured.
• 19:45
  Speaker 1: It literally came back after a semester at Oberlin, like
• 19:48
  Speaker 1: he's back. So Simba does run away and he is
• 19:54
  Speaker 1: found by Tomone and Pumba, a mere cat and a
• 19:56
  Speaker 1: wart hot. Now it gets fun. It's fun, really silly
• 20:00
  Speaker 1: for a while there's watching. It is kind of fun
• 20:02
  Speaker 1: because it is. I didn't realize what a major relief
• 20:05
  Speaker 1: it is. Went to Morrow and Pumba show up, but
• 20:07
  Speaker 1: you're just like an emotional rack and then you're like,
• 20:11
  Speaker 1: oh it's Nathan Lane. We're safe. Also Nathan Lane and
• 20:13
  Speaker 1: Matthew Broderick performing alongside each other in this and then
• 20:17
  Speaker 1: later in the Producers, I will say I have my
• 20:21
  Speaker 1: thoughts about Matthew Roderick in this role. I tell you
• 20:24
  Speaker 1: right now, I'm excited. I'm not I'm not married to
• 20:27
  Speaker 1: Matthew Roderick in this role at all. Yeah, I think
• 20:29
  Speaker 1: it should have been Alfred Molina. They're right. There's a
• 20:37
  Speaker 1: few vocal performances that I'm very attached to some studie
• 20:41
  Speaker 1: I mean really yeah, like James Earl Jones and like
• 20:48
  Speaker 1: Jeremy Irons, Black Nala serving Black Nala, the attitude, the
• 20:54
  Speaker 1: spunk givermore dialogue was that when I got into JTJ.
• 20:58
  Speaker 1: When I saw him love a black and looking back,
• 21:01
  Speaker 1: I mean I did love him, and now I'm looking back,
• 21:05
  Speaker 1: he was rough and tumble his sister and I am
• 21:08
  Speaker 1: a little attached to Mr Bean as Zazu. But I
• 21:12
  Speaker 1: think that John Oliver is a good stand in for
• 21:14
  Speaker 1: Mr Bean basically our generations, Mr Bean, maybe we'll see
• 21:20
  Speaker 1: what John oiveror does. John Oliver is goofy to me,
• 21:23
  Speaker 1: but it still feels like a restrained goofy. No, it
• 21:26
  Speaker 1: is an Areo died goof Do you see the goof
• 21:28
  Speaker 1: I'm doing? Whereas I think we all know Mr Bean,
• 21:32
  Speaker 1: I mean caution to the wind. Mr Bean has no
• 21:35
  Speaker 1: self respect. He's he's chaos, really and the way and
• 21:41
  Speaker 1: he and it comes out in Zaze. I think Zazo
• 21:44
  Speaker 1: is his most restrained role that he's ever done. So
• 21:48
  Speaker 1: I don't know, really funny, Okay, if you had to
• 21:51
  Speaker 1: choose Disney Birds. Are we going with Yaga? Are we
• 21:55
  Speaker 1: going with Zazo? I don't really don't. Boy is far
• 22:01
  Speaker 1: too grating, and I'm the first one to say that
• 22:03
  Speaker 1: you're welcome everybody. Caitlin coming through with hot taps, gilt voice,
• 22:09
  Speaker 1: I'm tea Iago And now I'm wondering. I'm like, is
• 22:12
  Speaker 1: that a Shakespearean reference to like they I don't know that, yeah,
• 22:19
  Speaker 1: because they're yeah, They're like, we're actually a little better
• 22:22
  Speaker 1: than your average cartoon, and I'm like, no, you're usually
• 22:24
  Speaker 1: stealing from sall like it stuff you can steal, but
• 22:27
  Speaker 1: it's like in the public domain, it's like stuff you
• 22:29
  Speaker 1: can steal from anything that they would have to pay
• 22:32
  Speaker 1: for it. Their like coincidence. Okay, tell us all the time. Okay,
• 22:36
  Speaker 1: this is a classic family drama. It is not okay,
• 22:40
  Speaker 1: so um Toman and Pumba tell Simba, hey, don't worry
• 22:44
  Speaker 1: about your past. Tokuna matata means no worries. There's that
• 22:48
  Speaker 1: greatest greatest song slash Montage Walk across the damn log
• 22:52
  Speaker 1: Age ten years I'm brilliant. That makes me tear That
• 22:57
  Speaker 1: made me. That makes me tear up a little bit too. Can.
• 22:59
  Speaker 1: My don't know. I think it's because my mom is crazy,
• 23:01
  Speaker 1: and she'd be like, that's wow, I feel about you
• 23:07
  Speaker 1: that She's like, you're growing up so fast. So it's
• 23:11
  Speaker 1: like the log, like, okay, my mom felt strongly about
• 23:16
  Speaker 1: the log. We had a framed My mom was really
• 23:18
  Speaker 1: into like putting framed Disney prints on credit cards, which
• 23:22
  Speaker 1: would later prevent us to go from going to college.
• 23:25
  Speaker 1: But she was really into purchasing framed Disney prints for
• 23:28
  Speaker 1: a while, and we had a picture of the log
• 23:30
  Speaker 1: in our house. Well, it's on that log that he
• 23:36
  Speaker 1: turns into the carefree adult that is not concerned with
• 23:40
  Speaker 1: his paths anymore, or at least not on a conscious
• 23:44
  Speaker 1: level of compartmentalize. Oh yeah, he needs some serious therapy,
• 23:48
  Speaker 1: that Simba. But he's an adult now. Then knowledge shows
• 23:51
  Speaker 1: up and she's like, oh my god, Simba, you're alive.
• 23:55
  Speaker 1: Holy sh it, you need to come back to Pride
• 23:58
  Speaker 1: Rock because Scar the hyenas have taken over and they've
• 24:02
  Speaker 1: ruined everything. She's like, Eve been gone ten years. It's
• 24:04
  Speaker 1: Nazi Germany. Now there is no water, the e p
• 24:09
  Speaker 1: A has been dismantled, and the environment has been Rock
• 24:13
  Speaker 1: is flitt and we need you back, we need you back,
• 24:18
  Speaker 1: not to keep poking the plot holes in there. But
• 24:20
  Speaker 1: it's like prod Rock doesn't have water, weird to believe.
• 24:22
  Speaker 1: It's sort of kind of nearby, and Simba's over here
• 24:25
  Speaker 1: with a lake and it's so much grub, so much food. Yeah, yeah,
• 24:31
  Speaker 1: confusing a lot of greenery. Maybe that's a weird scar
• 24:34
  Speaker 1: roll of don't go to the very nearby lake, probably,
• 24:38
  Speaker 1: And then Simba's like, I can't go back. My feelings
• 24:42
  Speaker 1: hurt too much. But I don't know how to talk
• 24:43
  Speaker 1: about that. I don't deserve to go back. I don't
• 24:46
  Speaker 1: deserve to go like he's doing a lot of that.
• 24:48
  Speaker 1: I don't think Broderick was too old for this. Sorry,
• 24:51
  Speaker 1: I haven't even got still still like Broderick, you know,
• 24:57
  Speaker 1: we want to think you so boyish, you know he
• 24:59
  Speaker 1: had is that boyish? I think he rode that boyish
• 25:02
  Speaker 1: wave well into his fifties, like and he's probably like
• 25:07
  Speaker 1: thirty something, but it's like a little too I don't know.
• 25:11
  Speaker 1: He is Steff White, you know. And when it comes
• 25:15
  Speaker 1: to vocal again, you gotta be coming through irons camp
• 25:18
  Speaker 1: drum off at all, and um, it felt like Matthew
• 25:22
  Speaker 1: Broderick was like a little too uptight, you know, so
• 25:26
  Speaker 1: it was white Notala. Yeah, for sure. I was like,
• 25:29
  Speaker 1: okay both for y'all, y'all giving me something like weird
• 25:31
  Speaker 1: like young and the restless multi kam moment, and what
• 25:35
  Speaker 1: I need is I mean, it's the vocal fund of
• 25:38
  Speaker 1: like Nathan Lane and um, I'm a blinking on Isabella,
• 25:43
  Speaker 1: thank you or Isabella. And obviously different characters, like different
• 25:47
  Speaker 1: types of characters, like obviously the word hog has got
• 25:49
  Speaker 1: to come through with raspy, jovial nous but a little
• 25:52
  Speaker 1: something the only seventeen eighteen, and it's like and especially adult,
• 25:58
  Speaker 1: I mean not in jen neural, I mean the voice
• 26:02
  Speaker 1: changes is infuriating. And and then also like she has
• 26:06
  Speaker 1: so few lines at all that it's like, you know,
• 26:09
  Speaker 1: you get to hire a local performer who can like deliver,
• 26:12
  Speaker 1: like make a live deliver the seven lines you give
• 26:14
  Speaker 1: her in the second damn meal of it. So Nala
• 26:20
  Speaker 1: is trying to convince him to return. He's like no,
• 26:22
  Speaker 1: but then Raffiki shows back up and imparts some wisdom
• 26:26
  Speaker 1: about how Simba needs to face his past and how
• 26:29
  Speaker 1: Mufassa is alive inside of him, and then ghost. Mufassa
• 26:33
  Speaker 1: shows up in the sky and he's right, yeah, Kimba
• 26:38
  Speaker 1: the wine line, oh gosh. So Simba is like, oh, ship,
• 26:42
  Speaker 1: I should go back home. I'm on spring breaks. I'll
• 26:46
  Speaker 1: go back. And then he returns to Pride Rock and Nala,
• 26:50
  Speaker 1: Tomor and Pumba also follow him and scars like, oh, Simbody,
• 26:56
  Speaker 1: you're alive. That's weird. And then Sarabi's like, oh my god,
• 27:00
  Speaker 1: you're alive, Simba, and everyone you know has varying reactions
• 27:03
  Speaker 1: to him being there. And then Simba challenges Scar in
• 27:07
  Speaker 1: a I wrote down Game of Thrones? Ever heard of him?
• 27:14
  Speaker 1: Scars like, oh, by the way, I'm the one who
• 27:16
  Speaker 1: killed Mufasa, and Simba's like no, and then they fight
• 27:21
  Speaker 1: and he throws Scar over a cliff and then the
• 27:24
  Speaker 1: hyenas eat him. But no, but remember though, it's like
• 27:28
  Speaker 1: literally first Simba comes back sensitive and scars like you
• 27:32
  Speaker 1: killed your father? Tell everybody, and like you did, Simba,
• 27:35
  Speaker 1: and then two seconds later scars like I killed your father.
• 27:39
  Speaker 1: Simba pushes him back and it's like tell him what
• 27:41
  Speaker 1: you child? Be just down my ear and he's like
• 27:42
  Speaker 1: I killed him, and they're like scars like it's like
• 27:45
  Speaker 1: literally how fast it And then and then like in
• 27:51
  Speaker 1: the middle of that, Timon and Boomba show up and
• 27:53
  Speaker 1: they're goofing up. You're just like, this is this is
• 27:56
  Speaker 1: a mess. It's like a very messy high school fight
• 27:59
  Speaker 1: of like tell them what you just said and then
• 28:00
  Speaker 1: he's like I'm saying and then you're like oh, and
• 28:04
  Speaker 1: then the two like clowns are over here, like I
• 28:09
  Speaker 1: love when Tom was like, what do you want me
• 28:11
  Speaker 1: getting dragon? Do? The hula cut to him and dragged
• 28:14
  Speaker 1: during the hula and then back to the brutal Game
• 28:17
  Speaker 1: of Thrones. That's also was like are you acon for
• 28:21
  Speaker 1: some bacon? And then smash cut to Simba punching Scar
• 28:27
  Speaker 1: in the face. It could be a big pig too, Okay,
• 28:32
  Speaker 1: So then Scar has been defeated, and then we flashed
• 28:35
  Speaker 1: forward to Pride Rock is nice again. The e p
• 28:38
  Speaker 1: a has been reinstated, finally clean the water, yes, they
• 28:42
  Speaker 1: remembered about the lake is like it's literally Nala knows
• 28:47
  Speaker 1: where it is. I don't know. And Nala had gotten
• 28:53
  Speaker 1: gregnant with a little baby lion cub who RAFFII lifts
• 28:58
  Speaker 1: into the sky just Extemba had been in the beginning
• 29:01
  Speaker 1: because it's the circle. And then we learned in the
• 29:06
  Speaker 1: second one that it's his daughter Chiara. They never watched
• 29:11
  Speaker 1: the sexte I've seen. I've seen the second one. It's
• 29:14
  Speaker 1: it's that one's basically Romeo and Juliet. But yes, his daughter,
• 29:18
  Speaker 1: Simba's daughter Chiara. Cute. We've got to go to a
• 29:22
  Speaker 1: quick break, but then we will come right back. I mean,
• 29:30
  Speaker 1: where to begin, Where to begin? What if we already
• 29:33
  Speaker 1: started talking about that, we can just pick up on.
• 29:36
  Speaker 1: We could talk about the Caucassity Present. Yes, let's do it,
• 29:41
  Speaker 1: because it is funny, like watching it like as a kid,
• 29:44
  Speaker 1: like to me it was black. I was like, oh,
• 29:48
  Speaker 1: we did get our first princess. And I was like, oh,
• 29:50
  Speaker 1: I know why I don't remember her because they made
• 29:52
  Speaker 1: her Moirachill later on. But I just because I was
• 29:55
  Speaker 1: like the voice of James Earl Jones, and just like
• 29:57
  Speaker 1: it's just interesting, you know, because like this all I do,
• 29:58
  Speaker 1: like talking white or talking black or sounding whatever. You know,
• 30:02
  Speaker 1: there's by no means a hard and fast rule. You know.
• 30:05
  Speaker 1: I definitely grew up being told I talked white for forever,
• 30:09
  Speaker 1: and now most of my stand up is just fucking
• 30:10
  Speaker 1: tackling back and forth between voices for the fun of
• 30:12
  Speaker 1: it and like code switching whenever I need to. But
• 30:16
  Speaker 1: it is just interesting how this was. This was a
• 30:18
  Speaker 1: movie to me where it was like, oh, that's a
• 30:20
  Speaker 1: black person, that's a white person, and like knowing that
• 30:23
  Speaker 1: in my ear even as a little kid, you know
• 30:25
  Speaker 1: what I mean. I just very interested in the whole
• 30:28
  Speaker 1: Like why would they not cast a black actress to
• 30:31
  Speaker 1: be Nala, Because I will say, sir, Robbie is coming
• 30:35
  Speaker 1: through with this regal realness in her cocoa vocals. Give
• 30:39
  Speaker 1: me another black woman. Madge Sinclair is the voice actor.
• 30:42
  Speaker 1: The voice of Robbie unfortunately also has seven lines total,
• 30:46
  Speaker 1: but but makes a meal of it. She's giving you something,
• 30:49
  Speaker 1: you know what I mean, a little something, And I
• 30:51
  Speaker 1: just thought that was like very um, I don't know,
• 30:54
  Speaker 1: just interesting some of those choices, you know what I mean,
• 30:57
  Speaker 1: you need to mean Jeremy Iron's perfection, Sure o Thomas.
• 31:01
  Speaker 1: What other star of that time would do it? But
• 31:03
  Speaker 1: it was just so funny how I was like, yeah,
• 31:05
  Speaker 1: that's out the deal of Thomas And when he's singing,
• 31:06
  Speaker 1: is Michael Jackson, you know, not literally Michael Howe would
• 31:09
  Speaker 1: just be that sound and you're just like like, um,
• 31:13
  Speaker 1: I think we know what happened here. It was just
• 31:17
  Speaker 1: so interesting. Yeah, the voice of young Simba Jason Weaver
• 31:22
  Speaker 1: who I remembered as the older brother and smartt that's
• 31:25
  Speaker 1: the singing voice. Singing voice. Yeah, and then so yeah,
• 31:28
  Speaker 1: white actor for the speaking voice, black actor for the
• 31:31
  Speaker 1: singing voice. Shouldn't they have just cast black voice actors
• 31:36
  Speaker 1: for every role in this movie? Well, I know, right,
• 31:40
  Speaker 1: that's kind of I know. But at the same time,
• 31:42
  Speaker 1: right there animals and so who are we to ascribe
• 31:44
  Speaker 1: race to animals? But when you start with James Earl Jones,
• 31:47
  Speaker 1: everybody else gotta brasiddication. That's the tricky Like that's a
• 31:51
  Speaker 1: tricky thing, you know what I mean, Like he's like
• 31:53
  Speaker 1: the patriarch, right, and he's giving you that gravitas, right,
• 31:57
  Speaker 1: Because it's kind of split down the middle in terms
• 31:59
  Speaker 1: of casting where you've got voice actors who are people
• 32:03
  Speaker 1: of color. We've got Mufasa Sarabi, Young Nala, Raffii, Shenzi
• 32:10
  Speaker 1: and Bondsy. So you've got like James Old Jones, mag
• 32:13
  Speaker 1: Sinclair what was the name, Robert Yeah, you know, Whoopi
• 32:18
  Speaker 1: Goldberg and teach Marin as to the hyenas, and then
• 32:22
  Speaker 1: Nikita Colamba Harris is young Nala, and then the white
• 32:27
  Speaker 1: voice actors young Simba. J. T. T. We've got adult Simba,
• 32:31
  Speaker 1: Matthew Broderick, We've got adult Nala. What's her name? Moira Kelly,
• 32:35
  Speaker 1: Kelly Scars, Jeremy Irons as we've discussed Zazoo as Rowan Atkinson,
• 32:40
  Speaker 1: Timon and Pumba are Nathan Lane and the name that
• 32:43
  Speaker 1: I also forget, Yeah, and then Jim Jim Cummings is
• 32:47
  Speaker 1: ed the the other the laughing ist Tyina. Let's yes,
• 32:53
  Speaker 1: the laughingest Hyena. Part of the issue with this movie
• 32:59
  Speaker 1: and with most Disney movies that are trying to portray
• 33:02
  Speaker 1: another culture, even if it even if the intentions are earnest,
• 33:06
  Speaker 1: is everyone in a major production role in this movie
• 33:09
  Speaker 1: is a white person, and so it's like it doesn't
• 33:12
  Speaker 1: seem like anyone was considering it. Yeah, because to me, also,
• 33:15
  Speaker 1: I look, it is animation, you know what I mean?
• 33:17
  Speaker 1: And I one of the things I love and keep
• 33:20
  Speaker 1: trying to break my ass in a voiceover is because
• 33:22
  Speaker 1: I don't have to deal with the same assumptions of
• 33:24
  Speaker 1: what I am allowed to play because of my face.
• 33:26
  Speaker 1: So I don't honestarily for me, it's like, no, you can,
• 33:28
  Speaker 1: you could give me, you know, some cross cultural moments.
• 33:32
  Speaker 1: I just an issue with the switching of vocals from
• 33:34
  Speaker 1: people in both like the and that that's a different
• 33:37
  Speaker 1: there's a different sup between Like obviously Matthew Broderick isn't
• 33:39
  Speaker 1: singing his parts. That's apparently the lead singer of Toto.
• 33:42
  Speaker 1: I think who's it's also John Williams's son. Oh wait,
• 33:50
  Speaker 1: wouldn't be funny though if it was, and that's what
• 33:52
  Speaker 1: inspired him to sing Africa. Joseph, No it is, he's
• 33:56
  Speaker 1: uh yeah, Joseph Stanley Williams fronted fronted for the lead
• 34:00
  Speaker 1: of the rock band Toto and son of John LANs
• 34:03
  Speaker 1: son of John Williams, who knew wild connection. But so
• 34:10
  Speaker 1: I get, like, you know, the actor can't sing necessarily,
• 34:13
  Speaker 1: but it's just like so jarring to go from like
• 34:16
  Speaker 1: scooky down on the Taylor Thomas to like motown moments.
• 34:20
  Speaker 1: It's just it's just such a shift. And the thing
• 34:22
  Speaker 1: I've never really understood now maybe more than ever, it's
• 34:26
  Speaker 1: about famous people and certainly if you're doing with live
• 34:28
  Speaker 1: action thing. But to me, the whole point of voice office,
• 34:30
  Speaker 1: like let the voice actors get a job I don't need.
• 34:33
  Speaker 1: It's like here Fred Savage to talk about Nissan and ship.
• 34:36
  Speaker 1: It's like, han't you got some money? What you're taking
• 34:38
  Speaker 1: all this stuff? But we don't like the fact you
• 34:40
  Speaker 1: need that star power for like even a cartoon. I say,
• 34:44
  Speaker 1: you get like a couple of recognizable names, maybe for
• 34:46
  Speaker 1: like the poster or whatever. But it's like maybe the
• 34:50
  Speaker 1: girl who was young, Nala was too young to age up,
• 34:53
  Speaker 1: but then you just find like an older like an adult.
• 34:56
  Speaker 1: There were were plenty to choose from, and you could
• 34:59
  Speaker 1: just like you just knew, I'm not gonna a little
• 35:01
  Speaker 1: black girl having fun, like you know that voice and
• 35:04
  Speaker 1: then you and then you like, like what do you
• 35:07
  Speaker 1: do with it? Just it just seems like no thought
• 35:10
  Speaker 1: was given to it, and it's it's frustrating. Luckily, the
• 35:14
  Speaker 1: live action remake seems to, of course corrected a lot
• 35:17
  Speaker 1: of this. Yes, but if you look at the production team,
• 35:20
  Speaker 1: it is still a majority white production team, white director,
• 35:23
  Speaker 1: white like it. It's that's the thing that frustrates me
• 35:26
  Speaker 1: about a lot of like it's it is like progress,
• 35:29
  Speaker 1: but if you like behind the camera representation is still
• 35:33
  Speaker 1: so low and you don't see it, and so no
• 35:35
  Speaker 1: one really well of course, and then also every if
• 35:37
  Speaker 1: you notice too, the black people in the movie are
• 35:40
  Speaker 1: the super blacks. Not an actual phrase, of course, but
• 35:44
  Speaker 1: this idea usually that like because you notice a lot
• 35:47
  Speaker 1: like people will allow a black musician who has reached
• 35:49
  Speaker 1: a stain level of fame. It's a cross over into
• 35:52
  Speaker 1: acting because like, Okay, I already know that black person,
• 35:55
  Speaker 1: so you can put them over here. But it's harder
• 35:57
  Speaker 1: for anybody just kind of crop up out of nowhere,
• 36:00
  Speaker 1: you know what I mean, Like it's Beyonce come town,
• 36:04
  Speaker 1: you know what I mean. It's like you picked the
• 36:06
  Speaker 1: best black woman around right now. Donald Glover were also
• 36:13
  Speaker 1: like a multi hyphen like if they were gonna put
• 36:15
  Speaker 1: black people and it had to be the like big
• 36:17
  Speaker 1: splashy names and not that obviously like they'll be good.
• 36:20
  Speaker 1: I'm not saying any of these people lack the ability
• 36:23
  Speaker 1: to do this work, but it is still that feeling
• 36:26
  Speaker 1: that like you're not giving like a newer performer a chance,
• 36:29
  Speaker 1: or just like you're nothing else onde the box. You're
• 36:31
  Speaker 1: like like it was just kind of like who's the
• 36:33
  Speaker 1: biggest black person we can get for this thing. Yeah, okay,
• 36:35
  Speaker 1: can we get her? Can we get her? Okay? Good, Okay,
• 36:37
  Speaker 1: now we're done. Okay, now we're done. Okay, now Beyonce,
• 36:40
  Speaker 1: just Beyonce into the microphone, into the microphone, will hit
• 36:43
  Speaker 1: record and then and then it's like you can have
• 36:46
  Speaker 1: Jon Favreau directed and people aren't gonna like raise in
• 36:49
  Speaker 1: that Like that. It really does bother me when when
• 36:51
  Speaker 1: it's there's like a lot of effort put into representation
• 36:55
  Speaker 1: in one area specifically, and then the rest is sort
• 36:58
  Speaker 1: of like, well, we can keep status over here, and
• 37:01
  Speaker 1: that's true and innim I mean that's true in a
• 37:03
  Speaker 1: lot of animation like It's and which is white boys
• 37:07
  Speaker 1: hadded but it's more white boys stealing ideas. Uh yeah,
• 37:12
  Speaker 1: do you want to talk about that? Yes, I have been.
• 37:16
  Speaker 1: I so this is like I vaguely knew about this,
• 37:19
  Speaker 1: but then I did a deep dive on it. There's
• 37:21
  Speaker 1: a YouTube channel I watch called yester World. It is
• 37:26
  Speaker 1: very long video essays about Disney theme topics and I
• 37:28
  Speaker 1: am ashamed. Uh, but he does great work. Anyways. They're
• 37:31
  Speaker 1: basically like short docs. But the Lion King part of
• 37:35
  Speaker 1: it's like claim to fame is being Disney's first quote
• 37:38
  Speaker 1: unquote original story that isn't a direct adaptation of something else.
• 37:42
  Speaker 1: So they're like, there's elements of Moses and Joseph, there's
• 37:45
  Speaker 1: elements of Hamlet, but it's an original story. It's our first,
• 37:48
  Speaker 1: like the first Disney Renaissance movie that isn't a direct
• 37:51
  Speaker 1: like old European story being adapted, right, and that doesn't
• 37:56
  Speaker 1: seem necessarily true. It bears a lot of resemblance to
• 38:00
  Speaker 1: an anime series that started as a comic book series
• 38:03
  Speaker 1: called kim Both The White Lion in Japan by a
• 38:07
  Speaker 1: very famous Japanese um animator named Osamu Tezuka, and I'm
• 38:12
  Speaker 1: not or Tessuka. It's it's the most frustrating story in
• 38:16
  Speaker 1: the world to unpack because it's just like peak Disney,
• 38:19
  Speaker 1: where it's like, if you can admit that you were
• 38:22
  Speaker 1: taking elements from this story and pay the people who
• 38:24
  Speaker 1: created it, no harm, no foul, all good because Tessuka's
• 38:28
  Speaker 1: whole um. He's a like super famous Japanese animator. He
• 38:32
  Speaker 1: invented Astro Boy and kim but with the White Lion,
• 38:34
  Speaker 1: like two huge Kimba Kimba sim you know, exactly like
• 38:41
  Speaker 1: Simbod and Tessuka idolized Disney was constantly citing Bambi as
• 38:47
  Speaker 1: the reason that he wanted to become an animator. Like
• 38:50
  Speaker 1: got to meet Disney once and was it just was
• 38:52
  Speaker 1: like very effusive about how there is and but I
• 38:57
  Speaker 1: mean it's I mean, I don't know what they're they're
• 39:00
  Speaker 1: lationship was, but uh, you know, Disney is not a
• 39:02
  Speaker 1: good person. But Tessiga makes Kimba the White Lion. It
• 39:07
  Speaker 1: is a big deal in Japan. His name is Leo
• 39:09
  Speaker 1: the Lion in Japan, but it's not in America because
• 39:12
  Speaker 1: the MGM Lion's name is Leo, so they changed it
• 39:15
  Speaker 1: to Kimba. So he's known as Kimba the White Lion
• 39:17
  Speaker 1: in America. Some people like, it's not a super popular
• 39:21
  Speaker 1: thing in America, but it is popular enough coming out. Uh.
• 39:24
  Speaker 1: The good question is the sixties. The sixties is when
• 39:28
  Speaker 1: the character was invented, or the fifties was comic books
• 39:32
  Speaker 1: and then there were movies in the sixties. Yeah, he
• 39:34
  Speaker 1: was like a well established Yeah, it's been a long time, right,
• 39:38
  Speaker 1: And so there is a lot of speculation that is
• 39:42
  Speaker 1: well founded that the Lion King rips off a lot
• 39:46
  Speaker 1: of elements of Kimba the White Lion. Most of them
• 39:49
  Speaker 1: are visual, but basically the the issue with it is
• 39:53
  Speaker 1: that here's this famous Japanese animator who absolutely loved Disney.
• 39:58
  Speaker 1: His company was willing to play ball and like lend
• 40:01
  Speaker 1: the rights because they're like, oh, you know, and he
• 40:04
  Speaker 1: he passed away by the time this movie came out,
• 40:06
  Speaker 1: but he's like, oh, Tessica would have loved that Disney
• 40:08
  Speaker 1: wanted to use his characters. But Disney firmly denied that
• 40:13
  Speaker 1: what they had done had anything to do with Kimba
• 40:17
  Speaker 1: the Lion. There, Lion Simba had nothing to do with Kimba.
• 40:20
  Speaker 1: There's a number of like things you can watch online
• 40:23
  Speaker 1: of side by side shots. The fight between Scar and
• 40:27
  Speaker 1: Simba is identical. The dead Dad in the sky scene
• 40:32
  Speaker 1: is identical. The stampede with the bird hovering above saying
• 40:36
  Speaker 1: don't worry help is coming as identical. Like visually. In
• 40:40
  Speaker 1: addition to story beats, the dead Father beat us there,
• 40:43
  Speaker 1: the stories aren't exactly one for one the same. There's
• 40:46
  Speaker 1: literally a farting ward hog in Kimba the way. It's
• 40:49
  Speaker 1: ridiculous it is, and Disney already has such a horrible
• 40:55
  Speaker 1: history of stealing from other cultures and never crediting and
• 40:59
  Speaker 1: being like, idea, we did it. And this is like
• 41:02
  Speaker 1: a particularly agregious because when the movie came out, Tessica's
• 41:06
  Speaker 1: company was like, hey, this bears a lot of resemblance
• 41:10
  Speaker 1: to our I P. We weren't paid for it, but
• 41:13
  Speaker 1: Tessica would have liked that, Like, they were still really
• 41:15
  Speaker 1: nice about it. And Disney responded by issuing a cease
• 41:18
  Speaker 1: and desist to the company and saying like, keep our
• 41:21
  Speaker 1: name out of your mouth, has nothing to do with
• 41:24
  Speaker 1: what you did, and funk off. So it's Disney. Are
• 41:28
  Speaker 1: we surprised? They're like trying to start a empire. No
• 41:32
  Speaker 1: one will be allowed to watch anything that does not
• 41:34
  Speaker 1: have their logo on it, and they're evil like there
• 41:36
  Speaker 1: and a lot of animators anonymously came forward because the
• 41:39
  Speaker 1: wrath of Disney, you can't A lot of animators and
• 41:42
  Speaker 1: honestly came forward and we're like, no, we definitely knew
• 41:45
  Speaker 1: about Kimba the White Line. It was talked about in
• 41:47
  Speaker 1: meetings all the time. The Lion King started as a
• 41:51
  Speaker 1: Kimba project, but then Tessica passed away and we had
• 41:54
  Speaker 1: already started concept arts, so we sort of just kept
• 41:56
  Speaker 1: a lot of it and like it's well document. Matthew
• 42:01
  Speaker 1: Broderick has said in interviews that he was telling everyone
• 42:05
  Speaker 1: he was going to be the voice of Kimba because
• 42:06
  Speaker 1: he was familiar with Kimba, and he was told he
• 42:08
  Speaker 1: was going to be the voice of Kimba, and they're like,
• 42:10
  Speaker 1: actually it's Simba. Never mentioned Tessica again, and and Disney
• 42:14
  Speaker 1: still to this day has not copped to it. But
• 42:17
  Speaker 1: they've basically stole a lot of visual inspiration and like
• 42:21
  Speaker 1: story beats. In addition to the Hamlet stuff that they
• 42:25
  Speaker 1: will admit to, they stole a lot from this very
• 42:28
  Speaker 1: famous Japanese animator. Disney is scar Basically Disney is a
• 42:34
  Speaker 1: gas lighting liar, but also not even good at their treachery,
• 42:39
  Speaker 1: you know what I mean, Like they have power, but
• 42:41
  Speaker 1: like they don't. They're not, Like you couldn't even make
• 42:43
  Speaker 1: that ship and not look alike. You just listed six
• 42:46
  Speaker 1: direct scenes. You change that one letter because that was
• 42:50
  Speaker 1: the thing was Scar too. It was like, okay, bitch,
• 42:52
  Speaker 1: you gas lit a child. Yeah, you ain't that clever,
• 42:55
  Speaker 1: And then you got in charge and then nobody had water.
• 42:58
  Speaker 1: You ain't even going to be in charge. Why did
• 42:59
  Speaker 1: you want to be in charge so you're just sitting okay?
• 43:02
  Speaker 1: Put a bird in a rib cage? Why did you
• 43:05
  Speaker 1: want to be in charge so bad? You're not good
• 43:07
  Speaker 1: at any of the things. He couldn't even keep the
• 43:10
  Speaker 1: secret up. I killed your father, wait till he's dead.
• 43:15
  Speaker 1: But he was like got a whisper in his here.
• 43:17
  Speaker 1: It's like like Disney is like not even good if
• 43:20
  Speaker 1: faked ship feeling ship. There's also hyenas and a raffiki
• 43:24
  Speaker 1: character in Kimba. It's this, Okay. The one thing that
• 43:28
  Speaker 1: this just makes me laugh. The one thing that was
• 43:30
  Speaker 1: included in Kimba the White Lion that it is actually
• 43:32
  Speaker 1: very good that Disney did not steal because it's scary,
• 43:35
  Speaker 1: is Kimba the White Lions. Dad also dies in the movie,
• 43:39
  Speaker 1: but instead of really devastating under the policyne what Kimba
• 43:43
  Speaker 1: the White Lion does is keeps his dad's high and
• 43:47
  Speaker 1: uses it as a disguise, and multiple points, girl does
• 43:51
  Speaker 1: not let other people know that the king is dead.
• 43:54
  Speaker 1: He just sneaks under his dad's corpse and hiss hello everybody,
• 44:00
  Speaker 1: Buffalo bills his father. So um. Those are fun scenes
• 44:08
  Speaker 1: to watch on YouTube too, because you're like, yaikes, this
• 44:11
  Speaker 1: is very dark. Um okay, so that's my that's my tiree.
• 44:15
  Speaker 1: Thank you for sharing all that. We've got to take
• 44:18
  Speaker 1: another quick break, but then we'll come right back for
• 44:20
  Speaker 1: more discussion. Alright, So we've covered the you know, intellectual
• 44:31
  Speaker 1: property theft from Disney, We've covered the upsetting casting choices.
• 44:38
  Speaker 1: Let's talk about the female characters. Yeah, but it's like
• 44:43
  Speaker 1: they haven't come up yet with good reasons, with the
• 44:46
  Speaker 1: reason because they are nearly inconsequential to the story. Did
• 44:51
  Speaker 1: you my nations count how many lines they have? Because
• 44:54
  Speaker 1: I literally feel like it has to be between the
• 44:58
  Speaker 1: does what we have a gender as a hyena? Because
• 45:00
  Speaker 1: I didn't think we ever like here? So like, so
• 45:05
  Speaker 1: I'm not counting whoopee. So I'm literally just counting Nala
• 45:07
  Speaker 1: and Sarabi, right, Okay, I swear to you they must
• 45:11
  Speaker 1: say less than twenty lines between the two of them
• 45:12
  Speaker 1: home moving, Oh ease. I didn't think that that is
• 45:15
  Speaker 1: like generous, most especially because most of Nala's interaction is
• 45:19
  Speaker 1: in a music montage where she sucks and she doesn't speak.
• 45:23
  Speaker 1: It's just that we're just like hearing like her internal
• 45:26
  Speaker 1: monologue and so You're just like it's like, why can't
• 45:30
  Speaker 1: he be the king I want him to be? And
• 45:32
  Speaker 1: then she's like I'm ready and it was just like
• 45:37
  Speaker 1: it was just like what because I loved because initially
• 45:40
  Speaker 1: I was like oh, I was like I forgot where
• 45:42
  Speaker 1: it's like, you're going to be married and she's like,
• 45:43
  Speaker 1: oh gross, and I was like, okay, I'm into romance.
• 45:48
  Speaker 1: Subplot is Zazu being like, yeah, you guys are betrothed
• 45:52
  Speaker 1: and they're like what the fund does that mean? And
• 45:54
  Speaker 1: he's like, you're going to be married and they're like gross.
• 45:56
  Speaker 1: We're friends. And then and then Simba disappears from her
• 46:00
  Speaker 1: for a decade thought he was dead. She thought he was.
• 46:03
  Speaker 1: But I do think it is important that, like her
• 46:07
  Speaker 1: life is more defined by him than his, his life
• 46:10
  Speaker 1: is defined by her because seeing him again means the
• 46:13
  Speaker 1: world to her because he equals no more Nazis, in
• 46:17
  Speaker 1: addition to fucking the hope for her future hinges on
• 46:21
  Speaker 1: this boy yeah, whereas he's just like oh' sup, Like
• 46:25
  Speaker 1: he's like, I got so good to see you. What
• 46:27
  Speaker 1: are you even up to? I thought you were dead.
• 46:30
  Speaker 1: It's like if I ran into my neighbor Brendan O'Connell
• 46:33
  Speaker 1: always have a crush on and like, oh my god, Brendan,
• 46:36
  Speaker 1: this horrible guy name him Trump is in office and
• 46:38
  Speaker 1: you have to get him out. And he's like, what's
• 46:41
  Speaker 1: up right now? Insects for the best and pig how
• 46:48
  Speaker 1: do you get so jacked eating grabs? He's got a
• 46:52
  Speaker 1: full body, he's he's dined on vick, He's he's swollen.
• 46:59
  Speaker 1: I'm interested in teen Simba. We only see him on
• 47:03
  Speaker 1: the log but for a moment, but he has a mohawks.
• 47:07
  Speaker 1: I'm like, that is styled his rebellious face. And that
• 47:11
  Speaker 1: was it. But then here's a question, due, did you
• 47:13
  Speaker 1: do you feel like Simon and Pumba were his parents?
• 47:16
  Speaker 1: I feel like at best they were like big brothers,
• 47:19
  Speaker 1: Like I don't think anyone was like raising him or
• 47:20
  Speaker 1: teaching I felt uncle vibes from them. I always felt
• 47:24
  Speaker 1: like an uncle vibe of like, yeah, you're taken care
• 47:27
  Speaker 1: of there. They're technically like your caretakers, but they're not
• 47:31
  Speaker 1: like making sure you're learning things, like they're not teaching
• 47:35
  Speaker 1: you much like literally, their whole life philosophy is don't care.
• 47:39
  Speaker 1: So what really can they be teaching him? And yet
• 47:42
  Speaker 1: in the montage. He learns everything he needs to know
• 47:45
  Speaker 1: about life and is ready to go back resumed. It is.
• 47:49
  Speaker 1: And then we learned in that and I never that's
• 47:51
  Speaker 1: never really registered for me. But in that scene where
• 47:53
  Speaker 1: they're all looking at the stars to mon Pumba and Simba,
• 47:55
  Speaker 1: you learned that Simba has never told them anything about
• 47:58
  Speaker 1: his background. Um he so they know very little about
• 48:02
  Speaker 1: him there. They've just kind of been feeding and bugs.
• 48:04
  Speaker 1: Maybe they're I'm like, I want to know what they're Well,
• 48:07
  Speaker 1: you have to see Lion King one and a half,
• 48:09
  Speaker 1: which is a class one and a half. Lion King
• 48:12
  Speaker 1: one and a half is I think of the two
• 48:15
  Speaker 1: directed video Lion Kings No Superior. It's just literally what
• 48:20
  Speaker 1: Timon and Pumba were doing during all the parts of
• 48:22
  Speaker 1: the Lion King that they're not in. It's really funny.
• 48:25
  Speaker 1: It's like and it's Nathan Lane and Ernie's about like
• 48:29
  Speaker 1: Matthew Roject. The whole cast came back for this two
• 48:32
  Speaker 1: thousand four directed video. It's really good. I haven't seen
• 48:36
  Speaker 1: that one either. It's classic. That's amazing. Yeah, and like
• 48:38
  Speaker 1: that they called it half yeah. Interesting. I thought it
• 48:41
  Speaker 1: was gonna be like a twenty minute video like a
• 48:43
  Speaker 1: twenty minute clip half for some reason, for some reason,
• 48:47
  Speaker 1: they made it a feature. I'm I kind of missed
• 48:50
  Speaker 1: direct to video. I guess like there are some Netflix
• 48:53
  Speaker 1: projects that are comparable to direct to video ship to
• 48:56
  Speaker 1: where you're just like, what is who is this for?
• 48:59
  Speaker 1: It's like it's much work for who? But I love
• 49:02
  Speaker 1: that stuff. Uh So anyway, So we've got Simba, who
• 49:07
  Speaker 1: is like emotionally repressed. We've got Nala coming back. Here's
• 49:11
  Speaker 1: Here's what really draws me nuts about this storyline is
• 49:14
  Speaker 1: that Nala comes back and she's like, Simba, you've been
• 49:17
  Speaker 1: gone all this time. Our homeland has been deteriorating. We're
• 49:22
  Speaker 1: living under this Nazi regime. Please come back and help us.
• 49:26
  Speaker 1: We're our only hope. And he's just like, no thanks.
• 49:30
  Speaker 1: And then a male character shows up, Raffii, and he's like, hey, Simba,
• 49:36
  Speaker 1: you should really like look inside yourself and then consider
• 49:38
  Speaker 1: going back. And he's like, you're right. A man told
• 49:41
  Speaker 1: me I should do that, So I'm going wait, but
• 49:44
  Speaker 1: the man showed him his daddy and the sky magic Man. Yeah,
• 49:52
  Speaker 1: I feel like riffy and he does no Raffii, RAFFICI
• 49:55
  Speaker 1: did the whole hold him on the rock. He doesn't
• 49:58
  Speaker 1: remember that. I don't think he knows Raffici actually when
• 50:01
  Speaker 1: he shows back up right because he's like I knew
• 50:03
  Speaker 1: your father, right, because he's like, who are you and
• 50:06
  Speaker 1: he's like, my father's dead, sorry to break it to you, dude,
• 50:08
  Speaker 1: Like so he doesn't recognize him at all. I know
• 50:10
  Speaker 1: what you mean though, But I think it's also like
• 50:13
  Speaker 1: I could have used a scene of all the lady
• 50:17
  Speaker 1: lions like trying to overthrow scar in some capacity and failing,
• 50:21
  Speaker 1: you know what I mean, Like just a pop of
• 50:23
  Speaker 1: what was going on back home, how they tried to
• 50:26
  Speaker 1: fight back and couldn't do it, you know what I mean.
• 50:28
  Speaker 1: I think that that would like help just logistically help
• 50:31
  Speaker 1: offset some of the tone stuff too, because you don't
• 50:34
  Speaker 1: know what's going on until you're seeing Dystopia right before
• 50:37
  Speaker 1: Simba gets back, and it would be and it's like
• 50:40
  Speaker 1: you get that one shot of Sarabi like holding her
• 50:43
  Speaker 1: head high as she's like walking through this like Hyena
• 50:47
  Speaker 1: held then, and you can sort of like you get
• 50:50
  Speaker 1: an idea of like she's been through a lot, she's
• 50:52
  Speaker 1: like retaining her dignity through this, but this isn't But
• 50:55
  Speaker 1: it's like, yeah, you could use especially because we see
• 50:57
  Speaker 1: Nala's mom for one line, or she's cleaning her child
• 51:02
  Speaker 1: exactly licking your child's ass, and that's literally always her. Yeah,
• 51:07
  Speaker 1: that would that would have been good for everyone too,
• 51:10
  Speaker 1: because it's because you are sort of like, how did
• 51:13
  Speaker 1: Scar pull this off? He's so out Well that brings
• 51:17
  Speaker 1: me to some some science facts what I have, So
• 51:22
  Speaker 1: we yes, we talked to Katie Golden. She is the
• 51:30
  Speaker 1: host of Creature Feature podcast right here on the network,
• 51:36
  Speaker 1: and she knows a lot about animals, and she told
• 51:40
  Speaker 1: us a thing or two about how lind behavior actually
• 51:45
  Speaker 1: works in nature versus how it's depicted in The Lion King.
• 51:50
  Speaker 1: So she says, female lions make up the core of
• 51:53
  Speaker 1: a pride, which we see in the movie um Males
• 51:56
  Speaker 1: come and go. Prides are often thought to only contain
• 51:59
  Speaker 1: one male and like a harem of females, but that's
• 52:03
  Speaker 1: not always totally accurate. Only Tsavo lion prides contain a
• 52:08
  Speaker 1: single male adult. Most other subspecies of lions have prides
• 52:11
  Speaker 1: in which they're up to four males, typically brothers, and
• 52:14
  Speaker 1: typically one dominant male is allowed to mate with several
• 52:18
  Speaker 1: females and then they all produce cubs. So in the
• 52:22
  Speaker 1: lion king Nala and Simple would be related because the
• 52:26
  Speaker 1: fossa would be both of their dads. Because we see
• 52:29
  Speaker 1: only one. We see my fassa and then we see Scar,
• 52:33
  Speaker 1: who we assume isn't he's an in cell. He's not
• 52:35
  Speaker 1: getting sucked. I was, yes, major in cell, like he
• 52:40
  Speaker 1: lives in a basement. Literally yeah. But then all the
• 52:44
  Speaker 1: other adult lions are females, so everyone Fassa is fucking.
• 52:49
  Speaker 1: So that now that's sexy time and jule um in
• 52:58
  Speaker 1: In real life and nature, this kind of inbreeding is
• 53:01
  Speaker 1: usually avoided by dispersal, so the male lions will move
• 53:04
  Speaker 1: away from the pride that they were born in and
• 53:06
  Speaker 1: seek a new pride or a new territory um, so
• 53:09
  Speaker 1: Simba returning to Pride Rock wouldn't have happened. In nature,
• 53:15
  Speaker 1: the dominant alpha male in a pride will eventually be
• 53:18
  Speaker 1: ousted by a younger, fitter male or several males, a
• 53:23
  Speaker 1: swoller male linum, who will take a tenure at the pride.
• 53:28
  Speaker 1: So the son of like the alpha male line would
• 53:31
  Speaker 1: not be the one to take over. He would instead
• 53:34
  Speaker 1: go off and find his own pride. So that's I
• 53:38
  Speaker 1: couldn't even go to someone's table at lunch, just literally
• 53:43
  Speaker 1: can I be part of your prod? Confidence? Yeah, the
• 53:47
  Speaker 1: confidence it takes to just be like, hey, can I
• 53:49
  Speaker 1: join your pride? Also, I'm in charge, so I'm the
• 53:52
  Speaker 1: leader big all about even that move? Um. So in
• 53:59
  Speaker 1: urns of female and male lions, it's hard to say
• 54:03
  Speaker 1: kind of who's in charge, as both females and males
• 54:07
  Speaker 1: have specific roles in their community. Because females rear the cubs,
• 54:12
  Speaker 1: they do the majority of hunting UM and they help
• 54:15
  Speaker 1: enforce the social structure, while males defend their territory from
• 54:20
  Speaker 1: other males. They assist in hunting a little bit, and
• 54:24
  Speaker 1: they are usually either ousted or they dispersed to other
• 54:28
  Speaker 1: prides UM. But typically prides or thought of as a
• 54:30
  Speaker 1: matriarchal society UM because the permanent social structure is maintained
• 54:36
  Speaker 1: by the females, whereas the presence of anyone individual male
• 54:40
  Speaker 1: is generally temporary. This is what we were just talking
• 54:43
  Speaker 1: about in the narrative. Females in nature in real life
• 54:48
  Speaker 1: will gang up on an intruder male who attempts to
• 54:51
  Speaker 1: take control of a pride. So if Scar tried to
• 54:54
  Speaker 1: take control of the mating or in this movie he
• 54:59
  Speaker 1: tries to become king, what he would do try to
• 55:02
  Speaker 1: kill all the existing cubs, So the females would try
• 55:06
  Speaker 1: to prevent this by fighting him off, and because Scars superscrawny,
• 55:10
  Speaker 1: they probably would have won and killed him because like,
• 55:13
  Speaker 1: what does Scar have? He just has some hyenas and
• 55:16
  Speaker 1: is it just I can't remember he has? Obviously the
• 55:18
  Speaker 1: three main was in there. There more than that, but
• 55:20
  Speaker 1: I was like a whole army. The whole army was
• 55:22
  Speaker 1: like but in actual nature, the lions wouldn't be afraid
• 55:26
  Speaker 1: of a hyena. Well, he's some and some more facts
• 55:32
  Speaker 1: coming through everyone listened to creature feature hyenas would never
• 55:36
  Speaker 1: work with lions. She whist lions eat hyena cubs and
• 55:44
  Speaker 1: steal their kills, while sometimes hyenas will steal a lion kill.
• 55:49
  Speaker 1: But hyenas are also matriarchal and they're actually more nepotistic
• 55:54
  Speaker 1: than lions. So in the Lion King, if Mufasa, Simba
• 55:58
  Speaker 1: and Scar were female hyenas, this would all actually become
• 56:02
  Speaker 1: more accurate narratively. I sort of don't understand what I
• 56:07
  Speaker 1: just read, but maybe I trust him. I trust right, Okay,
• 56:13
  Speaker 1: so some mistakes were made to avoid scenes with too
• 56:17
  Speaker 1: many women in them right there. I mean, yeah, that
• 56:20
  Speaker 1: would be such a that would be such a better scene,
• 56:22
  Speaker 1: and just to get to know a female character well enough.
• 56:25
  Speaker 1: But again, it's just like, if you look at the
• 56:28
  Speaker 1: lineup of people who made this movie, it totally tracts
• 56:32
  Speaker 1: that they would have no concern about, Like why isn't
• 56:34
  Speaker 1: Naled doing more? Does Nala do anything that has consequence
• 56:38
  Speaker 1: besides get pregnant? Right because she has the agency and
• 56:43
  Speaker 1: she's active enough to go looking for help, and in
• 56:45
  Speaker 1: so doing she finds Simba, yes, but her attempt to
• 56:50
  Speaker 1: convince him to return doesn't work. And it's not until
• 56:53
  Speaker 1: RAFFII is like, hey, you better go back that Simba's
• 56:56
  Speaker 1: like okay, so she could have never showed up, and
• 56:59
  Speaker 1: it really would have made a difference. Well if you
• 57:01
  Speaker 1: even go back when when they were kids. Nala is
• 57:04
  Speaker 1: following Simba to go to the eleven Graveyard. It's not
• 57:08
  Speaker 1: her idea. She doesn't have a lot of agency there,
• 57:10
  Speaker 1: and then she just sort of is like hanging out. Well,
• 57:13
  Speaker 1: Simba's being a fucking brat and she's like, I'm gonna
• 57:16
  Speaker 1: own everything and she's so entitled as a kid, god
• 57:20
  Speaker 1: fucking like rich kids in their entitlement a night. But
• 57:24
  Speaker 1: she is able to every time they kind of like
• 57:26
  Speaker 1: play fight. She always pins him so strong and she's
• 57:31
  Speaker 1: a good hunter. But then she does it later and
• 57:33
  Speaker 1: it's horny and yeah, and that's how he knows that,
• 57:36
  Speaker 1: Oh you're you're Nala, the girl who always used to
• 57:38
  Speaker 1: pin me because it was but also my grandfather. She
• 57:41
  Speaker 1: like licks his face a little, yeah, you're like first
• 57:47
  Speaker 1: she surprised kiss him though I don't know, I know
• 57:52
  Speaker 1: lins how the lines consent. We don't know. Um, I'm
• 57:58
  Speaker 1: considering he had never interacted with a female lion in
• 58:01
  Speaker 1: like a decade, you know what I mean. He was
• 58:03
  Speaker 1: really like he was like very stunned. But it would
• 58:06
  Speaker 1: have been a great great to see like a scene
• 58:08
  Speaker 1: with like Nala and Sarabbi like teaming up to try
• 58:11
  Speaker 1: to be like let's overthrow scar, like let's do something,
• 58:16
  Speaker 1: or even a conversation about again like the death of
• 58:19
  Speaker 1: her husband and son went through a lot, right, lots
• 58:25
  Speaker 1: over that. Yeah, and like even when Simba comes again,
• 58:27
  Speaker 1: it only last two seconds, but when she thinks, you know,
• 58:31
  Speaker 1: when scars like he's the reason why MUFAs is dead,
• 58:36
  Speaker 1: she said she does Simba, or like, is that true?
• 58:38
  Speaker 1: You know she has that, But I'm like, we should
• 58:41
  Speaker 1: have had Sir Robbie Faine at some point fall out
• 58:44
  Speaker 1: and get it back together. She should have been the
• 58:46
  Speaker 1: one to find him in the damn jungle where she
• 58:48
  Speaker 1: was like, I've left, I have nothing to live for
• 58:50
  Speaker 1: and have been on a walk about. Or it's like
• 58:53
  Speaker 1: we see the scene where like Scar comes back after
• 58:57
  Speaker 1: just having gas lit, Simba been like, hey, Sarabi, MUFAs
• 59:02
  Speaker 1: is dead. Simba's dead. Sorry, And then and then we
• 59:05
  Speaker 1: can see the aftermath of like Sarabi and then like
• 59:07
  Speaker 1: Nala finding out that her best friend is presumably dead,
• 59:11
  Speaker 1: and then like them trying to cope with that grief
• 59:15
  Speaker 1: and exactly and like we're just like, what is it like?
• 59:18
  Speaker 1: Because you say it's like you see for I can
• 59:19
  Speaker 1: see like Pride Rock is like black, correct, it's already desert,
• 59:23
  Speaker 1: So you're like, well, but then you see it looking worse.
• 59:26
  Speaker 1: But to see a moment, well, what does life look
• 59:28
  Speaker 1: like for the rest of the Pride But what is
• 59:31
  Speaker 1: actually going on down below? Are they doing like a
• 59:33
  Speaker 1: pussy march, like a pussy hat march like a women's march,
• 59:37
  Speaker 1: and they're like what are they doing? And especially like
• 59:40
  Speaker 1: I don't know, that's what I'm just kinda like wait,
• 59:42
  Speaker 1: what what's going on with them? And we can see
• 59:44
  Speaker 1: that there's a lot of like lioness like when you
• 59:47
  Speaker 1: see that shot of Scar being in terging, like there
• 59:49
  Speaker 1: there's there are enough women to stage in uprising him.
• 59:55
  Speaker 1: Oh god, but women to stage and uprising. I'm actually
• 59:59
  Speaker 1: because the the in real life female lions are the
• 1:00:03
  Speaker 1: more proficient hunters, which at least was Nala at one point,
• 1:00:08
  Speaker 1: but like you would think they would have been able
• 1:00:10
  Speaker 1: to like take out Scar and probably most of the hyenas,
• 1:00:16
  Speaker 1: like they would have been able to rip them going
• 1:00:18
  Speaker 1: to Kenya to get the answers if you're not going
• 1:00:21
  Speaker 1: to use them, right Disney, Disney producers and writers failure
• 1:00:25
  Speaker 1: A vision failure a vision there. This is like literally
• 1:00:28
  Speaker 1: if we were like waiting around to be rescued by
• 1:00:31
  Speaker 1: an eighteen year old boy, like it just doesn't make
• 1:00:34
  Speaker 1: any logical sense. Could we could just take someone down ourselves? Yeah?
• 1:00:39
  Speaker 1: I did. It's just busy laughing at fart there, But yeah,
• 1:00:43
  Speaker 1: I mean, like the really the only two female characters
• 1:00:46
  Speaker 1: we get here they exist in relation to the men
• 1:00:49
  Speaker 1: around them pretty explicit. And the fact that Simba Nala
• 1:00:53
  Speaker 1: start out as friends, it would have been nice to
• 1:00:55
  Speaker 1: see them just stay as friends. The fact that like
• 1:00:58
  Speaker 1: they wedge a romantic storyline in there doesn't need to happen. Yeah,
• 1:01:02
  Speaker 1: I feel like it could have. Just she could have
• 1:01:03
  Speaker 1: been used as like the moment of like the friend
• 1:01:05
  Speaker 1: that finally gets him to admit, like him thinking he
• 1:01:08
  Speaker 1: killed his dad, and then Nolle could have been the
• 1:01:10
  Speaker 1: one to be like Scar was lying to you, right,
• 1:01:12
  Speaker 1: don't mean make no sense simbo. Yeah, looking back, I'll
• 1:01:15
  Speaker 1: go back again. A black woman as grown has knowledge
• 1:01:22
  Speaker 1: like simple get it again? Right? Yeah? But yeah, nothing
• 1:01:28
  Speaker 1: nothing really adds up, simply does not. And so I'm
• 1:01:32
  Speaker 1: curious if any of this will sort of be kind
• 1:01:36
  Speaker 1: of course corrected in this remake, because Disney seems to
• 1:01:39
  Speaker 1: be attempting to do this with these live action remakes,
• 1:01:42
  Speaker 1: for example, not to back, but I did see a
• 1:01:45
  Speaker 1: Laddin twenty nineteen in the theater. Okay, I hope you
• 1:01:49
  Speaker 1: can get it as a text right off. Oh yes,
• 1:01:52
  Speaker 1: I'll be writing that. I use my AMC list stubs
• 1:01:55
  Speaker 1: and it was actually yeah, wow, okay, well somebody she
• 1:02:00
  Speaker 1: just gotta upgrade anyway, Um, are you telling me about
• 1:02:03
  Speaker 1: that movie? Upgrade? You like the Beyonce song who plays Nala?
• 1:02:08
  Speaker 1: Go ahead? And then you're trying to tell So in
• 1:02:12
  Speaker 1: this live action Aladdin, there seems to be an attempt
• 1:02:16
  Speaker 1: to make Jasmine a more meaningful and flashed out character.
• 1:02:19
  Speaker 1: She's given like political aspirations that she does not have
• 1:02:22
  Speaker 1: in the animated film from ninety two. She's also given
• 1:02:25
  Speaker 1: a couple of extra songs, so we learned a little
• 1:02:28
  Speaker 1: bit more about her character and her perspective. So there's
• 1:02:31
  Speaker 1: an attempt to flesh out female characters more. It's seen
• 1:02:34
  Speaker 1: there's still lions in this Yeah, so what are they
• 1:02:39
  Speaker 1: going to do? You know what I mean? Like you
• 1:02:41
  Speaker 1: can use that as a cover, right, I mean, but
• 1:02:44
  Speaker 1: there's but they're anthropomorphized as people basically, So I don't
• 1:02:49
  Speaker 1: think that's any excuse. I think they can still like
• 1:02:51
  Speaker 1: give female characters agency. We can learn more about their personalities,
• 1:02:55
  Speaker 1: their backstories, like all that stuff. I get. Yeah, I
• 1:02:58
  Speaker 1: mean that's like the test, Like that's the only thing
• 1:03:02
  Speaker 1: that most of the only value I see in these
• 1:03:06
  Speaker 1: cash grab movies is like can you improve upon the
• 1:03:10
  Speaker 1: material by adapting it well? And like can you you know,
• 1:03:15
  Speaker 1: like make the like diverse choices you should have in
• 1:03:18
  Speaker 1: the first movie. Can you like fix shady character ship
• 1:03:23
  Speaker 1: or like confusing like why is this person motivated? Why
• 1:03:26
  Speaker 1: don't we see this female character for an hour? Like
• 1:03:29
  Speaker 1: stuff like that, Like you could have that scene with
• 1:03:31
  Speaker 1: Sarabi and Nala's mom and all the lionesses in the
• 1:03:34
  Speaker 1: new one, and that would be like a cool adaptation change.
• 1:03:40
  Speaker 1: What's Seth Rogan playing? He's I object, yes, yeah, yeah, Okay,
• 1:03:49
  Speaker 1: So we've got we've got some updates including Amy said
• 1:03:54
  Speaker 1: there's plays a character whose name is Elephant. True. We
• 1:03:59
  Speaker 1: seem to have added a few what I'm guessing your
• 1:04:03
  Speaker 1: male characters. Who's like Eric Andre plays a character named
• 1:04:06
  Speaker 1: a Zz who I don't know. What I think is
• 1:04:08
  Speaker 1: they changed the names of the hyenas. That was well
• 1:04:12
  Speaker 1: because shen Z is the is WHOOPI Goldbrook's character in
• 1:04:17
  Speaker 1: the animated one and that remains, But I don't see
• 1:04:21
  Speaker 1: I think his name is like Bonzai in the animated one,
• 1:04:24
  Speaker 1: So maybe that's oh, oh yeah, who just keep playing?
• 1:04:28
  Speaker 1: Oh no, he plays Kamari, who's that it's kari okay,
• 1:04:32
  Speaker 1: It's a whole new world compare another out of transitation
• 1:04:37
  Speaker 1: change that it is rumored the movie is making, and
• 1:04:40
  Speaker 1: I think transitions well into Another thing we need to
• 1:04:43
  Speaker 1: talk about is the song be Prepared is allegedly not
• 1:04:47
  Speaker 1: going to be in the new movie. Um it is
• 1:04:49
  Speaker 1: like the one major song from the original that as
• 1:04:53
  Speaker 1: far as I can find, has been cut, the best song,
• 1:04:58
  Speaker 1: the one you want to last three hours, I'm so sorry,
• 1:05:05
  Speaker 1: and there's and I think that like that is a
• 1:05:07
  Speaker 1: very interesting like of this moment kind of choice to make.
• 1:05:11
  Speaker 1: There's a slight article written by Aisha Harris about this
• 1:05:16
  Speaker 1: creative decision. It was written last year, so it's possible
• 1:05:18
  Speaker 1: that maybe they just didn't announce it, but they released
• 1:05:20
  Speaker 1: the track list really early and be Prepared is not
• 1:05:22
  Speaker 1: on there. And it is interesting because that scene, there's
• 1:05:27
  Speaker 1: a bunch of whatever. You can go into the clickbait
• 1:05:29
  Speaker 1: universe and find the side by side comparisons of like
• 1:05:32
  Speaker 1: Lenny Reefinstahl movies of Nazi soldiers and a lot of
• 1:05:37
  Speaker 1: the shots are very deliberately identical, and the hyenas marching
• 1:05:41
  Speaker 1: and you know, the whole bit, like it is pulled
• 1:05:43
  Speaker 1: directly from this like very famous German World War two
• 1:05:48
  Speaker 1: propaganda movie, which I guess was a creative decision that
• 1:05:53
  Speaker 1: wasn't very controversial. But now that and and and Aisha
• 1:05:57
  Speaker 1: Harris argues in this article and she thinks it's a
• 1:05:59
  Speaker 1: bad choice to cut this number and kind of Disney
• 1:06:01
  Speaker 1: hedging their beds now route. We might as well give
• 1:06:06
  Speaker 1: him a number. But she she kind of makes the argument,
• 1:06:08
  Speaker 1: and I agree with what she's saying is that Disney
• 1:06:11
  Speaker 1: is so like wanting to please everyone that in saying
• 1:06:16
  Speaker 1: like Nazis are bad was not as hot a take
• 1:06:19
  Speaker 1: as it is in fucking two thousand and nineteen, and
• 1:06:22
  Speaker 1: so that that is most likely the reason why the
• 1:06:24
  Speaker 1: song was cut. The reason that they gave was like
• 1:06:27
  Speaker 1: that the I don't know the name of the actor
• 1:06:29
  Speaker 1: who's playing scar now Nazis ang will come to see
• 1:06:31
  Speaker 1: some black people signs in Africa anyway, I don't know.
• 1:06:35
  Speaker 1: I think I'll mispronounce it, but she would tell. So
• 1:06:38
  Speaker 1: the argument used was that he's not a singer by trade,
• 1:06:41
  Speaker 1: and Jeremy Irons was a singer, so they can't have it.
• 1:06:44
  Speaker 1: But clearly Disney pulls the ship all the like if
• 1:06:47
  Speaker 1: the actor can't sing, you hire another actor. But they
• 1:06:51
  Speaker 1: cut this, they cut the song, and yeah, I think
• 1:06:54
  Speaker 1: that that's kind of a first of all, my one
• 1:06:57
  Speaker 1: of my favorite songs in the movie. But also it's
• 1:06:59
  Speaker 1: just like if a Disney movie can give some anti
• 1:07:02
  Speaker 1: Nazi messaging, now I would be a great time, very appropriate.
• 1:07:08
  Speaker 1: But uh yeah, speaking of Scar, should we talk about
• 1:07:12
  Speaker 1: the queer coding of this and all Disney vieling. I
• 1:07:15
  Speaker 1: was gonna say, do you know that James Admian bit
• 1:07:17
  Speaker 1: James and he talks um he has a had a
• 1:07:22
  Speaker 1: very wonderful bit a few years back, but I think
• 1:07:24
  Speaker 1: it might still be in rotation about yeah pretty much.
• 1:07:27
  Speaker 1: I mean what you're gonna say that, like all Disney
• 1:07:29
  Speaker 1: villains are gay? Yes, it's yeah, every Well, we'll link
• 1:07:34
  Speaker 1: that in the description because it's like one of my
• 1:07:35
  Speaker 1: favorite the dummy bits. Ever. Yes, I mean, Scar is
• 1:07:39
  Speaker 1: one of the more notorious queer coded villains where, of course,
• 1:07:43
  Speaker 1: you know coding, it's never explicitly stated, but through the
• 1:07:47
  Speaker 1: way the characters speaks, moves, etcetera. Other coded queer Disney
• 1:07:52
  Speaker 1: villains include Ursula uh and include whor else who else?
• 1:07:59
  Speaker 1: We got again again from the villain from great Mouth,
• 1:08:03
  Speaker 1: Detective the Governor Radcliffe from Contest. There's I mean, most
• 1:08:11
  Speaker 1: Disney Renaissance movies follow this exact formula and have a
• 1:08:15
  Speaker 1: queer coded villain, which you know, it's like it conflates
• 1:08:19
  Speaker 1: queerness with evil. There's a lot of reclaiming that the
• 1:08:23
  Speaker 1: queer community has done of the Disney villains. And if
• 1:08:26
  Speaker 1: you go to like they have Disney villain Knights at Disneyland.
• 1:08:30
  Speaker 1: And I had a friend in Boston who would travel
• 1:08:33
  Speaker 1: in a pack of ten gay men would fly to
• 1:08:36
  Speaker 1: Florida to go to Disney viland like, there's a lot
• 1:08:39
  Speaker 1: of reclaim this's taken place, but it is, I mean,
• 1:08:42
  Speaker 1: it's it's, you know, a mostly straight group of writers, creators,
• 1:08:47
  Speaker 1: animators um demonizing queer people. And since these movies are
• 1:08:51
  Speaker 1: intended for children, children get the wrong messages about queer people.
• 1:08:58
  Speaker 1: Even if they don't realize what's happening, their brains are interpreting.
• 1:09:02
  Speaker 1: We talked about this a lot on the Aladdin episode,
• 1:09:05
  Speaker 1: so I recommend revisiting that if she wants more. And
• 1:09:08
  Speaker 1: then another thing that this and other Disney movies do
• 1:09:11
  Speaker 1: is that they the way they're designed is that they
• 1:09:14
  Speaker 1: tend to be darker, where all the lions except for
• 1:09:20
  Speaker 1: Scar are like beige, yellowy tan, right, and then Scar
• 1:09:27
  Speaker 1: has much darker for a much darker main. This also
• 1:09:30
  Speaker 1: happens again with Radigan, which I think, honestly, Great Mouth
• 1:09:34
  Speaker 1: Detective might be my favorite Disney movie. And it also
• 1:09:37
  Speaker 1: happens with Ursela. It was Ursula. She's purple and everyone
• 1:09:40
  Speaker 1: else is white, and canonically, like, they don't do that,
• 1:09:43
  Speaker 1: they don't funk with this in the in the Disney movie,
• 1:09:45
  Speaker 1: but canonically she's supposed to be King Triton's sister. Yeah
• 1:09:49
  Speaker 1: maybe half sister, yeah, but either way, like that is
• 1:09:53
  Speaker 1: fully at play in that movie as well. Yeah, so's
• 1:09:56
  Speaker 1: it's all black. She's rotund, which is supposed to be bad,
• 1:10:01
  Speaker 1: you know what I mean? Like everything, right. The the
• 1:10:06
  Speaker 1: the heroes in Disney movies are animated and designed to
• 1:10:10
  Speaker 1: be traditionally attractive by Western beauty standards. They're they're thin,
• 1:10:14
  Speaker 1: they're white or light skinned or furred. Uh. They are
• 1:10:20
  Speaker 1: young and pretty and all this stuff, and and straight.
• 1:10:24
  Speaker 1: While the villains, especially from this kind of specific era
• 1:10:29
  Speaker 1: and then even before that, were made to look darker.
• 1:10:32
  Speaker 1: They were queer coded, they had different body shapes. And
• 1:10:36
  Speaker 1: sizes and just yeah, all just demonizing anything that isn't
• 1:10:42
  Speaker 1: uh and and again this is like because there has
• 1:10:45
  Speaker 1: been a process of reclaiming these characters over time. It
• 1:10:49
  Speaker 1: is like a complicated issue too. There is another piece
• 1:10:54
  Speaker 1: that I read in uh Into that argues, because it
• 1:10:57
  Speaker 1: does seem like an adaptation choice, is that they're doing
• 1:11:00
  Speaker 1: away with the queer coding for Scar and this this
• 1:11:03
  Speaker 1: author argues that that is sort of erasure of the
• 1:11:06
  Speaker 1: only visibly queer character in the movie, and they're making
• 1:11:10
  Speaker 1: him a straight villain, which means that there's no queer characters.
• 1:11:14
  Speaker 1: And it's I mean, it's Scott doesn't have sexuality, but
• 1:11:21
  Speaker 1: to have him not play those stereotypes in a nefarious way, right, Like,
• 1:11:29
  Speaker 1: that's good to do, you know what I mean? Right,
• 1:11:32
  Speaker 1: I think there should be representation of queer characters, certainly
• 1:11:36
  Speaker 1: in Disney and all movies. Every movie should be more queer.
• 1:11:40
  Speaker 1: But again, so I'm saying, like an adaptation, you can
• 1:11:43
  Speaker 1: find another character to have some visibility to It doesn't
• 1:11:46
  Speaker 1: even have to be Scar. But right, it's almost like
• 1:11:49
  Speaker 1: whenever Disney tries to do it, it's so corny and disingenuous,
• 1:11:53
  Speaker 1: Like with fucking Lafu and Beauty and the Beast where
• 1:11:57
  Speaker 1: he's seen like dancing with another man and like we
• 1:12:00
  Speaker 1: did it. We did it Visibility win and it's just
• 1:12:03
  Speaker 1: like make yeah, make like tomone have a mere cat husband, right,
• 1:12:10
  Speaker 1: and then like them be like actually happy together to
• 1:12:13
  Speaker 1: be married. Some interspecies they are like literally life partners.
• 1:12:20
  Speaker 1: We put them in Boa together. They've got they've got
• 1:12:24
  Speaker 1: a condo. They're common law obviously, like a mere cat
• 1:12:30
  Speaker 1: and a word hog aren't. Just like they didn't just
• 1:12:32
  Speaker 1: fall together, they found each other. Yeah, you know what.
• 1:12:35
  Speaker 1: I think it's explained in Lion King one how they
• 1:12:39
  Speaker 1: first met and fell in UM. But yeah, I mean
• 1:12:43
  Speaker 1: the queer coding debate is complicated when and I mean
• 1:12:48
  Speaker 1: I don't envy the writer who's in the position of
• 1:12:51
  Speaker 1: deciding what stays and what goes UM, But there it is.
• 1:12:55
  Speaker 1: Scar is a heavily queer coded villain for sure. Is
• 1:12:59
  Speaker 1: there anything else anyone wants to talk about? I think
• 1:13:03
  Speaker 1: that the last thing I had was the Elton John
• 1:13:07
  Speaker 1: of it all. I was gonna ask you that when
• 1:13:09
  Speaker 1: we're talking about these kind of queerness and characters, and
• 1:13:12
  Speaker 1: you know, of course, to me, I can't even think
• 1:13:13
  Speaker 1: about Lin King now without thinking about the Broadway show, right,
• 1:13:16
  Speaker 1: you know, and that being so linked. So please Jamie,
• 1:13:19
  Speaker 1: what I'm saying is I'm ready. Oh I well, I
• 1:13:21
  Speaker 1: just went into I guess get everyone's opinions because I
• 1:13:24
  Speaker 1: don't even know how I mean, I know how I
• 1:13:26
  Speaker 1: feel generally, But this so the Elton John being the
• 1:13:30
  Speaker 1: composer and then Tim Rice does the lyrics. Um, Elton
• 1:13:33
  Speaker 1: John is a queer artist, but they're both white guys
• 1:13:36
  Speaker 1: who who do and and there's you know, well documented
• 1:13:39
  Speaker 1: like they did a lot of research into African music,
• 1:13:41
  Speaker 1: they hired some African musicians to sing, but they still
• 1:13:45
  Speaker 1: are the people getting the main credits and getting the
• 1:13:48
  Speaker 1: oscars and getting the majority for paying tribute to a
• 1:13:52
  Speaker 1: lot of the musical tradition. But it's still ultimately two
• 1:13:55
  Speaker 1: white guys who are getting the credit for it. I
• 1:13:58
  Speaker 1: don't know, Gland, know what I mean? We could have
• 1:14:00
  Speaker 1: just put Graceland underlying King and it would have totally worked. Well,
• 1:14:06
  Speaker 1: white people like working with other white people, do you
• 1:14:09
  Speaker 1: know what I mean? Like, just't gonna like who's who's
• 1:14:11
  Speaker 1: someone we know? Okay, I don't want to feel uncomfortable today.
• 1:14:14
  Speaker 1: I don't want to have to worry about saying the
• 1:14:16
  Speaker 1: wrong word. Just gonna be a white person and John
• 1:14:19
  Speaker 1: some one where I don't, I don't. I just don't
• 1:14:20
  Speaker 1: want to be scared, you know what I mean. You're like,
• 1:14:22
  Speaker 1: I don't want to have to engage in whatever it
• 1:14:24
  Speaker 1: could possibly be, you know what I mean, like whatever
• 1:14:25
  Speaker 1: it could possibly be, which is who knows. But I
• 1:14:28
  Speaker 1: mean he's he's a brilliant musician too, though he's I mean,
• 1:14:31
  Speaker 1: I saw a rocket Man, okay, off another racket to
• 1:14:38
  Speaker 1: see it. But I don't like biopics. Really, I'm a
• 1:14:41
  Speaker 1: Terran Edgerton stand though I like him. I think he's
• 1:14:43
  Speaker 1: like a cutie patuity. Only I did see all both Kingman,
• 1:14:48
  Speaker 1: if only for Taran Edgerton's thighs. You gotta see rocket Man?
• 1:14:53
  Speaker 1: Are they on display the whole time? Like he's wearing
• 1:14:56
  Speaker 1: He's wearing shorts for a lot of the movie. And
• 1:14:57
  Speaker 1: you're just like, like, I just I just want to
• 1:15:02
  Speaker 1: be closer to them, I say, al right, So can
• 1:15:06
  Speaker 1: you feel the love tonight? Great song, very sexy. Timon
• 1:15:10
  Speaker 1: and Pumba's parts of that song are basically about how
• 1:15:14
  Speaker 1: a man entering into a relationship with a woman will
• 1:15:18
  Speaker 1: ruin your life because women are the old ball and chain,
• 1:15:22
  Speaker 1: like they're just like your care free bachelor life is
• 1:15:26
  Speaker 1: going to be fucked up if you go off with Nala.
• 1:15:29
  Speaker 1: The lyrics the song closes with in short, I'm not
• 1:15:33
  Speaker 1: gonna say is due and then they burst into tears.
• 1:15:38
  Speaker 1: So the thought of like their single male line friend
• 1:15:43
  Speaker 1: like getting a girlfriend ruins them. I love it, but
• 1:15:48
  Speaker 1: also you have to realize it. It's been a decade
• 1:15:50
  Speaker 1: of a co dependent dynamic, right, It's really been just
• 1:15:54
  Speaker 1: the three of them hunting up grubs. And you're like, yeah,
• 1:15:57
  Speaker 1: I get why this is hard for you both. Sure
• 1:15:59
  Speaker 1: you know what, they haven't made a friend. I really don't, Simba.
• 1:16:03
  Speaker 1: I almost view of them as empty nesters. In that
• 1:16:05
  Speaker 1: song or there, it's like when you're when if your
• 1:16:07
  Speaker 1: parents are still somehow together when you when you leave
• 1:16:11
  Speaker 1: the nest, right, and they're like, oh now we have
• 1:16:13
  Speaker 1: to just like talk to each other again. So if
• 1:16:16
  Speaker 1: your parents are still somehow together when you leave the nest,
• 1:16:20
  Speaker 1: it was like personal backstory, let's unpack that. Um. But yeah,
• 1:16:27
  Speaker 1: just like they're they're gonna just hang out together again.
• 1:16:31
  Speaker 1: They're so quick to go back to like put themselves
• 1:16:33
  Speaker 1: in a harm's way when they're like, no, the third Friend, Well,
• 1:16:37
  Speaker 1: of course they want to go to Pride Rock because
• 1:16:40
  Speaker 1: of their queer pride. It's all symbolism, symbolism, title leaving.
• 1:16:53
  Speaker 1: I'm honestly excited to see the new movie. I am
• 1:16:56
  Speaker 1: so like whatever on reboot culture, but I am excited
• 1:17:03
  Speaker 1: to see it. I don't really need to see Lions.
• 1:17:06
  Speaker 1: If they only made it with people, i'd be interested.
• 1:17:09
  Speaker 1: But for some reason, I'm not here for like, like
• 1:17:11
  Speaker 1: I saw the animatronic Lion and it was like like
• 1:17:13
  Speaker 1: movies where it's like cool technology. Yeah, I don't feel
• 1:17:17
  Speaker 1: like that's like that for me does not draw me
• 1:17:18
  Speaker 1: into a movie. Usually, well what originally maybe when it
• 1:17:22
  Speaker 1: looked like it may be a Shot for Shot remake,
• 1:17:25
  Speaker 1: I was fully out, but like, at least they're making
• 1:17:28
  Speaker 1: some changes. It's because I'm more attached to Lion King
• 1:17:32
  Speaker 1: than any of the rereleases that have come out so far.
• 1:17:35
  Speaker 1: But Myles was showing me upstairs some of the early
• 1:17:38
  Speaker 1: like Beyonce as adult Nala and it looks like a
• 1:17:41
  Speaker 1: YouTube dub of like c g I Lions with a celebrity,
• 1:17:45
  Speaker 1: Like that's like what I'm not getting. Yeah, that's what
• 1:17:47
  Speaker 1: I mean. And then like again, the things we can do,
• 1:17:50
  Speaker 1: Like what I love about old Disney is that like
• 1:17:52
  Speaker 1: people drew that ship. Yeah, now it's like you got
• 1:17:55
  Speaker 1: ten computer programs. You know. Obviously I know there's some
• 1:17:58
  Speaker 1: computer involved, especially in the stand Pete scene and some
• 1:18:00
  Speaker 1: bigger scenes. You guys do not come for me. I
• 1:18:03
  Speaker 1: see it. It was all fucking hey and drawn. But
• 1:18:06
  Speaker 1: what I am saying is you see the artist handed
• 1:18:10
  Speaker 1: world and you can like see like it's just even
• 1:18:13
  Speaker 1: like in just there's no Uncanny Valley and like the
• 1:18:17
  Speaker 1: expressions that the animals have where I'm worried that it
• 1:18:21
  Speaker 1: will be Uncanny Valley City with this new Lion King.
• 1:18:24
  Speaker 1: I mean, I don't know. I want it to be good.
• 1:18:28
  Speaker 1: The only person I feel should be able to direct
• 1:18:32
  Speaker 1: motion capture movies is Andy Serkis. And if you I
• 1:18:36
  Speaker 1: am a big Andy Serkis stan if you haven't seen
• 1:18:39
  Speaker 1: his Jungle Book movie that's on Netflix because it got
• 1:18:42
  Speaker 1: pushed to Netflix because Disney pushed up the release of
• 1:18:46
  Speaker 1: their shittier Lion King during bro and fabs. So you know,
• 1:18:52
  Speaker 1: Andy Serkis, he's got m he understands mo cap and
• 1:18:55
  Speaker 1: you can make it look amazing. H he is the
• 1:18:58
  Speaker 1: entire planet of the apes. They it's just like, let
• 1:19:01
  Speaker 1: him handle this and let's just let's move on. Also,
• 1:19:05
  Speaker 1: this Lion King remake is a half hour longer than
• 1:19:10
  Speaker 1: so to everyone. I feel like the big the more
• 1:19:13
  Speaker 1: money they's in the movie, the longer they think it
• 1:19:15
  Speaker 1: needs to be right, you know what I mean. Don't
• 1:19:18
  Speaker 1: make a kids movie two hours long. I was watching it,
• 1:19:21
  Speaker 1: I was like, oh, it's like an hour twenty nine
• 1:19:23
  Speaker 1: minutes or something. The original and perfect. There it is,
• 1:19:28
  Speaker 1: And even then I felt the first thirty bit is
• 1:19:29
  Speaker 1: supposed to be blug. I will last thing I'll say
• 1:19:34
  Speaker 1: is that Poomba, when they're all talking about what they
• 1:19:38
  Speaker 1: think stars are, Pumba says that he thinks they are
• 1:19:43
  Speaker 1: giant balls of gas burning billions of miles away. Pumba
• 1:19:48
  Speaker 1: is a wart hog in Stem. He knows, he knows. Okay,
• 1:19:55
  Speaker 1: does this movie pass the Bechtel test. There is a
• 1:20:07
  Speaker 1: very quick exchange in the very beginning where there is
• 1:20:11
  Speaker 1: Nala's mom, so she's she's credit with the name, but
• 1:20:15
  Speaker 1: we don't know it. But Simpa's like, hey, Nala, let's
• 1:20:18
  Speaker 1: go to the watering hole, and then Nala's mom's like,
• 1:20:22
  Speaker 1: all right, I'll let you go. What do you think, Sarabi?
• 1:20:25
  Speaker 1: And then Sarabi says something like yeah, I guess it's okay.
• 1:20:29
  Speaker 1: But yeah, we never learned Nala's mom's name. And also
• 1:20:31
  Speaker 1: the context of the conversation is can Nala go with
• 1:20:35
  Speaker 1: a boy with a watering hole? And they line and
• 1:20:40
  Speaker 1: they're going to the elephant graveyard? Yeah, so I think
• 1:20:44
  Speaker 1: Sep does. Yeah, there so should have been a scene
• 1:20:48
  Speaker 1: between like either young Nala and Sarabi, like after they
• 1:20:53
  Speaker 1: learn about Mafassa and Simba's death, and or Nala as
• 1:20:57
  Speaker 1: an adult with Sarabi talking about like, hey, let's kill Scar.
• 1:21:01
  Speaker 1: We can do that. I'm gonna go try to find help.
• 1:21:04
  Speaker 1: Here's my plan for us. Yeah. If you don't hear
• 1:21:07
  Speaker 1: from me in two sundowns, I'm dead. So yeah, that's
• 1:21:12
  Speaker 1: a no on the Bactel test. Yeah, let's reade the
• 1:21:15
  Speaker 1: movie Zero to five Nipples based on its portrayal of women. Yikes, gang,
• 1:21:21
  Speaker 1: it's not too good. Sorry to say. The women are strong, yes,
• 1:21:26
  Speaker 1: so they don't do much with that strength. They don't. Yeah,
• 1:21:29
  Speaker 1: they don't get to really do anything. Yeah, I think
• 1:21:33
  Speaker 1: it's somewhere around there. I feel I'm feeling half a nip.
• 1:21:36
  Speaker 1: Just too bad because the potential for better use of
• 1:21:40
  Speaker 1: the female characters. They're they're, they're physically, they're What about
• 1:21:43
  Speaker 1: the sequel where it's a daughter the daughter, I I
• 1:21:47
  Speaker 1: don't remember enough in detail. I know a lot of
• 1:21:50
  Speaker 1: the story revolves around a forbidden romance with because if
• 1:21:55
  Speaker 1: there's a girl character, there's got to be a boy
• 1:21:57
  Speaker 1: character who she wants to kiss. I'm Kiara. I don't
• 1:22:01
  Speaker 1: know that she may have many wonderful qualities that escaped me.
• 1:22:05
  Speaker 1: I don't remember. Um. Katie Golden has something to say
• 1:22:08
  Speaker 1: about Lyon King to also she says, I have more
• 1:22:12
  Speaker 1: beef with Lion King too. In this movie. Covu Scarce
• 1:22:16
  Speaker 1: son also scar when I or he was like part
• 1:22:21
  Speaker 1: of scars had ten years to fuck. Covu teaches Chiara,
• 1:22:29
  Speaker 1: which is Simba's daughter, to hunt, which is ridiculous because
• 1:22:32
  Speaker 1: females are the more proficient and more frequent hunters, although
• 1:22:36
  Speaker 1: males do hunt some. So yeah, that's that's what Katie
• 1:22:40
  Speaker 1: had to say. So thank you very much once again,
• 1:22:42
  Speaker 1: thanks for all of that, and listen to Creature Feature
• 1:22:46
  Speaker 1: for for more more and also a couples therapist and
• 1:22:51
  Speaker 1: we're plugs of course, so yeah, I think like, yeah,
• 1:22:56
  Speaker 1: half a nip for me half and can get back
• 1:22:59
  Speaker 1: to young Nala same yeah, yeah, plug your stuff, Naomi,
• 1:23:03
  Speaker 1: thanks for being here. Oh thanks friends. You know Couples Therapy.
• 1:23:07
  Speaker 1: It's a podcast on the same network as Bechtel Cast.
• 1:23:10
  Speaker 1: You should be able to find it drop Every Tuesday
• 1:23:13
  Speaker 1: we have comics and sets together about their relationship Calen Jamie.
• 1:23:16
  Speaker 1: We're in a recent episode meeting their friend fan fiction,
• 1:23:20
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• 1:23:23
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• 1:23:28
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• 1:23:32
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• 1:23:35
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• 1:23:39
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• 1:23:44
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• 1:23:50
  Speaker 1: that piping hot content, yes uh yeah, and then you
• 1:23:57
  Speaker 1: can check out our t public store for all of
• 1:23:59
  Speaker 1: our merch and so forth. And we are going to
• 1:24:03
  Speaker 1: be in London on September one doing two shows, Brave
• 1:24:10
  Speaker 1: and The Favorite, and I will I thought you're saying
• 1:24:14
  Speaker 1: we were brave for doing We're going to London so
• 1:24:20
  Speaker 1: close to Brexit, very brave um And so yeah, if
• 1:24:24
  Speaker 1: if you live in the UK, come to that show, yes, yes, please.
• 1:24:28
  Speaker 1: More details for that are on our website becktelcast dot
• 1:24:31
  Speaker 1: com and that's where you can find other information about
• 1:24:34
  Speaker 1: other upcoming live shows, including individual ones that both I
• 1:24:39
  Speaker 1: and Jamie are doing from to n Prefreinge and uh.
• 1:24:44
  Speaker 1: Other than that, I think we just just should all
• 1:24:47
  Speaker 1: remember about the circle of life, how it moves us all.
• 1:24:52
  Speaker 1: I love how yeah they the like opening sequence of
• 1:24:55
  Speaker 1: this movie is like momento more kids, you will one
• 1:24:59
  Speaker 1: day die here, like a lot of hard truths in landing,
• 1:25:02
  Speaker 1: a lot of hard truths that well you're gonna You're
• 1:25:05
  Speaker 1: all going to die someday. So thanks for blowing one
• 1:25:09
  Speaker 1: of your last hours on the effects of cast. Okay,
• 1:25:13
  Speaker 1: good night night