Latest / The Bechdel Cast / Moana with Natalie Baseman

Transcript

Moana with Natalie Baseman · The Bechdel Cast

• 0:00
  Speaker 1: On the dol Cast. The questions asked if movies have
• 0:03
  Speaker 1: women in um, are all their discussions just boyfriends and
• 0:07
  Speaker 1: husbands or do they have individualism the patriarchy ZF and
• 0:11
  Speaker 1: best start changing it with the Bedel Cast. Hi, welcome
• 0:16
  Speaker 1: to the Bechtel Cast. My name is Jamie, my name
• 0:19
  Speaker 1: is Caitlin, and this is the vac dol Cast. This
• 0:22
  Speaker 1: is a movie podcast where we talked about the portrayal
• 0:25
  Speaker 1: of women in movies. Oh yeah, I forgot first. We
• 0:28
  Speaker 1: wanted to. It was announced recently, keeping some housekeeping things,
• 0:33
  Speaker 1: some cool things. It was announced recently. I found an
• 0:36
  Speaker 1: article on end gadget dot com, the whole website for
• 0:41
  Speaker 1: tech heads. Oh, I am not super familiar with it.
• 0:44
  Speaker 1: I'm going to pretend to be cool. The article is
• 0:48
  Speaker 1: IMDb adds an F rating to help users identify feminist
• 0:53
  Speaker 1: friendly movies. Does that seem a little bit condescending the
• 0:56
  Speaker 1: F or just like confusing? Like, oh, this movie has
• 0:59
  Speaker 1: an F but it's good should be a for ally,
• 1:06
  Speaker 1: So I like that. I like it. I like that
• 1:08
  Speaker 1: a lot, so be on the lookout for that. I'm
• 1:10
  Speaker 1: not sure when they're launching that exactly. But and then
• 1:13
  Speaker 1: the the other thing that we learned about since our
• 1:16
  Speaker 1: last episode is the sexy lamp test, which is sort
• 1:19
  Speaker 1: of a contemporary spin on the back Dolt test that
• 1:23
  Speaker 1: in the sexy lamp that's a reference to Christmas story,
• 1:27
  Speaker 1: is it not? Okay? So the sexy lamp test is
• 1:30
  Speaker 1: none of the women can be replaced by a sexy
• 1:33
  Speaker 1: lamp and have the plot remain intact. So it's basically
• 1:36
  Speaker 1: just like a lesson in objectification, which we're down for.
• 1:40
  Speaker 1: We're down. There's so many variations on tests. I mean,
• 1:43
  Speaker 1: I mean on this website alone, the backtel test, sexy
• 1:46
  Speaker 1: lamp test, the Mako Morey test. The Macho Morey test
• 1:50
  Speaker 1: says a movie has to have at least one female
• 1:52
  Speaker 1: character with her own narrative arc that is not about
• 1:55
  Speaker 1: supporting a man's story, so it has to be her own.
• 1:58
  Speaker 1: She has to have her own story that doesn't have
• 2:00
  Speaker 1: anything to do with a man's goal or desires. And
• 2:03
  Speaker 1: then there's the furious A test, which I think is
• 2:05
  Speaker 1: mislabeled here because I'm pretty sure I created that test,
• 2:08
  Speaker 1: and it's more the furious A rule, which is that
• 2:11
  Speaker 1: the baldest woman in the movie is in charge. And
• 2:14
  Speaker 1: I think that that rule pretty much holds up. Name
• 2:18
  Speaker 1: me a movie with a bald woman who is not
• 2:20
  Speaker 1: in charge. I don't know if I can name you
• 2:22
  Speaker 1: a movie with a bald woman apart from mad Max,
• 2:25
  Speaker 1: Fury Road and I Jane. Oh damn it, I was
• 2:30
  Speaker 1: like truck card. There's another one. The anti freeze test
• 2:37
  Speaker 1: says that no woman assaulted, injured, or killed to further
• 2:41
  Speaker 1: the story of another character, so that cannot happen or
• 2:45
  Speaker 1: else it does not pass the anti freeze test. So um,
• 2:48
  Speaker 1: someone had tweeted at us a while back letting us
• 2:51
  Speaker 1: know about the sexy lamp test. I wish I could
• 2:53
  Speaker 1: remember that person's Twitter handle. I don't. Sorry, we'll put
• 2:57
  Speaker 1: it in the description. Yeah. Anyway, these you with these
• 3:00
  Speaker 1: tests were brought to our attention. So we got some
• 3:03
  Speaker 1: other litmus tests to apply to the movies we talk
• 3:07
  Speaker 1: about if we want anyway, let's get this moving right along,
• 3:11
  Speaker 1: all right, Let's do it and introduce our wonderful guests.
• 3:14
  Speaker 1: She's a screenwriter and she has written for Reductress Natalie Basement. Hi,
• 3:22
  Speaker 1: thanks for being here. Oh, it is a pleasure to
• 3:25
  Speaker 1: be here. O, my god, thank you for having me. So.
• 3:27
  Speaker 1: One of the things we often mentioned on the podcast,
• 3:30
  Speaker 1: and I don't like to bring it up, is that
• 3:32
  Speaker 1: I have a screenwriting master's degree. Guest, who else has
• 3:37
  Speaker 1: a screenwriting masters degree? Natalie does? Goddamn it? So serious, serious, guys.
• 3:48
  Speaker 1: So I'm a trigger. So I'm going home. You know,
• 3:54
  Speaker 1: you understand my struggle. It's hard. It's that I went
• 3:58
  Speaker 1: to film school because I love movies, and it it
• 4:01
  Speaker 1: made me so I can't watch a movie without destroying it.
• 4:05
  Speaker 1: I have a much more critical eye when I I
• 4:08
  Speaker 1: can see the screenwriter's hand in like every decision that's
• 4:12
  Speaker 1: made when I'm watching a movie, but I'm still able
• 4:14
  Speaker 1: to enjoy them. Yeah. Well, if the movie is good enough,
• 4:17
  Speaker 1: I'll forget about it, like the movie we're going to
• 4:20
  Speaker 1: talk about. I went to radio school to kill my
• 4:23
  Speaker 1: new England accent and develop a very smooth delivery voice,
• 4:29
  Speaker 1: and it's working. Thank you so much. I used to
• 4:33
  Speaker 1: I used to host a late night R and B
• 4:36
  Speaker 1: show and be like, this is eight eight nine at night.
• 4:39
  Speaker 1: If you have any calls, feel free to call in
• 4:41
  Speaker 1: for your loved one, and then it would be like
• 4:44
  Speaker 1: CVS brand Delilah. It was nice. I was like, I
• 4:47
  Speaker 1: hope people are sucking to this, and sometimes it would
• 4:49
  Speaker 1: just be like horny older guys have calling and be
• 4:51
  Speaker 1: like play a song for my wife, and I'd be
• 4:53
  Speaker 1: like this next song goes out to Louisa on her
• 4:57
  Speaker 1: thirtieth anniversary. I definitely what I've listened to your show,
• 5:02
  Speaker 1: Thank you so much. I also hosted a show called
• 5:04
  Speaker 1: The Playground where I only talked in a nasal tone.
• 5:06
  Speaker 1: So that's what I did. That's why I'm in it good.
• 5:09
  Speaker 1: Thank you. My mom told me today that she has
• 5:11
  Speaker 1: a hard time distinguishing our voices whenever she was listening
• 5:15
  Speaker 1: to the podcast. I have sometimes too, Really, do we
• 5:17
  Speaker 1: say enough alike? I think that we have. Maybe I
• 5:19
  Speaker 1: should start talking in like an Australian accent. Hey are
• 5:22
  Speaker 1: we It's that? What's silent? So that's really good? Bad,
• 5:28
  Speaker 1: that's really good. Thanks. I only have like two voices,
• 5:33
  Speaker 1: which is tricky. I can talk like my former co
• 5:36
  Speaker 1: worker Nick, and then I can just talk hear it, Hey, Nick,
• 5:39
  Speaker 1: what's going on? Hey that's going a nice Nick Hanson? Yeah, Nick,
• 5:45
  Speaker 1: I have a blag about turkey sandwiches. I live in Minnesota.
• 5:48
  Speaker 1: I'm the nicest by a lot, and I used to
• 5:51
  Speaker 1: like write sketches about Nick everyone following on Twitter at
• 5:54
  Speaker 1: Nick Hanson m N. I used to write sketches about
• 5:57
  Speaker 1: Nick when we worked together, and I would always make
• 5:59
  Speaker 1: him like a vicious murderer and kept his name like.
• 6:03
  Speaker 1: There was one thing used to do where I would
• 6:06
  Speaker 1: be like wearing a wig and I'd have a gun
• 6:08
  Speaker 1: under the wig. I would be just Nick going from
• 6:11
  Speaker 1: table to table being Hella, I have again under my wig.
• 6:14
  Speaker 1: Do you believe me? And then people would be like no,
• 6:17
  Speaker 1: He'd be like, take off my wig. I defy it.
• 6:19
  Speaker 1: To take off my wig. It was so much fun.
• 6:22
  Speaker 1: I missed it. That is a pretty good Nick impression.
• 6:26
  Speaker 1: Though you and I went to grad school together. Again,
• 6:28
  Speaker 1: I don't like. I don't like. Oh my god, guys,
• 6:36
  Speaker 1: in spite of the fact that I've been making cartoons
• 6:38
  Speaker 1: about Nick being a murderer and the cartoons are making
• 6:41
  Speaker 1: fun of his Turkey sandwich blog. He sent me and
• 6:45
  Speaker 1: my dad a Christmas cards. Last act, he's a very Nicholas.
• 6:49
  Speaker 1: He sent me a DVD of Ferris Bueller's Day Off
• 6:52
  Speaker 1: on my birthday. I don't even have a DVD player.
• 6:54
  Speaker 1: I love it. Hey, speaking to DVDs, let's talk about
• 6:57
  Speaker 1: the movie that we're here to talk about. Okay, don't
• 7:00
  Speaker 1: sound so defeated, because it's a movie that we enjoy,
• 7:03
  Speaker 1: we really like. We we're talking about Moanna. It came
• 7:07
  Speaker 1: out last year, so it's not as though any of
• 7:09
  Speaker 1: us have a huge history with this movie. But you
• 7:11
  Speaker 1: saw in theaters, right, Natalie. I saw it at a
• 7:14
  Speaker 1: It was a special preview at my grad school. WHOA
• 7:18
  Speaker 1: what you went to grad school? Sometimes they do at
• 7:23
  Speaker 1: special previews data special screen of Mohanna that was presented
• 7:26
  Speaker 1: by the Pacific Islanders Group at the school, which was
• 7:30
  Speaker 1: really great because there were a lot of students there
• 7:32
  Speaker 1: who are either from the Pacific Islands Hawaii or around
• 7:36
  Speaker 1: there or are descended from there, and I live here
• 7:39
  Speaker 1: and so they were all super pumped for it. So
• 7:42
  Speaker 1: it was just a really great vibe going into it.
• 7:44
  Speaker 1: And then there was an interview with the screenwriter after
• 7:46
  Speaker 1: overtty cool. Yeah, and this was this before like the
• 7:49
  Speaker 1: theatrical release. Yeah, just a couple of weeks there. And
• 7:52
  Speaker 1: I didn't know that the screenwriter of this had had
• 7:55
  Speaker 1: a hell of a year last year because he also
• 7:57
  Speaker 1: wrote and directed Utopia. Kidding, Yeah, he was like a
• 8:00
  Speaker 1: low gas animator last year and he looks like just
• 8:04
  Speaker 1: the widest dad. Yeah, exactly. Yeah, he for sure golfs,
• 8:10
  Speaker 1: but he also had an amazing So you saw it
• 8:15
  Speaker 1: a little bit before because it came out in two
• 8:18
  Speaker 1: around November, was it, Yeah, it was right, it was
• 8:20
  Speaker 1: right before the holidays, and I just I just kept
• 8:23
  Speaker 1: thinking about it. I left the theater and I went
• 8:25
  Speaker 1: in with very low expectations, maybe a little bit higher
• 8:29
  Speaker 1: because I did enjoy Frozen so much, And then I
• 8:32
  Speaker 1: was just so blown away and just listened to the
• 8:34
  Speaker 1: soundtrack forever after and it's still stuck in my head.
• 8:37
  Speaker 1: And I rewatched it for the third time last night
• 8:41
  Speaker 1: in preparation for this, and it is. It's just a
• 8:44
  Speaker 1: beautiful movie. It is. It's almost everything I ever wanted
• 8:47
  Speaker 1: out of a Disney princess movie, but never never knew
• 8:50
  Speaker 1: I wanted. Yeah, exactly. Every time I've seen it, I've
• 8:54
  Speaker 1: been so emotional because it's like, this is the this
• 8:58
  Speaker 1: is what Disney movies should have been like all along.
• 9:01
  Speaker 1: Caitlin didn't cry, but she did sing. I did, right.
• 9:05
  Speaker 1: So I watched it twice in the past day and
• 9:09
  Speaker 1: a half. So the story is Moanna is the daughter
• 9:14
  Speaker 1: of a chief on an island, called Moutanui, and we
• 9:18
  Speaker 1: learned about this sort of creation legend in the very
• 9:21
  Speaker 1: beginning where this demigod Maui has stolen the heart. I
• 9:25
  Speaker 1: like to call it the heart of the Ocean, Titanic
• 9:28
  Speaker 1: reference call it. I know that they ever actually do it.
• 9:32
  Speaker 1: They always call it the heart of Taffiti, because I mean,
• 9:36
  Speaker 1: like that would be like I would have loved that
• 9:39
  Speaker 1: there was an overt tan reference. Well, she wears it
• 9:42
  Speaker 1: around her neck if it were true, and Mauie drops
• 9:46
  Speaker 1: her naked. Yeah, so Maui steals the heart from this
• 9:56
  Speaker 1: mother island, and then it creates this sort of leg
• 10:00
  Speaker 1: that is spreading to the other islands and like diseasing
• 10:03
  Speaker 1: the crops and all this stuff. So this starts to
• 10:05
  Speaker 1: happen to the island that Mowana lives on with her family,
• 10:09
  Speaker 1: her mom and her dad and her grandma. She also,
• 10:12
  Speaker 1: throughout the course of her childhood is drawn to the ocean,
• 10:15
  Speaker 1: and her dad's like, you can't go out. It's dangerous.
• 10:18
  Speaker 1: You have to stay on the island. You can't go
• 10:20
  Speaker 1: out sailing, And she's like, but I wanna. So I
• 10:23
  Speaker 1: think it would be funny if we subbed in cocaine
• 10:26
  Speaker 1: for the ocean. She's like, I can't stay away. I
• 10:30
  Speaker 1: was born with this desire to snort coke. And then
• 10:36
  Speaker 1: she sings the same song about it would explain how
• 10:39
  Speaker 1: she got to the island so quickly, right, just just
• 10:42
  Speaker 1: very focused. She's like, I kinda go right now. I'm
• 10:44
  Speaker 1: being fast. Oh yeah, I know she Yeah, she's got
• 10:47
  Speaker 1: that co cattled brain. Yeah. So she's drawn to the ocean,
• 10:51
  Speaker 1: and the ocean sort of chooses her to it, like
• 10:55
  Speaker 1: delivers her this heart, this little rock that's the heart
• 10:58
  Speaker 1: of the ocean, and she's a baby, but she doesn't
• 11:01
  Speaker 1: really know about it. Turns out her grandma found it
• 11:04
  Speaker 1: for her and has been keeping it for her. And
• 11:06
  Speaker 1: then when the crops start to get to disease and
• 11:08
  Speaker 1: there's no fish, she's like, I gotta go and fix this.
• 11:11
  Speaker 1: There's a whole global warming climate change. I made notes
• 11:15
  Speaker 1: about it. So she decides to she gets the call
• 11:19
  Speaker 1: to adventure. She goes off and she takes a boat
• 11:23
  Speaker 1: because she learns that their ancestors were all voyagers, and
• 11:26
  Speaker 1: so she's like, I gotta get on these boats. I'm
• 11:28
  Speaker 1: gonna go off and I'm gonna go to Maui. The
• 11:31
  Speaker 1: stemigod who fucked everything up. I went back up a
• 11:34
  Speaker 1: little bit to say, ten minutes of topless baby, we
• 11:38
  Speaker 1: do see some babies nipples. We see baby nips and
• 11:42
  Speaker 1: progressive in every way. I'm like, you know what, loving
• 11:46
  Speaker 1: not aroused by these baby nips. Just happy they're here.
• 11:49
  Speaker 1: I didn't even think about that, and I'm so happy
• 11:52
  Speaker 1: that's the case. I think I literally shouted baby nips.
• 11:56
  Speaker 1: All right, we watched it together. This is we did.
• 11:58
  Speaker 1: We watched together. Oh, we're hottest couffle. Oh. And when
• 12:04
  Speaker 1: the grandmother, when she's sick and dying, she brings Mohana
• 12:09
  Speaker 1: close and says go and she says, grab Mauie, and
• 12:13
  Speaker 1: you tell him I am mo Wanna from Montanui and
• 12:18
  Speaker 1: you will do this. You will sail across the ocean
• 12:20
  Speaker 1: and you will do this, and just so forceful and beautiful.
• 12:25
  Speaker 1: It was great. So she does, she goes, and she
• 12:28
  Speaker 1: um kind of self teaches herself. I do feel like
• 12:32
  Speaker 1: with the death of the grandma, they do shoehorn in
• 12:34
  Speaker 1: a maternal death as a motivation. Um. But but I
• 12:40
  Speaker 1: wasn't bothered by it. I wasn't either, but it just
• 12:42
  Speaker 1: felt worth mentioning. So she goes, she finds Mauie. He
• 12:46
  Speaker 1: is a dick, but we love him, and he agreed.
• 12:51
  Speaker 1: He agrees to reluctantly help her after she convinces him, Yeah,
• 12:57
  Speaker 1: you thought you were great, but no one likes you anymore,
• 12:59
  Speaker 1: so you have to redeem yourself. And they, you know,
• 13:03
  Speaker 1: encounter some coconut pirates along the way. They only agrees
• 13:07
  Speaker 1: so he can go get his magical hook bad and
• 13:11
  Speaker 1: then they go do that, and there's a very sexy
• 13:13
  Speaker 1: song shiny yeah, Oh my god, the yeah, the Germaine
• 13:17
  Speaker 1: Clement pulling a bowie. I loved that. That was so good.
• 13:22
  Speaker 1: And You're welcome, which is the ultimate man's bliny song.
• 13:26
  Speaker 1: The rock just really delivers so on every level. So
• 13:29
  Speaker 1: where he's a shape shifter and but he needs a
• 13:32
  Speaker 1: magical hook that was bestowed to him by the gods
• 13:34
  Speaker 1: to be able to shape shift. So they go and
• 13:36
  Speaker 1: they get his hook, and then he, like again reluctantly
• 13:39
  Speaker 1: agrees to help her restore the heart and they go
• 13:43
  Speaker 1: and there's a lot of a monster they have to defeat,
• 13:45
  Speaker 1: and she questions who she is the whole time, like,
• 13:48
  Speaker 1: am I the right person for this? Why was I chosen?
• 13:50
  Speaker 1: And he's just like egging her on, being like, yeah,
• 13:52
  Speaker 1: why were you chosen? And so she has all this
• 13:55
  Speaker 1: self doubt, um, but she's very driven throughout the entire thing.
• 13:59
  Speaker 1: And then finally they get to DEFETI. She restores the heart.
• 14:05
  Speaker 1: She's the one who does it, even though the whole
• 14:06
  Speaker 1: time it's like, now you have to be the one
• 14:08
  Speaker 1: to do it, and then she realizes, no, I have
• 14:10
  Speaker 1: to be the one to do it. So she is
• 14:14
  Speaker 1: integral and the like actual climax and resolution of the story,
• 14:19
  Speaker 1: which is great. Last night, I was watching it by
• 14:21
  Speaker 1: myself and I was basically crying the whole time. So
• 14:25
  Speaker 1: what are your crime moments? Because I cry every time
• 14:28
  Speaker 1: I've seen this movie, and I've cried listening to soundtrack
• 14:30
  Speaker 1: and it is last night I tried to write down
• 14:33
  Speaker 1: when I cried so we could compare it. What are
• 14:36
  Speaker 1: the most moment? The biggest one that makes me the
• 14:39
  Speaker 1: most emotional is toward the end, after Maui has decided
• 14:45
  Speaker 1: to leave, Like, they attempted defeating I forget what the
• 14:49
  Speaker 1: law of monster's name is. Um, they attempt defeating her
• 14:54
  Speaker 1: once and they fail. So mal he's like, I'm going
• 14:57
  Speaker 1: to get out of here. And Molana is like, I've
• 15:00
  Speaker 1: made a mistake. I shouldn't even you chose the wrong person.
• 15:03
  Speaker 1: Please choose someone else, Ocean, and then her grandma shows
• 15:07
  Speaker 1: up and they sing a song together and she's like,
• 15:09
  Speaker 1: I am mo wanna. That's so just like so good.
• 15:13
  Speaker 1: Water works the lyrics of that song because I was
• 15:17
  Speaker 1: singing along and then realized I actually don't know the
• 15:19
  Speaker 1: lyrics and I'm just singing the emotions. But then I
• 15:23
  Speaker 1: looked up the lyrics and was bawling because they are beautiful.
• 15:27
  Speaker 1: It's like there's a line about how the scars make
• 15:31
  Speaker 1: you stronger, and I mean, well, might as well jump
• 15:34
  Speaker 1: into it. But I really think this movie is so
• 15:37
  Speaker 1: much about overcoming trauma and overcoming these hard things that
• 15:42
  Speaker 1: can happen to you. And and even though Mohanna doesn't
• 15:46
  Speaker 1: necessarily she's she's the savior of the victim and it's
• 15:52
  Speaker 1: and it's in that moment she is so defeated and
• 15:55
  Speaker 1: then overcomes it by just repeating who she is, and
• 15:59
  Speaker 1: it's beautiful. The Disney movie that it most closely reflected
• 16:04
  Speaker 1: for me was Pocahon Tests, which was my first favorite movie.
• 16:09
  Speaker 1: I believe that there are hours of home video footage
• 16:12
  Speaker 1: of me just screaming colors of the wind out a
• 16:15
  Speaker 1: mountain in New Hampshire, like Age three, but for for
• 16:20
  Speaker 1: a couple of reasons, even though like it's a you know,
• 16:23
  Speaker 1: Pocahon is hinged on, you know, she falls in love
• 16:27
  Speaker 1: with the man, but also she lets him go at
• 16:29
  Speaker 1: the end. But more so like this young woman who
• 16:33
  Speaker 1: goes on an adventure and then at the end she
• 16:36
  Speaker 1: learns about herself. She learns about A, B and C,
• 16:40
  Speaker 1: but then decides that her place is at home with
• 16:43
  Speaker 1: her family, and there's some sort of duty connected to
• 16:46
  Speaker 1: her home into family, which I wasn't sure where this
• 16:49
  Speaker 1: movie was going to end. I wasn't sure if Moana
• 16:51
  Speaker 1: was going to leave home or stay and and I
• 16:54
  Speaker 1: think I would have been happy with either. And it
• 16:56
  Speaker 1: didn't bother me one bit that she returned home at
• 17:00
  Speaker 1: for this journey all wise and coming away, Well, she
• 17:03
  Speaker 1: returns home, but then she's like, guys, let's all be
• 17:05
  Speaker 1: voyagers again. She teaches her dad how to be away
• 17:08
  Speaker 1: finder and stuff. It is beautiful. Caitlin, What was your
• 17:12
  Speaker 1: Disney Princess movie growing up? If you had one. The
• 17:15
  Speaker 1: ones that I connected with most were Little Mermaid Aladdin,
• 17:19
  Speaker 1: which I mean, Jasmine is a princess and it's kind
• 17:22
  Speaker 1: of a Disney princess. She's like, yeah, she's barely in it.
• 17:25
  Speaker 1: I also really loved Being but those are both like
• 17:30
  Speaker 1: so problematic that I don't even want a bit. Yeah,
• 17:33
  Speaker 1: I was a big Cinderella girl, and I would I
• 17:36
  Speaker 1: would watch both the Disney version and then like every
• 17:39
  Speaker 1: other version, I could get Rogers and Hammerstein Baby the best,
• 17:43
  Speaker 1: the Brandy version. And what is so great about Mohana
• 17:49
  Speaker 1: is that they really play with the tropes of the
• 17:51
  Speaker 1: fairy Tale and of the Disney Princess movie and turn
• 17:55
  Speaker 1: it on its on its head, but in ways that
• 17:57
  Speaker 1: are not jarring, but in ways that may right. So
• 18:00
  Speaker 1: like the Fairy Godmother and Cinderella saves the day, and
• 18:05
  Speaker 1: also Cinderella would still be there if the fair Godmother
• 18:09
  Speaker 1: never came, and the fairy Godler saves her over and
• 18:12
  Speaker 1: over again, whereas the fairy Godmother in this movie, I
• 18:15
  Speaker 1: would say, is the ocean. And yes, she is saved
• 18:19
  Speaker 1: by the ocean over and over again, but the ocean
• 18:21
  Speaker 1: is presented as very dangerous at the start of the movie,
• 18:25
  Speaker 1: almost kills her, and she saves herself. She gets her
• 18:30
  Speaker 1: foot caught underneath a rock and then breaks it away
• 18:32
  Speaker 1: and swims away. And she whenever I was trying to
• 18:36
  Speaker 1: pay attention to it this last time, I watch it.
• 18:38
  Speaker 1: Every time the ocean saves her, she has done something
• 18:41
  Speaker 1: to try and save herself before the ocean does, right right, Yeah,
• 18:45
  Speaker 1: I mean I was worried about the ocean kind of
• 18:47
  Speaker 1: becoming a device to get her out of situate, but
• 18:49
  Speaker 1: it never really came to that. It was always I mean,
• 18:52
  Speaker 1: there were times where it came in as an assistant,
• 18:55
  Speaker 1: but you know, she she was always the one taking action.
• 18:58
  Speaker 1: She does all the heavy lifting. Yeah, yeah, there's ah man.
• 19:02
  Speaker 1: It was so good, And I totally agree with the
• 19:05
  Speaker 1: Natalie that, like all the you know, displacements of the
• 19:08
  Speaker 1: basic Disney Princess tropes were I didn't feel shoehorned or
• 19:13
  Speaker 1: forced or like overdone, which they totally could have been.
• 19:17
  Speaker 1: And the fact that I feel like it's worth mentioning
• 19:20
  Speaker 1: that Moana's body type is like normal, It's like mildly realistic,
• 19:25
  Speaker 1: as close to proportional as probably a Princess style character
• 19:30
  Speaker 1: has ever been, which is really really cool. No like
• 19:34
  Speaker 1: two inch waste and and all this stuff. She seems
• 19:38
  Speaker 1: like strong, like physically strong and able, which need to
• 19:42
  Speaker 1: be and we see her like doing these like pretty
• 19:45
  Speaker 1: amazing feats of strength. Every time she'd pull a rope,
• 19:48
  Speaker 1: I'd be like, well, that is, I couldn't do that.
• 19:51
  Speaker 1: She's kind of like Aladdin in that way. She's from
• 19:55
  Speaker 1: the beginning of the movie. She is doing these feats
• 19:58
  Speaker 1: of strength in these of acrobatics, and she runs up
• 20:03
  Speaker 1: and fixes the pomp fronds in the building and stops
• 20:05
  Speaker 1: the leaking, and and then everything with the ship requires
• 20:09
  Speaker 1: so much physical strength. On the same topic of like
• 20:13
  Speaker 1: the bodies and stuff one of crime moment number one,
• 20:16
  Speaker 1: the first time I saw it was so the grandmother
• 20:19
  Speaker 1: was like just a beautiful character and the relationship is wonderful,
• 20:24
  Speaker 1: but the grandmother's arms like hit something inside of me
• 20:27
  Speaker 1: that I didn't know was there really, And it was like,
• 20:32
  Speaker 1: you know, even when they show uh different figures on TV,
• 20:37
  Speaker 1: it's often larger hips, a larger bust, even a larger waist,
• 20:42
  Speaker 1: but you know something like arms are still very skinny
• 20:44
  Speaker 1: and trim and like or like sleeved or sleeved or
• 20:47
  Speaker 1: and and to see this like woman's skin that is alive,
• 20:52
  Speaker 1: that is an old woman's body. That was like, oh
• 20:56
  Speaker 1: my god, those are my grandmother's arm show me that
• 20:59
  Speaker 1: decay baby, I was. I was actually going to bring
• 21:03
  Speaker 1: up the grandmother too, because that was the other big
• 21:05
  Speaker 1: thing that reminded me of Pocahontas, except the role of
• 21:08
  Speaker 1: the grandmother is a tree. But that tree is dope
• 21:12
  Speaker 1: and very helpful, like Moana's grandma. My mom. We had
• 21:16
  Speaker 1: like a tree that it was not a willow tree.
• 21:19
  Speaker 1: It looked nothing like the tree. But I was so
• 21:21
  Speaker 1: into Pocahontas as a kid that I think she like
• 21:23
  Speaker 1: brought a sharpie out to her tree and there was
• 21:25
  Speaker 1: like a little hole in it like grandmother Willa's face,
• 21:28
  Speaker 1: and she added a little smiley face with eyelashes and
• 21:31
  Speaker 1: then she'd be like Jamie, look, and I would just
• 21:34
  Speaker 1: go talk to the tree. It was maybe to get
• 21:36
  Speaker 1: rid of me for a while because I would just
• 21:38
  Speaker 1: go confess to the tree, that's amazing. Oh. The thing
• 21:42
  Speaker 1: I wanted to mention about her just being physically strong,
• 21:45
  Speaker 1: which that is oftentimes when movies want to like show
• 21:49
  Speaker 1: that a woman character is like not your typical lady
• 21:54
  Speaker 1: like the others, like stronger than normal or a trope
• 21:58
  Speaker 1: you see over and over again when just I don't
• 22:01
  Speaker 1: really understand is she's good at fixing cars, but like
• 22:06
  Speaker 1: nickan Fox and transforming and something I forgot to mention
• 22:10
  Speaker 1: in Um Runaway Bride, Julia Roberts knows how to fix
• 22:14
  Speaker 1: cars and that makes you more handy. But anyway, it
• 22:17
  Speaker 1: wasn't like, oh, what a stupid trope to rely on
• 22:20
  Speaker 1: in mo Wana, Like she lives on an island and
• 22:22
  Speaker 1: you know they're farming in harvesting crops, and like she
• 22:26
  Speaker 1: would have to be right. It's so justified and we
• 22:30
  Speaker 1: see her getting trained for it, so it like comes
• 22:32
  Speaker 1: from somewhere and it doesn't feel like one of those
• 22:35
  Speaker 1: lay mass like action movie tropes of like you know,
• 22:38
  Speaker 1: there's is great. I think it's a mixed Wheeney's piece
• 22:40
  Speaker 1: that I think about at least once a week about
• 22:43
  Speaker 1: like I'm the woman and I can kick and it's like,
• 22:46
  Speaker 1: you know, like the one amazing thing the woman can do.
• 22:48
  Speaker 1: And then the guys turned to her like what the
• 22:51
  Speaker 1: woman could do a thing? And she's like, whatever, I
• 22:54
  Speaker 1: guess I can, and that's like the one display of
• 22:57
  Speaker 1: female strength. She like kicks open a door and they're like, wow,
• 23:01
  Speaker 1: we're more horny now, you know. And it's just like
• 23:05
  Speaker 1: so infuriating, and you can feel the screenwriter like grabbing
• 23:09
  Speaker 1: his crotch in a congratulatory fashion. Of course. Yeah, there's
• 23:13
  Speaker 1: a moment when Maui abandons her on the island. Yeah,
• 23:19
  Speaker 1: there's this episode maybe two hours long I have loved
• 23:25
  Speaker 1: to talk about. So she gets trapped on the island
• 23:28
  Speaker 1: because Maui traps her in a cave and there's like
• 23:31
  Speaker 1: a statue that he clearly made of himself yea, and
• 23:35
  Speaker 1: she like crawls up it and then like kicks it
• 23:37
  Speaker 1: over and like uses it to jump into which is
• 23:40
  Speaker 1: very like Raiders of the Lost Arc. Yeah uh. And
• 23:44
  Speaker 1: then she like has to climb out of this like
• 23:46
  Speaker 1: hole in this ceiling and stuff, and I'm just like
• 23:48
  Speaker 1: fu yeah, dude, she defies Mauie so much. I love it.
• 23:54
  Speaker 1: I love I love her. In Mauie's relationship, I was
• 23:57
  Speaker 1: the whole time, I was like, Caitlin, will they kiss?
• 23:59
  Speaker 1: And well, I feel okay about it because there were
• 24:02
  Speaker 1: moments where I was like, is this daddy or boyfriend?
• 24:05
  Speaker 1: You know, Like there's moments where their hands would touch
• 24:07
  Speaker 1: and I'd be like, hmmm, he has one million years old,
• 24:10
  Speaker 1: am I okay with this? And then by the end
• 24:12
  Speaker 1: it was sort of like, you know what, I am
• 24:14
  Speaker 1: okay with it, but then nothing happens. But that's like
• 24:16
  Speaker 1: one of the amazing things about this movie is there
• 24:19
  Speaker 1: is a complete void of romantic interest and and that
• 24:24
  Speaker 1: is part of Oh my god, I'm doing a great
• 24:28
  Speaker 1: job because from the show room downstairs. Um, that's like
• 24:33
  Speaker 1: part of what makes this movie so amazing. And because
• 24:36
  Speaker 1: I think I'm so first of all trained to expect
• 24:40
  Speaker 1: and second of all genuinely love princess movies that I
• 24:43
  Speaker 1: was sort of waiting for a love interest to arrive
• 24:46
  Speaker 1: and it never happened. And in retrospect, that's great. Had
• 24:50
  Speaker 1: she kissed Mauie, I would be like, okay, oh, I
• 24:53
  Speaker 1: would have been furious. I would have I would have
• 24:57
  Speaker 1: the first time I saw I would have common media.
• 25:00
  Speaker 1: The second time, I'd be like, hey, maybe that's when
• 25:04
  Speaker 1: he's a million and I think that's I think that's
• 25:07
  Speaker 1: a real Um. The only reason why we like Maui
• 25:12
  Speaker 1: is because the rock is amazing and because Mauie, like,
• 25:17
  Speaker 1: when you break down what he does, he steals the
• 25:21
  Speaker 1: heart of this island, which is a god who made him.
• 25:25
  Speaker 1: He essentially rapes her, takes her power, uses it to
• 25:31
  Speaker 1: do all kinds of ship It becomes his power, and
• 25:35
  Speaker 1: then Moanna is tasked to bring that heart back to
• 25:38
  Speaker 1: the island. And all he does is try and kill Moanna.
• 25:44
  Speaker 1: He is constantly trying to throw her off a boat
• 25:47
  Speaker 1: and the multiple time of her just leave her on
• 25:51
  Speaker 1: this island that he was deserted for years and years.
• 25:55
  Speaker 1: He talks down to her, He is rude, he calls her.
• 26:00
  Speaker 1: He derogatorily calls her a princess, which is very interesting
• 26:06
  Speaker 1: because it was I found that to be a little
• 26:09
  Speaker 1: heavy handed that, you know, they wanted to get the
• 26:11
  Speaker 1: princess thing in there, but the way they did it
• 26:14
  Speaker 1: I liked because she stood up for herself was just
• 26:17
  Speaker 1: like I'm not a princess. Yeah. There's a line where
• 26:20
  Speaker 1: he's like, if you wear a dress and you have
• 26:23
  Speaker 1: an animal sidekick, you're a princess. And she's like, no,
• 26:25
  Speaker 1: I'm the daughter of a chief. I see his boy
• 26:28
  Speaker 1: off and it's both, Yeah, I can't be both. I
• 26:33
  Speaker 1: almost found it too third wave that she's like, I'm
• 26:35
  Speaker 1: not a princess. I was like, you can be a princess.
• 26:38
  Speaker 1: You can just be a better princess. This is the
• 26:41
  Speaker 1: final wave of feminism, and it's invented by me. She's
• 26:47
  Speaker 1: final way feminism is the last one is there was
• 26:52
  Speaker 1: I was going to try to make a pun about
• 26:53
  Speaker 1: ocean waves. Speaking of bad pun. Fuck. The twitter joke
• 26:58
  Speaker 1: in this movie makes a twitter every time there's like,
• 27:03
  Speaker 1: I was like, why this movie is dated in no
• 27:06
  Speaker 1: other way except for that horrible joke. And so that
• 27:11
  Speaker 1: twitter joke in so many ways encapsulate his his character.
• 27:15
  Speaker 1: So he makes a joke that's dumb and bad. He
• 27:18
  Speaker 1: makes a bad joke which is, uh, you know when
• 27:22
  Speaker 1: you're doing a great job, oh thank you. When you
• 27:25
  Speaker 1: write with a bird, it's called tweet, or it's called twitter,
• 27:30
  Speaker 1: which is a real growner. And then later on they
• 27:33
  Speaker 1: get attacked by these coconut things. Oh my god, this
• 27:37
  Speaker 1: point of the mind, and we'll get there too, because
• 27:39
  Speaker 1: it's a lot of violence but emoji coconuts. But he
• 27:43
  Speaker 1: she loses the heart, which is the whole reason why
• 27:47
  Speaker 1: she's doing everything, the heart of this ocean, which is
• 27:49
  Speaker 1: this green stone. And he smiles and he's like, but
• 27:52
  Speaker 1: you got one right here, and he holds up the
• 27:54
  Speaker 1: paddle where he etched that stupid Twitter joke where he
• 27:57
  Speaker 1: signed his name in a heart, and it's like, you
• 28:00
  Speaker 1: piece of shit. You are not taking her seriously at
• 28:04
  Speaker 1: any moment. And I love Mauie. I love him. He's charming,
• 28:10
  Speaker 1: and he's got a hot bod. His tattoos are ridiculous.
• 28:15
  Speaker 1: A beefcake, He's a beefcake beyond. He's a demigod, he's
• 28:19
  Speaker 1: hercules and everything he does. When I write it down,
• 28:23
  Speaker 1: it's like, I fucking hate you. I hate you. Are
• 28:27
  Speaker 1: the villain. You are the villain of this movie. This
• 28:30
  Speaker 1: is the point where I would usually say in the podcast,
• 28:34
  Speaker 1: I could fix fixing. I could fix him with my
• 28:38
  Speaker 1: love on my body. And I would like Jamie No
• 28:41
  Speaker 1: to be afforded that opportunity. And you know, okay, it is.
• 28:45
  Speaker 1: The Rock plays a major thing in what makes me
• 28:49
  Speaker 1: horny for Mauie, and also probably some internalized misogyny. But
• 28:54
  Speaker 1: the Rock is the most talented man to ever live.
• 28:57
  Speaker 1: If he ever turns out to be a fucking mon stir,
• 29:00
  Speaker 1: I will throw myself off a building because he is perfect.
• 29:04
  Speaker 1: I had the same thought today, and like, what does
• 29:07
  Speaker 1: that say? What does that say about us? That we
• 29:10
  Speaker 1: are waiting for the other shoe to drop on these
• 29:13
  Speaker 1: men that we love, I mean more often than not. Yeah,
• 29:16
  Speaker 1: like it, you know every time. I feel like every
• 29:19
  Speaker 1: time I mentioned being a fan of a straight man
• 29:23
  Speaker 1: of of any distinction, someone goes like, oh no, but
• 29:27
  Speaker 1: didn't You are like, yeah, he killed people using a
• 29:33
  Speaker 1: shank he made out of soap. But he's not in jail,
• 29:36
  Speaker 1: you know, And then I'm just like, oh great, now, my,
• 29:39
  Speaker 1: you know I can't love Kelsey Grammar anymore. Kelsey Grammar,
• 29:45
  Speaker 1: yeah them all? Fuck? You know. Have we lost Alex
• 29:48
  Speaker 1: Alex Trebek yet? Can I keep him? I see a
• 29:51
  Speaker 1: good boy. I haven't heard anything. Have you ever seen
• 29:53
  Speaker 1: a good boy? I mean, not a felon? You know,
• 29:58
  Speaker 1: if you're listening right now and you haven't seen pictures
• 30:00
  Speaker 1: of shirtless young Alex Trebec, treat yourself. He has the
• 30:06
  Speaker 1: same mustache, incredible abs. It's weird, amazing. I have a
• 30:14
  Speaker 1: real thing I would like to say, as we tend
• 30:17
  Speaker 1: to find again and again. In spite of the fact
• 30:20
  Speaker 1: that this is so well done in regards to how
• 30:23
  Speaker 1: it treats his female characters, obviously, it passes the Backtel
• 30:25
  Speaker 1: test with flying colors. It is directed by and written
• 30:28
  Speaker 1: by straight white men, which is kind of par for
• 30:32
  Speaker 1: the course when it comes to stuff like this. But
• 30:34
  Speaker 1: I went into watching it with you blind and didn't
• 30:37
  Speaker 1: do my research until after i'd already finished, because I
• 30:40
  Speaker 1: didn't want to find out anything that would disappoint me
• 30:42
  Speaker 1: in advance, such as it was written and directed completely
• 30:45
  Speaker 1: by straight white men. And it's like, it's not surprising,
• 30:49
  Speaker 1: and in some regards, it's encouraging straight white men at least,
• 30:54
  Speaker 1: you know, giving them the least benefit of the doubt,
• 30:56
  Speaker 1: understand that it's now marketable to be re suitable to
• 31:00
  Speaker 1: their female characters and to empower them. But it's still,
• 31:04
  Speaker 1: you know, it's disappointing in its way that it's like, Okay,
• 31:08
  Speaker 1: it's great that these guys understand that people are interested
• 31:12
  Speaker 1: in a movie with a female protagonist with a normal
• 31:16
  Speaker 1: body and ambition and you know, like a really grounded character.
• 31:21
  Speaker 1: But come on, like, I mean, there are plenty of
• 31:25
  Speaker 1: women screenwriters and directors and other four. There's two of
• 31:28
  Speaker 1: them in the room right now, so we are Hirer's
• 31:35
  Speaker 1: I'm here too when you are else. You are a
• 31:39
  Speaker 1: very talented animator and editor and filmmaker. When I went
• 31:44
  Speaker 1: and saw this at school, and there was an interview
• 31:46
  Speaker 1: with the screenwriter at the end. It was very disappointing
• 31:50
  Speaker 1: to see him walk on stage that it was another
• 31:53
  Speaker 1: white guy who works at Disney looks like the same,
• 31:57
  Speaker 1: and I do wonder. I think you make an interesting point, Jamie,
• 32:01
  Speaker 1: and that how much of corporate interest kind of goes
• 32:05
  Speaker 1: into those decisions. Because one of the interesting things he said,
• 32:08
  Speaker 1: someone had asked, you made the decision to have Moanna's
• 32:14
  Speaker 1: mother be alive because most Disney princesses have dead mothers,
• 32:18
  Speaker 1: and he said, oh, yeah, well she was dead to
• 32:22
  Speaker 1: begin with. Then someone pointed out that it was dead
• 32:26
  Speaker 1: mother and we had to change it. And I was like, oh, okay,
• 32:29
  Speaker 1: So how many other points did you have to change
• 32:33
  Speaker 1: because someone was like, no, you can't, you can't do that.
• 32:37
  Speaker 1: Maybe this is jaded, but I would say probably a lot.
• 32:42
  Speaker 1: Like if they thought that feminism and positive betrayal of
• 32:47
  Speaker 1: of women characters was in no way marketable, there's no
• 32:52
  Speaker 1: chance to me that this would have been like a
• 32:53
  Speaker 1: major Disney release, Like they've received so much criticism over
• 32:58
  Speaker 1: the years, and I'm like, I feel like, you know,
• 33:02
  Speaker 1: with the Internet that's only grown larger and more pervasive
• 33:08
  Speaker 1: and it's I don't know. I mean, it really is
• 33:12
  Speaker 1: kind of the best case scenario where it's like, well,
• 33:15
  Speaker 1: at least this movie was made and it's really good
• 33:18
  Speaker 1: and it's corporate interests aside. It sends the right message
• 33:21
  Speaker 1: to the right people. With just young girls seeing this movie, Um,
• 33:26
  Speaker 1: it's a start. It's it's a start, and it means
• 33:28
  Speaker 1: that there are let a let a woman get a
• 33:32
  Speaker 1: fucking job for once, Jesus Christ. And what's upsetting is
• 33:35
  Speaker 1: that so there were women in this process. There were tons,
• 33:39
  Speaker 1: tons of people worked on this film. So there were
• 33:41
  Speaker 1: dozens and dozens, if not more, women who worked on
• 33:44
  Speaker 1: this movie. And they obviously listened to them because if
• 33:47
  Speaker 1: they were getting that kind of feedback, and I know,
• 33:50
  Speaker 1: I know their process is very collaborative, but when it
• 33:53
  Speaker 1: comes down to it, when you give the man the
• 33:55
  Speaker 1: writing credit, when you give the man that paycheck, it
• 33:59
  Speaker 1: sucks that that does suck. And I know they are
• 34:01
  Speaker 1: changing a little bit, but the infrastructure of how Disney
• 34:04
  Speaker 1: works is you have to work your way up and
• 34:06
  Speaker 1: you have to be with them for so long and
• 34:09
  Speaker 1: they test you over and over and over again, and
• 34:13
  Speaker 1: that's it's it's a then becomes a systemic problem. I'd
• 34:17
  Speaker 1: be interested in learning more about that process, because that
• 34:21
  Speaker 1: definitely makes a lot of sense that if even if
• 34:24
  Speaker 1: women are being mentored and groomed for these kind of
• 34:26
  Speaker 1: jobs now, we won't see it until, you know, ten
• 34:29
  Speaker 1: years from now, when they're given the opportunity to finally
• 34:32
  Speaker 1: do it. But my question is our women being mentored?
• 34:36
  Speaker 1: I feel like so often and and I don't know
• 34:39
  Speaker 1: how much of this even factors into prejudice, but like
• 34:41
  Speaker 1: people gravitate towards you know, you remind me of a
• 34:45
  Speaker 1: younger me to mentor. And if everyone working at a
• 34:49
  Speaker 1: high level there is a white guy and custom sort
• 34:52
  Speaker 1: of trains you. And this goes for powerful women training
• 34:56
  Speaker 1: younger powerful women as well. But like, if you're drawn
• 34:59
  Speaker 1: to someone who room I into of a younger version
• 35:01
  Speaker 1: of you with potential, then who is supposed to mentor
• 35:05
  Speaker 1: these like younger women animators are like aspiring dirt. I mean,
• 35:08
  Speaker 1: it's something that's brought up again and again, but it's
• 35:10
  Speaker 1: so fucking frustrating. I'm like, does does a woman need
• 35:14
  Speaker 1: to just completely self educate herself and not be guided
• 35:19
  Speaker 1: along in the same way that that, uh, you know,
• 35:22
  Speaker 1: a guy would be. And it seems like that might
• 35:25
  Speaker 1: be the case of just like, Okay, you've got worked
• 35:27
  Speaker 1: twice as hard to get the same thing, and you're
• 35:29
  Speaker 1: gonna have to take all the ship along the way.
• 35:31
  Speaker 1: I'm just like, I'm just ranting. No, you're making all
• 35:35
  Speaker 1: the right points, because yeah, then women are put in
• 35:38
  Speaker 1: a position where they, yeah, like you said, have to
• 35:40
  Speaker 1: work so much harder. It takes them so much longer.
• 35:43
  Speaker 1: They don't have the same connections as someone's a powerful
• 35:46
  Speaker 1: mentor it does have, so them having those same opportunities
• 35:51
  Speaker 1: is just so much less likely to happen. I mean, yeah,
• 35:54
  Speaker 1: and and it you know, it's like sort of that
• 35:56
  Speaker 1: thing where it boils down to like is your work good?
• 36:00
  Speaker 1: Which I don't think men have to confront that basic
• 36:04
  Speaker 1: truth as much of not only are you not going
• 36:08
  Speaker 1: to get the mentor opportunities that this person working on
• 36:10
  Speaker 1: an equal level is you who's a man will, but
• 36:13
  Speaker 1: also like, show me what you can do in spite
• 36:17
  Speaker 1: of the fact that you don't have the same amount
• 36:19
  Speaker 1: of access and you have to work twice as hard
• 36:21
  Speaker 1: to get the same thing. And I mean, it is
• 36:24
  Speaker 1: nitpicky to an extent, because Molana does so well, but
• 36:28
  Speaker 1: I would I would hazard to guess that so much
• 36:30
  Speaker 1: of the success of this movie comes from gentle guidance
• 36:35
  Speaker 1: or hinting heavy or not from I would guess women
• 36:40
  Speaker 1: that eventually the credit ends up going to these men.
• 36:44
  Speaker 1: And the fact that you were saying that the mother
• 36:47
  Speaker 1: was dead in the original draft is like a fucking
• 36:50
  Speaker 1: course she was. And it's just another example of like, Okay,
• 36:54
  Speaker 1: the woman's going to actually know the right thing to do,
• 36:58
  Speaker 1: but someone else is going to get credit for it,
• 37:00
  Speaker 1: and just I'm gonna flip. It's very frustrating. Yeah, I
• 37:03
  Speaker 1: just ran. Can we talk about the climax of it? Yeah,
• 37:12
  Speaker 1: ninety she realizes, uh, he says, you have to return
• 37:22
  Speaker 1: the heart to the spiral, and so she goes and
• 37:26
  Speaker 1: she makes she's running from Taka the fire Monster, and
• 37:31
  Speaker 1: she runs up to the top of the island chain
• 37:34
  Speaker 1: and she looks and sees that it's missing, and then
• 37:38
  Speaker 1: she looks at Taka and sees that there's a spiral
• 37:41
  Speaker 1: on her chest. And when you're watching a scene, you
• 37:44
  Speaker 1: can kind of see leading up to them that it
• 37:47
  Speaker 1: has a human form, the monster, but also a very
• 37:51
  Speaker 1: feminine form totally, and so you she realizes that it is.
• 37:58
  Speaker 1: It is is is t and bawling, and she just
• 38:04
  Speaker 1: like she sings this Lulla by this, this mournful song
• 38:10
  Speaker 1: saying I'm sorry you were hurt, you were victimized, and
• 38:14
  Speaker 1: I'm here to make that good again. And I know
• 38:17
  Speaker 1: who you are, right right, and she listens like I
• 38:23
  Speaker 1: was so prepared. Again. I feel like you're conditioned by
• 38:26
  Speaker 1: these types of movies for that villain to be killed
• 38:30
  Speaker 1: and not somehow reformed or revealed to have good qualities.
• 38:34
  Speaker 1: Because the lava monster again to hark him back to
• 38:37
  Speaker 1: another princess movie, vaguely reminded me of the part in
• 38:41
  Speaker 1: The Little Mermaid where Ursula gets huge, where she steals
• 38:44
  Speaker 1: the ground. She's like, I'm huge now, and she gets
• 38:46
  Speaker 1: harpooned by a man by by Prince Eric, the hottest prince,
• 38:53
  Speaker 1: and and she dies and then everything is fine. But
• 38:56
  Speaker 1: this seemed like, Okay, here's this other monstrous, the villainous
• 39:00
  Speaker 1: female character, and not only is it resolved by the
• 39:04
  Speaker 1: female protagonists, but no killing happened. I don't think anyone
• 39:09
  Speaker 1: is killed in this movie as except the some coconuts.
• 39:12
  Speaker 1: Coconut is just a broad representation of male violence. It's
• 39:16
  Speaker 1: a massacre that is a massacre. But another another what
• 39:22
  Speaker 1: I thought was like more Indiana Jones illusions were when
• 39:27
  Speaker 1: they're finally escaping the Coconut pirates there two of their
• 39:30
  Speaker 1: ships start to collide and they have to escape through them,
• 39:32
  Speaker 1: which is what happens in Last Crusade. And I was like, yeah,
• 39:36
  Speaker 1: now that you say that, I'm sorry to keep going
• 39:38
  Speaker 1: back to the mother character, but now that you say
• 39:40
  Speaker 1: that she originally wasn't there, that totally checks out because
• 39:43
  Speaker 1: she barely play. That was one thing I noticed where
• 39:46
  Speaker 1: every all the criticism of like Moana, don't go it
• 39:50
  Speaker 1: is from the dad. And so it makes sense that
• 39:52
  Speaker 1: that mother was sort of written out because we have
• 39:55
  Speaker 1: a few moments between her and Moana, but nothing plot
• 39:58
  Speaker 1: changing her significant that I can think of. Most of
• 40:01
  Speaker 1: the oppositional forces her dad. It is her mother who
• 40:05
  Speaker 1: gives her, almost gives her permission to leave, that brings her,
• 40:08
  Speaker 1: brings her food for the journey and says, right, maybe
• 40:12
  Speaker 1: even doesn't she She comes in, Yeah, she comes in,
• 40:15
  Speaker 1: and she sees mo wanna packing for this trip that
• 40:18
  Speaker 1: she has to go on, and like realizes what's about
• 40:20
  Speaker 1: to happen, and we as audience might expect Oh, she's
• 40:22
  Speaker 1: about to try to dissuade her from this or tell
• 40:24
  Speaker 1: her she can't go, and instead she like gives her
• 40:27
  Speaker 1: gesture like, yes, here you go, here's the maybe you need.
• 40:31
  Speaker 1: She understands the drastic nature of of what's happening to
• 40:36
  Speaker 1: their islands dying, and the father will would have just
• 40:40
  Speaker 1: let it die. The chief would have just let them
• 40:42
  Speaker 1: all die. Male pride. Yeah, Basically, the metaphor I came
• 40:47
  Speaker 1: up with is that the heart was is the e
• 40:50
  Speaker 1: p A and all the men in the story are
• 40:53
  Speaker 1: like the Republicans, who are like, we don't need this. Well,
• 40:56
  Speaker 1: it doesn't matter that the world is dying. We're fine.
• 41:01
  Speaker 1: And I think a white man wrote it wild. At
• 41:05
  Speaker 1: the end, I would like to say that Molana receives
• 41:09
  Speaker 1: a Georgia O'Keefe seashell, that she the conch shell, the
• 41:14
  Speaker 1: vagina conch. Yeah, it was beautiful. I was like, I
• 41:18
  Speaker 1: it's perfect that this movie ends on a beautiful vaginal note.
• 41:23
  Speaker 1: I liked it a lot. They did not need to
• 41:25
  Speaker 1: make a pink However, they're like, you know what they
• 41:27
  Speaker 1: should look like? I think that's what look like. They're
• 41:31
  Speaker 1: usually they're sometimes white on the outside and pink on
• 41:33
  Speaker 1: the inside. But this was like just like like you
• 41:37
  Speaker 1: could also see this is a pus yeah, and the
• 41:41
  Speaker 1: shell did come just squirted salt water. I was like,
• 41:46
  Speaker 1: all right, we get it. Movie. Yeah. Molana fucking rules.
• 41:52
  Speaker 1: She's the best UM. I like that she's such an
• 41:55
  Speaker 1: empowered character that they didn't need to give her the
• 41:58
  Speaker 1: standard best friend character um, which I feel like a
• 42:02
  Speaker 1: lot of Disney princesses have, is like a female friend
• 42:05
  Speaker 1: to be like, hey, you're great, and you know, Mohanna
• 42:08
  Speaker 1: is great, and that just comes across. We don't need
• 42:10
  Speaker 1: this ancillary person to be like like you're hot, Yeah,
• 42:14
  Speaker 1: we like you. It's like, of course we like you,
• 42:16
  Speaker 1: You're Mohanna. And she knows it too. She's so confident
• 42:20
  Speaker 1: she screams, I am Moanna. I was like, oh god,
• 42:23
  Speaker 1: I want that for one second or I feel that way.
• 42:25
  Speaker 1: She's confident, but it's also balanced by, like, like I said,
• 42:27
  Speaker 1: the self doubt that she has about like is this
• 42:29
  Speaker 1: mission the thing that I'm supposed to be doing? Am
• 42:31
  Speaker 1: I capable of this? Which is just very realistic. It
• 42:34
  Speaker 1: just shows that she's a dynamic, well written, interesting character
• 42:38
  Speaker 1: and not just like what a lot of Disney Princesses
• 42:41
  Speaker 1: have Been, which is pretty just one dimensional and flat
• 42:44
  Speaker 1: and boring. One of my favorite moments of the film,
• 42:49
  Speaker 1: and it's a film, it's a film, is right after
• 42:54
  Speaker 1: she sings I Am Mo Wanna and she dives down
• 42:59
  Speaker 1: to at the heart back because she's thrown it into
• 43:02
  Speaker 1: the ocean like Rose at the end of Titanic, giving
• 43:05
  Speaker 1: it back. She goes and she gets and she and
• 43:08
  Speaker 1: it's the music swells and she burst back up and
• 43:10
  Speaker 1: the music cuts out, and she's the ghost of her
• 43:13
  Speaker 1: grandmother is gone, her boat is broken, and she is
• 43:16
  Speaker 1: alone in the ocean, and it is just this beautiful
• 43:19
  Speaker 1: moment of oh my god, this is still so dangerous
• 43:24
  Speaker 1: for her, and this is the moment where she has
• 43:27
  Speaker 1: the most confidence and where she is about to kick ass.
• 43:30
  Speaker 1: Yet it is stark and quiet and she is alone,
• 43:34
  Speaker 1: and it was just it's just like a punch in
• 43:37
  Speaker 1: the gut, but then a like a good a good
• 43:39
  Speaker 1: punch in the gut, and we have stupid chicken for
• 43:46
  Speaker 1: like the younger kids who went to see the movie,
• 43:48
  Speaker 1: who like, aren't it's the ice age squirrel, right yeah,
• 43:51
  Speaker 1: right there, Like this is a goofy speaking that's the
• 43:54
  Speaker 1: other that's your voice I can do. Yeah, I stick that. Hey, guys,
• 44:00
  Speaker 1: I don't know what to do with myself. I uh so.
• 44:05
  Speaker 1: I did some research on the directors, and I know
• 44:07
  Speaker 1: we touched on the fact that their straight white men.
• 44:09
  Speaker 1: But I think their history with Disney is also super
• 44:11
  Speaker 1: interesting because they also directed, um, I guess what is
• 44:15
  Speaker 1: considered the second most groundbreaking Disney Princess movie, which is
• 44:20
  Speaker 1: Princess in the Frog, first African American Disney Princess. So
• 44:26
  Speaker 1: I guess it sort of makes sense that they were
• 44:28
  Speaker 1: selected to do this other female progressive movie. I would
• 44:32
  Speaker 1: also argue Brave did a lot of great things, so
• 44:35
  Speaker 1: I thought that was interesting. And then years and years back,
• 44:38
  Speaker 1: they directed both The Little Mermaid and Aladdin, which I
• 44:43
  Speaker 1: think we've referenced in different ways in both of these.
• 44:46
  Speaker 1: So one of the interesting things that the that the
• 44:49
  Speaker 1: screenwriter talked about is it John Wills. Is that his name? John?
• 44:54
  Speaker 1: Let me look it up. It's yeah, the one who's
• 44:57
  Speaker 1: who's kind of credited John Muska. Oh oh wait, No,
• 45:01
  Speaker 1: that's one of the directors, Jared Bush. Yes, that is right,
• 45:04
  Speaker 1: Jared Bush. Okay, I said John Wilson, it was I
• 45:07
  Speaker 1: don't know who John Willson's, but one of the things
• 45:10
  Speaker 1: he was saying was they Disney overall because they had
• 45:15
  Speaker 1: these basically patriarchs of the of Disney animation, we're working
• 45:20
  Speaker 1: on this project, that they wanted to have some of
• 45:24
  Speaker 1: that kind of old school Disney animation in the film,
• 45:29
  Speaker 1: and so specifically it was their idea that when during
• 45:36
  Speaker 1: your Welcome the song, when it switches to both two
• 45:39
  Speaker 1: D animation and three D animation, that was their owed
• 45:43
  Speaker 1: to kind of harkening back to that time because they
• 45:45
  Speaker 1: were so good with it. I that's so fun because
• 45:49
  Speaker 1: I remember thinking when we were watching that that that
• 45:51
  Speaker 1: number vaguely reminded me of friend like me when they
• 45:55
  Speaker 1: kept switching to different backgrounds, and that sort of carried
• 45:58
  Speaker 1: through as oh that and they were the directors of Lennon.
• 46:00
  Speaker 1: There you go. Also, we've got to talk about lin
• 46:03
  Speaker 1: Manuel Miranda love Hamilton's as a person. I think lin
• 46:09
  Speaker 1: Manual Miranda is so obnoxious, hate watching him talk, respect
• 46:14
  Speaker 1: the funk out of his work. And that is my
• 46:16
  Speaker 1: stance on Linden wal Miranda. But um, I would like
• 46:19
  Speaker 1: to take a moment to brag and say I once
• 46:21
  Speaker 1: went to a college party Miranda. Wait where he is
• 46:26
  Speaker 1: that Emass and his his improv team Freestyle of Supreme
• 46:34
  Speaker 1: there his beat boxer went to you mass and so
• 46:38
  Speaker 1: they came back. Course he has a beef boxer. Uh so,
• 46:44
  Speaker 1: I don't remember anything about him from the party, but
• 46:47
  Speaker 1: I remember he was there. That's pretty cool, and that's
• 46:51
  Speaker 1: really and I loved in the Heights. His first musical
• 46:55
  Speaker 1: is so good and he's so good in it. But
• 46:58
  Speaker 1: he's just as with any major figure, it reaches the
• 47:02
  Speaker 1: point where it's like, Okay, you're too present, Like take
• 47:04
  Speaker 1: a step back, pulling Adele, have a baby, you know,
• 47:07
  Speaker 1: get your life to get Yeah, take a step back
• 47:10
  Speaker 1: and then come back and we'll be like, oh, we
• 47:11
  Speaker 1: missed this guy right now. It's like, get out of
• 47:13
  Speaker 1: my targeted ads. I'm sick of this. But uh no,
• 47:18
  Speaker 1: he didn't write all the songs. He wrote some of
• 47:20
  Speaker 1: the songs in this movie, and I feel like you
• 47:22
  Speaker 1: can sort of tell exactly what they are once you
• 47:25
  Speaker 1: know that he wrote on this movie like You're welcome,
• 47:28
  Speaker 1: like stinks of one Manua Miranda and his style um
• 47:34
  Speaker 1: in a good way. It's stinks of him. Can we
• 47:37
  Speaker 1: talk about top knots in this movie. Yes, I loved
• 47:41
  Speaker 1: the role of top Knots in this movie. What is
• 47:44
  Speaker 1: the hairstyle of Like when it made sense for Moanna's
• 47:48
  Speaker 1: hair to be out of her face, it was fucking
• 47:49
  Speaker 1: out of her face. It was great. Same with Little
• 47:58
  Speaker 1: I had no idea. Let's let here beef cake top
• 48:02
  Speaker 1: Now that's the name of my new really bad improfive. Yeah,
• 48:06
  Speaker 1: beef cake top not I one of the things. This
• 48:09
  Speaker 1: is a little off topic, but going back to the
• 48:12
  Speaker 1: beginning of the story where she's poised as she's going
• 48:17
  Speaker 1: to be the next chief even though she's a woman,
• 48:20
  Speaker 1: she's a girl. Um never usually yeah, never questioned. She's
• 48:23
  Speaker 1: just like, you're our daughter. You're going to be the
• 48:25
  Speaker 1: chief because you're the daughter. So it's never like, oh
• 48:29
  Speaker 1: but you're a woman, so you need to marry a
• 48:31
  Speaker 1: boy so that he can be the chief introduced right exactly. So, UM,
• 48:38
  Speaker 1: I love that. That's just never a thing that's brought up.
• 48:41
  Speaker 1: It's just like, yeah, you're the chief because you're the
• 48:44
  Speaker 1: descendant of the current chief. Doesn't have anything to do
• 48:46
  Speaker 1: with your gender. UM love that. And you see her
• 48:50
  Speaker 1: making she's like kind of in training when she before
• 48:53
  Speaker 1: she leaves, Uh, the island to go off on the journey,
• 48:56
  Speaker 1: and she's like making important decisions about the crowd. These
• 49:00
  Speaker 1: trees are diseased, so we have to plan a new
• 49:02
  Speaker 1: growth over there, and here's all my suggestions about how
• 49:05
  Speaker 1: we can fish differently and all this stuff, and she's
• 49:07
  Speaker 1: like giving sound advice and really like making important decisions.
• 49:11
  Speaker 1: And it was just like so refreshing to see she was, Yeah,
• 49:15
  Speaker 1: she was never really questioning herself. Ye she only really
• 49:19
  Speaker 1: started to question herself when she got into the ocean,
• 49:22
  Speaker 1: when she explicitly had her father's and that not opposite
• 49:26
  Speaker 1: of permission and that and that made sense in context
• 49:30
  Speaker 1: because she genuinely did not know what she was doing
• 49:33
  Speaker 1: at the first time. Where it's not like she's not
• 49:34
  Speaker 1: doubting herself because she's a woman. She's doubting herself because
• 49:37
  Speaker 1: she doesn't know what she's doing, ever done this before,
• 49:39
  Speaker 1: And then when she figures it out, that doubt more
• 49:42
  Speaker 1: or less goes away. So that was dope. Another thing
• 49:46
  Speaker 1: I wanted to point out is that it's so seldom
• 49:49
  Speaker 1: that when there's sort of like a chosen one in
• 49:53
  Speaker 1: a story, it's almost always a man. Harry Potter, you
• 49:58
  Speaker 1: got your yea Neo from the Main Tricks. You got
• 50:00
  Speaker 1: your uh, your Frodo Baggins is in your diminutive men
• 50:07
  Speaker 1: are chosen as the one. Yeah when uh the second
• 50:12
  Speaker 1: time I watched this, I watched it with my boite
• 50:15
  Speaker 1: friend and halfway through he was like, oh, so this
• 50:17
  Speaker 1: is Star Wars. Yeah, yeah, it's it's Star Wars. Yeah.
• 50:21
  Speaker 1: I mean it's like in the hero's journey my kind
• 50:24
  Speaker 1: of sense, a classical call to adventure, but so often
• 50:27
  Speaker 1: it's the man who's is doing that. It's so just
• 50:30
  Speaker 1: again so refreshing to see it is a woman, because
• 50:33
  Speaker 1: we so rarely see that. Although I do when someone
• 50:37
  Speaker 1: says chosen one, I do automatically think of Buffy. But
• 50:40
  Speaker 1: that's because Buffy hit me real hard at a very
• 50:44
  Speaker 1: specific age, and so that's just stuck with me. I
• 50:48
  Speaker 1: think I think it is cool that because this when
• 50:51
  Speaker 1: you met it out, it really is a very very
• 50:54
  Speaker 1: very standard hero's journey, but a hero's journey that is
• 50:58
  Speaker 1: usually for a male character. Like it's not a princess's journey.
• 51:02
  Speaker 1: It's a hero's journey, which I mean, I don't know.
• 51:06
  Speaker 1: If this were a story about a man, it would
• 51:09
  Speaker 1: be boring, it would not be super interesting to see
• 51:12
  Speaker 1: a man be like I can do things, but sometimes
• 51:15
  Speaker 1: I'm said, you know, but when we see Moana do it,
• 51:18
  Speaker 1: it's it's so crazy and like reflective of our own
• 51:22
  Speaker 1: culture that we're like, what, this is the coolest thing ever.
• 51:25
  Speaker 1: Because if we made her a man, I don't know
• 51:27
  Speaker 1: how much I would have liked this movie. Probably not
• 51:29
  Speaker 1: that much. It would have just okay, cool, Yeah, another one,
• 51:33
  Speaker 1: good for you. She really didn't have any major flaws
• 51:37
  Speaker 1: that were, you know, kind of preyed upon for story
• 51:40
  Speaker 1: or or as false of her own. Do you think
• 51:44
  Speaker 1: that's a bad thing or an okay thing? I don't.
• 51:47
  Speaker 1: I don't have any problem with it in this movie.
• 51:49
  Speaker 1: I mean, I'm the only person who really goes after
• 51:51
  Speaker 1: her is Maui, and she's gone. She's gone after mostly
• 51:56
  Speaker 1: for youth and an experience, and I feel like that's
• 51:58
  Speaker 1: the most commonly I did thing of He doesn't toss
• 52:02
  Speaker 1: her out of the boat to certain death because she's
• 52:05
  Speaker 1: a woman, per se, rather because he doesn't see value
• 52:08
  Speaker 1: in her skills, because she's he keeps saying, because you're mortal,
• 52:11
  Speaker 1: very human, right right. Regardless, she is tossed out of
• 52:14
  Speaker 1: a boat multiple time, I left to die constantly like yeah, yeah,
• 52:19
  Speaker 1: the ocean saves her tat. He gets the tat of
• 52:22
  Speaker 1: her at the end, like aspiration. There's a couple so
• 52:27
  Speaker 1: when the coconut pirates attack them, um, the coconuts, there's
• 52:34
  Speaker 1: a couple of different times where she either saves Maui
• 52:38
  Speaker 1: or saves herself or and then towards the end of
• 52:42
  Speaker 1: that scene or that sequence, she's like, all right, you're
• 52:44
  Speaker 1: not gonna help me. I'm gonna go do it. And
• 52:46
  Speaker 1: she has to be the one because she knows coconuts.
• 52:49
  Speaker 1: She knows coconuts. Now they're just sentient. Yeah, it's interesting.
• 52:53
  Speaker 1: It's when when they were far away and when they
• 52:56
  Speaker 1: were lots of them, and when they were approaching and
• 52:59
  Speaker 1: they were menacing, she was scared. And then when she
• 53:01
  Speaker 1: found out that they were coconuts, she lost her fear
• 53:04
  Speaker 1: and she was like, oh, I can handle that. I
• 53:06
  Speaker 1: can handle this. Even though they still were dangerous. It
• 53:10
  Speaker 1: still were shoots, coconuts, head darts, and knives. They're also
• 53:14
  Speaker 1: talk about like and not to take away from the
• 53:17
  Speaker 1: value of the coconuts as characters, uh, not that that
• 53:21
  Speaker 1: scene could have easily been taken out, but that was
• 53:23
  Speaker 1: For me, that was like, what a what an excellent
• 53:26
  Speaker 1: marketing move. Let's introduce these adorable emoji like characters that
• 53:30
  Speaker 1: are slightly violent but ultimately very cute that we can
• 53:34
  Speaker 1: put on a backpack. Like it was. I think when
• 53:37
  Speaker 1: we were watching it, I equate them completely to the
• 53:40
  Speaker 1: aliens in the Alien Toys and Toy story of just
• 53:44
  Speaker 1: like you're cute things that people will be like, oh
• 53:49
  Speaker 1: my little the Coconut Boys movie can make more money
• 53:55
  Speaker 1: and merchandise. Give boys, give little alien backpack. That that said,
• 54:02
  Speaker 1: I would get a backpack of the Coconut Voice. I
• 54:05
  Speaker 1: have a whole collection of the figurines. True, there was
• 54:09
  Speaker 1: the one part of the movie that felt like, oh
• 54:11
  Speaker 1: this is this feels like for kids? That could have
• 54:13
  Speaker 1: been Yeah, that's also the kids movie, so that's okay, true, true, true,
• 54:19
  Speaker 1: that was Yeah. That was the one scene that I
• 54:21
  Speaker 1: was like, how different would the movie be if that were?
• 54:24
  Speaker 1: You know, there's so many scenes for Moanna takes action
• 54:28
  Speaker 1: an agency that I feel like that's the the emoji
• 54:32
  Speaker 1: coconut scene that was for the backpacks. Can we talk
• 54:35
  Speaker 1: about her going to the Monster Realm? Yes, yes, yes,
• 54:39
  Speaker 1: because it's it again. She is told to stay put,
• 54:44
  Speaker 1: but she's she's not going into the monster realm, and
• 54:47
  Speaker 1: she immediately follows him up this giant uh made of
• 54:54
  Speaker 1: these pillars like the giants causeway, and goes there and
• 54:57
  Speaker 1: then he's like, all right, are you going to jump
• 54:59
  Speaker 1: in with me? Doesn't think she's going to, and then does,
• 55:03
  Speaker 1: which is awesome, and it was very scary and all
• 55:05
  Speaker 1: these cutes great like scary crazy monsters. And then we
• 55:09
  Speaker 1: meet this like amazing crab who is another version of
• 55:14
  Speaker 1: greed and masculinity in the in this pompous way, but
• 55:20
  Speaker 1: also in a very lovable way. Yeah, what a lovable
• 55:24
  Speaker 1: villain song. U Soyland songs are always the best Disney song,
• 55:30
  Speaker 1: always always. I was worried. I mean, I was telling you.
• 55:33
  Speaker 1: I was like, is there not a Dylan song just
• 55:35
  Speaker 1: because song? Where's the best song? This is a this
• 55:40
  Speaker 1: is a great song. Yeah, I really enjoyed it. Dan
• 55:43
  Speaker 1: crushes it. He's so sexy. How many times so I
• 55:46
  Speaker 1: guess so he's the horniest person alive every time he
• 55:51
  Speaker 1: speaks or especially when he sings. I'm just like, you're
• 55:54
  Speaker 1: for sure rock hard. Like how he's seing this song
• 55:57
  Speaker 1: as a crab, He's like for sure, arex Are you
• 56:00
  Speaker 1: sure that's not just how he makes you feel? No,
• 56:03
  Speaker 1: I don't get an I'm a sexless being. I don't
• 56:10
  Speaker 1: see sex, but I'm a person of sex. I'm a
• 56:15
  Speaker 1: person of sex. But like I don't see sex. But
• 56:20
  Speaker 1: but he's he's extremely he's deeply horny. And in that scene,
• 56:26
  Speaker 1: it's Mowanna who saves the day. Again. She does not
• 56:29
  Speaker 1: get horny. She does she does not get distracted by
• 56:34
  Speaker 1: sexual glam rock at play. She staves Maui and she
• 56:40
  Speaker 1: it allows them to escape. This is another example of
• 56:44
  Speaker 1: one of the very few movies with a woman lead
• 56:47
  Speaker 1: that the stakes are life and death, because so often
• 56:52
  Speaker 1: if there's a female lead in a movie, it's a
• 56:55
  Speaker 1: rom com, where like the stakes are very low. Am
• 56:57
  Speaker 1: I going to get a date? Right? And there's a
• 57:00
  Speaker 1: sky gonna fall in love with me? Um? And the
• 57:02
  Speaker 1: stakes are related mostly to men, And the stakes were
• 57:05
  Speaker 1: not related to men, they were right, I mean people.
• 57:10
  Speaker 1: I feel like a lot of times with like the
• 57:13
  Speaker 1: Princess movies too, it's like the biggest risk for the
• 57:16
  Speaker 1: female character is just going back to where she started,
• 57:19
  Speaker 1: where like had a Laddin not swept Jasmine off rr
• 57:23
  Speaker 1: feet she would just still be a princess. She'd be
• 57:25
  Speaker 1: married to that prince Ahmed who was a jerk with
• 57:30
  Speaker 1: sunch a punk, and then Ariel. If she couldn't get
• 57:35
  Speaker 1: Eric to kiss her in three days, she well, I
• 57:37
  Speaker 1: guess she would have turned into a weird ursula shrub.
• 57:40
  Speaker 1: I guess that was a little bit higher stakes bell,
• 57:43
  Speaker 1: But she risked her whole life for him. The whole
• 57:47
  Speaker 1: thing starts because she has a bone for Eric, which
• 57:51
  Speaker 1: get it, but grow up, grow up. But it's I
• 57:56
  Speaker 1: think it's the show years old. I'm not a child. Yeah,
• 57:58
  Speaker 1: they're both sixteen because the sixteen So it's nice to
• 58:02
  Speaker 1: show I wasn't sexual at sixteen. I was thinking about things,
• 58:07
  Speaker 1: but I didn't know what. I had no tangible idea
• 58:10
  Speaker 1: of what sex actually was. Moana is a much more
• 58:14
  Speaker 1: relatable character to me because I didn't get my first
• 58:18
  Speaker 1: kiss until I was sixteen. It was scary. I didn't
• 58:21
  Speaker 1: know what interaction felling. I was like, oh no, wait,
• 58:23
  Speaker 1: why was your first on him? I don't know it
• 58:27
  Speaker 1: was on him? It was it was I think he
• 58:30
  Speaker 1: told this story. You guys were standing on a rock
• 58:32
  Speaker 1: or something. Bona rock was standing on bona rock as
• 58:35
  Speaker 1: it was henceforth known as and the first saxophone player
• 58:40
  Speaker 1: of the band was like, I think you're great. I
• 58:43
  Speaker 1: was like, and then he kissed me. And then I
• 58:45
  Speaker 1: was like, what's going on? Because we stood up and
• 58:48
  Speaker 1: we should not have stood up. But also there I
• 58:50
  Speaker 1: was so under educated about sex that the first time
• 58:53
  Speaker 1: someone went down on me I was horrified and thought
• 58:56
  Speaker 1: it was his idea, like he had made it up.
• 58:59
  Speaker 1: He did oral sex and a woman because I was,
• 59:02
  Speaker 1: you know, it was what like seventeen eighteen, he wasn't
• 59:05
  Speaker 1: good at it and it was happening. I was just
• 59:07
  Speaker 1: remember thinking like this is dev and behavior, Like why
• 59:12
  Speaker 1: would someone do this? I am? I'm just I feel
• 59:16
  Speaker 1: far away from the action. Do you not learn about
• 59:19
  Speaker 1: I feel it? I did not get sex education. All
• 59:23
  Speaker 1: I got like abstinence plus education, but I think they
• 59:25
  Speaker 1: mentioned oral sex. Yeah, the first time someone went down
• 59:28
  Speaker 1: at me, I was I fully I consulted someone younger
• 59:32
  Speaker 1: than me. I consulted as sophomore in high school. It's like,
• 59:34
  Speaker 1: have you ever heard of this? Like what or do
• 59:37
  Speaker 1: I need to call the police? And she's like, no,
• 59:40
  Speaker 1: that's exxtremely common and actually is considered like maybe a
• 59:44
  Speaker 1: good thing, and I was like, oh, okay, well I
• 59:46
  Speaker 1: don't want it again, but glad that I don't need
• 59:49
  Speaker 1: to call an ambulance for myself. I wish i'd called
• 59:54
  Speaker 1: the cops. Um someone's faces on my vagina and I
• 59:57
  Speaker 1: don't like it. Patrol car. There's a moment. There's a
• 1:00:07
  Speaker 1: moment where Mohanna has to stroke Maui's frail old male
• 1:00:14
  Speaker 1: ego because he's like, I'm not Mallie with all my
• 1:00:18
  Speaker 1: hook and she's like, just grow up, yeah, and she yeah,
• 1:00:25
  Speaker 1: he just well, I mean, I would argue he sort
• 1:00:27
  Speaker 1: of does the same thing for her when she's feeling insecure. Uh,
• 1:00:32
  Speaker 1: not to say he is like this terrific character, but
• 1:00:35
  Speaker 1: I think that that is almost a mutual thing. Where
• 1:00:37
  Speaker 1: there are times in the movie where Mohanna needs to
• 1:00:40
  Speaker 1: be pumped up a little bit and made you stre confident,
• 1:00:42
  Speaker 1: and the grandmother character serves as that boost a lot.
• 1:00:46
  Speaker 1: But there is at least one instance where Maui is like, no,
• 1:00:49
  Speaker 1: you know what, you're doing a good job, and you're
• 1:00:50
  Speaker 1: ready and you're capable. It doesn't come to later in
• 1:00:53
  Speaker 1: the movie. It takes him a long time. That didn't
• 1:00:55
  Speaker 1: bother me too much that she encouraged him once that
• 1:00:58
  Speaker 1: almost felt like I didn't bother me. I'm merely just
• 1:01:00
  Speaker 1: pointing it out. That is a thing that needed to
• 1:01:02
  Speaker 1: happen because he needed to return. It's very fragile egos
• 1:01:08
  Speaker 1: that need. And he owed her more than he owed her,
• 1:01:12
  Speaker 1: more of like a boost than she ever owed him
• 1:01:14
  Speaker 1: because he is not great to her. Oh he again.
• 1:01:17
  Speaker 1: I love Mauie. I'm so glad everything works out at
• 1:01:20
  Speaker 1: the end, But if it wasn't the rock, he gets forgiven,
• 1:01:25
  Speaker 1: he gets elated into being this demigod again, and forgiven
• 1:01:30
  Speaker 1: because he helps Molanna restore the heart to Tafiti, which
• 1:01:34
  Speaker 1: is which is great, But it is interesting that Taffiti
• 1:01:38
  Speaker 1: forgives him and gives him his hook back, gives him
• 1:01:43
  Speaker 1: a new hook. And I think that is incredibly female,
• 1:01:47
  Speaker 1: not just forgiveness, but forgiveness on such an incredible scale
• 1:01:53
  Speaker 1: because he he doesn't really deserve it, and even at
• 1:01:56
  Speaker 1: the end, Molanna has to like hit him to like
• 1:01:58
  Speaker 1: bow to her respect. And it's and we're supposed to
• 1:02:04
  Speaker 1: have empathy for him because his parents tried to kill
• 1:02:08
  Speaker 1: him or threw him into the ocean when he was
• 1:02:10
  Speaker 1: a baby, and then he was saved by God's and
• 1:02:12
  Speaker 1: it's like, if that isn't such a male narrative, I
• 1:02:17
  Speaker 1: don't know what is the same thing happened to Shrek.
• 1:02:19
  Speaker 1: It's like, because of this, because of this horrible thing
• 1:02:22
  Speaker 1: that happened to you very early on, you immediately got
• 1:02:27
  Speaker 1: incredible power. And then you abused it and abused it
• 1:02:30
  Speaker 1: and abused it, and we're punished for it and are
• 1:02:33
  Speaker 1: now punishing the world trying to get it back. That's
• 1:02:36
  Speaker 1: a Shrek narrative. If ever, Shrek is isolated by his
• 1:02:40
  Speaker 1: parents at a very young age, as is the Ogre tradition,
• 1:02:43
  Speaker 1: strikes out on his own establishes his own swamp. To
• 1:02:46
  Speaker 1: his credit, you know, he comes from nothing. He's guys
• 1:02:49
  Speaker 1: own swamp. Now he's a small business owner. He's a
• 1:02:51
  Speaker 1: small business owner. He's guys own swamp. He build a
• 1:02:53
  Speaker 1: life for himself. But he's kind of mean, he's kind
• 1:02:56
  Speaker 1: of resentful towards the world, and he's a bully to
• 1:02:58
  Speaker 1: all the other fairytale creatures. And then you know, and
• 1:03:01
  Speaker 1: then there is the movie takes place. Yeah, kind of
• 1:03:04
  Speaker 1: Shrek narrative. Yeah, Shrek another beefcake, but it's I mean,
• 1:03:10
  Speaker 1: it's a relatable narrative both for men and women ogre
• 1:03:15
  Speaker 1: people oger Americans as we call them. Right. Bottom line
• 1:03:22
  Speaker 1: is that all of her actions and her choices drive
• 1:03:27
  Speaker 1: the narrative throughout the entire movie. Like everything she's doing
• 1:03:32
  Speaker 1: it has a consequence, it has a bearing on the story.
• 1:03:34
  Speaker 1: She is the driver of the vehicle that is the plot,
• 1:03:39
  Speaker 1: and like you mentioned before, she's the one who determines
• 1:03:42
  Speaker 1: the outcome of the story. Like she's the one who
• 1:03:44
  Speaker 1: more stores at heart and like more often than not,
• 1:03:47
  Speaker 1: it's like a man who's throwing a wrench into things
• 1:03:49
  Speaker 1: rather than swooping in as a savior like Maui. For
• 1:03:53
  Speaker 1: the most part, he he does play a role, and
• 1:03:55
  Speaker 1: he does help, and there's teamwork, but more often than not,
• 1:03:59
  Speaker 1: I feel like he presents the problem. Yeah, he's They're
• 1:04:02
  Speaker 1: often to create obstacles for her. One of the reasons
• 1:04:06
  Speaker 1: why I cried so hard when I when I saw
• 1:04:09
  Speaker 1: Frozen for the first time and then again when I
• 1:04:11
  Speaker 1: saw this, was just thinking about a generation of children
• 1:04:17
  Speaker 1: of young women who get to see this movie. Yes,
• 1:04:20
  Speaker 1: I had the same thought, and it's beautiful and it's
• 1:04:23
  Speaker 1: beautiful for them to see Moanna as a hero. But
• 1:04:27
  Speaker 1: also to see Maui how to interact with Maui's because
• 1:04:33
  Speaker 1: we all you were going to come up against Maui's
• 1:04:37
  Speaker 1: for your entire life, and if the lesson of this
• 1:04:39
  Speaker 1: movie is that you have to grab them by the
• 1:04:41
  Speaker 1: ear and tell them what you want and make them
• 1:04:45
  Speaker 1: do it. And it's uh in this world that has
• 1:04:49
  Speaker 1: to be done. Yeah, it's great how defiant she is
• 1:04:53
  Speaker 1: toward him and like and toward her father. Her father
• 1:04:56
  Speaker 1: kept being like, don't go off beyond the re if
• 1:05:00
  Speaker 1: it's too dangerous, and time and time again, she just
• 1:05:03
  Speaker 1: and it got to the point where it was it
• 1:05:05
  Speaker 1: became the inciting incident where she then ventures off into
• 1:05:08
  Speaker 1: the great unknown. But again it's about the ocean with Heroin.
• 1:05:15
  Speaker 1: It was cooking, but now let's let's raise the stakes.
• 1:05:19
  Speaker 1: He's like no, and she's like, I am naturally inclined
• 1:05:23
  Speaker 1: to enjoy this beautiful natural element that is blind. Anyway,
• 1:05:29
  Speaker 1: why haven't any princess has been addicted to drugs? Where's
• 1:05:32
  Speaker 1: that movie? I'll direct it. I My my goal in
• 1:05:36
  Speaker 1: my life is to make a movie about conjoined twin
• 1:05:40
  Speaker 1: royalty MM and then they try to get separated and
• 1:05:43
  Speaker 1: like one dies and any inciting incident is that she
• 1:05:49
  Speaker 1: got to go and there's a whole I have an outline.
• 1:05:52
  Speaker 1: I'll send it to you. Okay, I'll give you. I'll
• 1:05:55
  Speaker 1: give you a note thank you. Hey. Here's the thing
• 1:06:00
  Speaker 1: I thought this isn't just a dumb fun thought I
• 1:06:02
  Speaker 1: had is on the coconut ships, there's this big drum
• 1:06:07
  Speaker 1: and they're all attached to ropes and they like come
• 1:06:10
  Speaker 1: down on the drum and beat the drum. And I
• 1:06:11
  Speaker 1: reminded me of mad Max fury Road there ago the
• 1:06:16
  Speaker 1: steam punk drum guy. Another fun thing in the outline
• 1:06:21
  Speaker 1: of this this Conjoined Twin Princess movie that I've outlined,
• 1:06:28
  Speaker 1: the Surviving Conjoined Twin is a woman in stem so good,
• 1:06:32
  Speaker 1: Oh my gosh. So it really is the most empowering
• 1:06:37
  Speaker 1: movie of all time. And she's also a lesbian because
• 1:06:39
  Speaker 1: she has to dedicate her life. Also can fly a
• 1:06:42
  Speaker 1: plane and she's pretty amazing. That's great. Definitely, it might
• 1:06:49
  Speaker 1: be extremely bad cool. Does anyone have any like final
• 1:06:55
  Speaker 1: thoughts about the movie. I just love it. It's amazing.
• 1:07:00
  Speaker 1: It's an amazing movie. I was worried you might not
• 1:07:02
  Speaker 1: like it, Jamie could really because you just saw it earlier.
• 1:07:05
  Speaker 1: Today and uh so, Yeah, I don't know. I had
• 1:07:08
  Speaker 1: hyped it so much that I was afraid that it
• 1:07:10
  Speaker 1: wouldn't live up to the hype that I had created. Yeah,
• 1:07:12
  Speaker 1: I mean I knew you loved it since you saw
• 1:07:14
  Speaker 1: it in theaters, but no, I mean, it's like it's
• 1:07:17
  Speaker 1: so good on every level, Like we don't even need
• 1:07:20
  Speaker 1: to talk about whether it passes the Battel test. It
• 1:07:22
  Speaker 1: absolutely does. In the first like ten minutes, I was
• 1:07:24
  Speaker 1: talking to a comic who um had seen it and
• 1:07:28
  Speaker 1: taken his son see it, and it had been too
• 1:07:32
  Speaker 1: worked up and they did not like it. Um. And
• 1:07:35
  Speaker 1: the thing is, I didn't care. It was like, it's
• 1:07:38
  Speaker 1: not for them exactly, It's not for you, And I
• 1:07:42
  Speaker 1: don't care. I want little boys to love this movie,
• 1:07:46
  Speaker 1: but it's not made for them. See, I think it
• 1:07:50
  Speaker 1: is important for them to at least see it and
• 1:07:53
  Speaker 1: understand them and like at least take away something from
• 1:07:56
  Speaker 1: it because it might put a damper on toxic masculinity.
• 1:08:00
  Speaker 1: That is part of why the patriarchy is still a thing.
• 1:08:05
  Speaker 1: So I think the more you know, little boys can
• 1:08:08
  Speaker 1: become enlightened to I mean, I got something from Toy Story,
• 1:08:13
  Speaker 1: but that movie wasn't made for me? Um right, I mean,
• 1:08:17
  Speaker 1: and and we as little kids were forced to see
• 1:08:20
  Speaker 1: all fucking manner of male heroes journeys or like this
• 1:08:24
  Speaker 1: beautiful French woman's fucking a dog in a suit. Like
• 1:08:28
  Speaker 1: we were presented with very few this beauty and the beast.
• 1:08:34
  Speaker 1: There's like but there's you know, it's I would love
• 1:08:38
  Speaker 1: for little boys to be forced to watch Moanna, but
• 1:08:41
  Speaker 1: there's so many other options for them where they can
• 1:08:44
  Speaker 1: be like, Oh, I'm really I'm great, and I hope
• 1:08:48
  Speaker 1: that that goes away. It's hard. I mean it's hard
• 1:08:51
  Speaker 1: because I don't know how Moana was marketed, but so often,
• 1:08:55
  Speaker 1: like these really good, empowering female driven movies are sort
• 1:09:00
  Speaker 1: of Barbie marketed to the point where it's like, oh,
• 1:09:04
  Speaker 1: if you were you know, the everyday parent, you wouldn't think, oh,
• 1:09:09
  Speaker 1: I should bring my little boy to this movie, you know.
• 1:09:12
  Speaker 1: And I don't know what the solution to that is.
• 1:09:15
  Speaker 1: I mean, you can unbarbify it, but I don't know
• 1:09:17
  Speaker 1: how much inherent press like prejudice goes into I think
• 1:09:21
  Speaker 1: I think having I think Maui's character was kind of
• 1:09:24
  Speaker 1: big in every marketing piece. I think they were selling
• 1:09:27
  Speaker 1: the rock pretty hard on it. I mean if when
• 1:09:30
  Speaker 1: they've got the rock, I do kind of want to
• 1:09:34
  Speaker 1: talk about the scenes that passed the backdel test though,
• 1:09:37
  Speaker 1: um just for one consistency of our podcast and too
• 1:09:42
  Speaker 1: because they're great. First one comes when ma Wana and
• 1:09:45
  Speaker 1: her mom are talking about Mowanna's desire to just be
• 1:09:49
  Speaker 1: out on the ocean and to venture off, and her
• 1:09:52
  Speaker 1: dad is mentioned, so but it's not the context of
• 1:09:55
  Speaker 1: the conversation is not really about him. It's more about
• 1:09:59
  Speaker 1: just her desire, her longing to be on the ocean
• 1:10:02
  Speaker 1: and in the ocean. Similar conversation happens a little later
• 1:10:05
  Speaker 1: on between mo Wanna and her grandmother, where Mama is
• 1:10:09
  Speaker 1: talking about putting the stone on the top of the mountain,
• 1:10:12
  Speaker 1: which is like symbolic of her accepting her role is
• 1:10:15
  Speaker 1: the leader in the chief of the community and she's
• 1:10:19
  Speaker 1: questioning like who she's meant to be, and again her
• 1:10:22
  Speaker 1: dad is mentioned, but again that's not really what the
• 1:10:23
  Speaker 1: conversation is about. It's more about like her destiny and
• 1:10:26
  Speaker 1: her desires. And then another conversation between her and her
• 1:10:30
  Speaker 1: grandma happens. Oh. I think it's just like after she
• 1:10:33
  Speaker 1: discovers that her ancestors or voyagers, and her grandmother shows
• 1:10:38
  Speaker 1: her at that, right, Yeah, her grandmother's like bang on
• 1:10:40
  Speaker 1: the drum and her questions will be answered. And then
• 1:10:43
  Speaker 1: after that, her grandma's like on her deathbed and that's
• 1:10:46
  Speaker 1: when she's like, you have to go find Maui and
• 1:10:49
  Speaker 1: tell him to restore the heart. Also, they they do
• 1:10:53
  Speaker 1: a rare displacement of the horny grandma trope. This grandma
• 1:10:56
  Speaker 1: doesn't get horny? Does she just horny for sea creatures?
• 1:10:59
  Speaker 1: That's right, that's God damn it. Because the other grandma
• 1:11:04
  Speaker 1: character that I can think of, besides Grandmother Willow, who
• 1:11:06
  Speaker 1: can't get horny, she has a tree, uh, is the
• 1:11:09
  Speaker 1: grandmother in Mulan, who is very horny, also very helpful,
• 1:11:14
  Speaker 1: helpful and horny. Well, it's I don't think it's actually
• 1:11:16
  Speaker 1: fair to say that she's horny for these stingrays. She
• 1:11:19
  Speaker 1: wants to be one and she admires them and doesn't
• 1:11:21
  Speaker 1: mean she wants to fun. She's empowered by this stinger. Okay,
• 1:11:24
  Speaker 1: I really want to get this grandma every benefit of
• 1:11:26
  Speaker 1: the doubt because I really love her, and all the
• 1:11:29
  Speaker 1: other grandma's besides the tree are horny. Um, Hey, should
• 1:11:32
  Speaker 1: we write the movie. Let's do it. So we read
• 1:11:34
  Speaker 1: each movie on a scale of zero to five nipples,
• 1:11:39
  Speaker 1: and the way you describe the nipples, if we so choose, um,
• 1:11:43
  Speaker 1: I'll go first is five great, yeah, which I think
• 1:11:50
  Speaker 1: might be what I give this movie might nipple movie.
• 1:11:58
  Speaker 1: The only thing that would make hesitated about it is
• 1:12:01
  Speaker 1: the fact that the filmmakers, the directors, and writers were
• 1:12:06
  Speaker 1: white dudes. But that doesn't really seem to have a
• 1:12:09
  Speaker 1: bearing on the story the way we might think. So
• 1:12:12
  Speaker 1: if you're just isolating the narrative itself and not thinking
• 1:12:15
  Speaker 1: about the filmmaking aspect of it, it does such a
• 1:12:18
  Speaker 1: terrific job representing women in a way that Disney movies, uh,
• 1:12:24
  Speaker 1: in movies that young girls are seeing I haven't really
• 1:12:27
  Speaker 1: done before. The relationships between the women characters are so
• 1:12:33
  Speaker 1: wonderful and strong and refreshing to see. Mowanna just has
• 1:12:36
  Speaker 1: so much agency, and she's so active in all of
• 1:12:39
  Speaker 1: her decisions, and she's just a great, dynamic, multidimensional, very
• 1:12:44
  Speaker 1: lovable character. And I ever so much. Five nipples describe them? Well,
• 1:12:50
  Speaker 1: I'm not okay five of them at night? So I
• 1:12:55
  Speaker 1: know that crabs don't have nipples, but five nipples belonged
• 1:13:01
  Speaker 1: to Jermaine, Like it's my aust Brand Kitling Britain. Bringemine Britt.
• 1:13:15
  Speaker 1: I give this movie five nipples as well. I would
• 1:13:18
  Speaker 1: be interested if anyone's listening, um in how if anyone
• 1:13:22
  Speaker 1: is familiar or integrated into Pacific Islander culture, Um, how
• 1:13:26
  Speaker 1: you felt the movie represented that, because I really don't
• 1:13:29
  Speaker 1: have a context for that. In a layman sense, it
• 1:13:32
  Speaker 1: seemed like it was pretty respectful of the culture. But again,
• 1:13:36
  Speaker 1: if if you have more or outsiders, I did love
• 1:13:40
  Speaker 1: to hear it. I was trying to read about like
• 1:13:43
  Speaker 1: whether or not Molana was based on any um folklore
• 1:13:47
  Speaker 1: or mythology or anything like that. And Maui and the
• 1:13:51
  Speaker 1: different creation stories and stuff like that. It seems that
• 1:13:53
  Speaker 1: they took like a combination of different like Polynesian and
• 1:13:56
  Speaker 1: Pacific Islander things and sort of like molded it into
• 1:13:59
  Speaker 1: one thing. And I think there was some criticism about
• 1:14:01
  Speaker 1: that from those communities that like, oh, like why did
• 1:14:04
  Speaker 1: you mesh them all together? Kind of thing. Disney has
• 1:14:08
  Speaker 1: a resort in Hawaii. There was also a Maui costume
• 1:14:13
  Speaker 1: that was released that was considered disrespectful and was pulled
• 1:14:16
  Speaker 1: from the sheuse a real merch mix up regardless, my
• 1:14:21
  Speaker 1: I give it five Moana baby nipples. Um, I would
• 1:14:25
  Speaker 1: also give up five nipples. Well, Natalie, thank you so
• 1:14:30
  Speaker 1: much for joining us. It's been a pleasure. Thank you
• 1:14:33
  Speaker 1: so much. I think this might also be one of
• 1:14:34
  Speaker 1: the first times that all three of us, Jamie and
• 1:14:38
  Speaker 1: Caitlin and the guest love the movie that we're talking
• 1:14:42
  Speaker 1: about genuinely. So thank you for bringing us such an
• 1:14:45
  Speaker 1: exciting movie to talk about about. To blast the soundtrack
• 1:14:48
  Speaker 1: in my car, Yeah, blast it and cry. I'm roughing
• 1:14:52
  Speaker 1: for it. Yeah, I'm so excited. Where can people find
• 1:14:56
  Speaker 1: you online? Um? I am on Twitter at Daly Baseman
• 1:15:01
  Speaker 1: and um I'm on Instagram too, and I'm off Facebook
• 1:15:05
  Speaker 1: for mental health and well done. Um My. My Twitter
• 1:15:09
  Speaker 1: right now is mostly just retweeting angrily. But my Instagram
• 1:15:12
  Speaker 1: my post pictures of things I cook wonderful, perfect. I've
• 1:15:17
  Speaker 1: about you, Jamie, do you have anything you wanna mention?
• 1:15:20
  Speaker 1: I'm Hamburger Phone on Twitter. You can watch my cartoon
• 1:15:24
  Speaker 1: every week on Cafe is called Boston p DS and
• 1:15:27
  Speaker 1: Bony Crimes Division. It's very funny. That's thank you. Kaitly
• 1:15:32
  Speaker 1: watched me make one today. Yeah, yeah, it's fun. It
• 1:15:36
  Speaker 1: was so much fun. That's all I've got. You can
• 1:15:38
  Speaker 1: follow me at Caitlin Dronte and you can follow the
• 1:15:41
  Speaker 1: podcast at bectel Cast. You can also listen to us
• 1:15:44
  Speaker 1: on iTunes. You can also rate and review us there.
• 1:15:47
  Speaker 1: We really appreciate it when you do that, or and
• 1:15:50
  Speaker 1: Libson and Google Google too. Also. I don't know if
• 1:15:54
  Speaker 1: I use the overcast app for my podcasting needs and
• 1:15:58
  Speaker 1: it's amazing and you can get anything on there and
• 1:16:00
  Speaker 1: then it's just a quick, a quick hop to iTunes
• 1:16:02
  Speaker 1: to rate things. I love it. I love I used
• 1:16:05
  Speaker 1: the pot this the standard podcasts iPhone app as well,
• 1:16:08
  Speaker 1: and I get a little ping every Thursday morning when
• 1:16:11
  Speaker 1: it's like, hey remember this thing, remember that thing you did,
• 1:16:13
  Speaker 1: It's now available to the public. I love it. So
• 1:16:17
  Speaker 1: keep listening. Thank you for listening. We appreciate you, we
• 1:16:20
  Speaker 1: value you. You get five out of five nipples. Yes,
• 1:16:23
  Speaker 1: you all do. Thanks and bye bye.