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Speaker 1: On the Beck dol Cast, the questions asked if movies

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Speaker 1: have women and them, are all their discussions just boyfriends

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Speaker 1: and husbands, or do they have individualism the patriarchy zef

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Speaker 1: in best start changing it with the beck Del Cast.

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Speaker 1: Welcome to the Bechdel Cast. My name is Jamie Loftus,

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Speaker 1: my name is Caitlin Darante, and today is a much

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Speaker 1: requested episode that we're excited to bring you. But first,

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Speaker 1: it is our sacred duty, our soul and duty, our

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Speaker 1: only duty in this lifetime to tell you what the

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Speaker 1: podcast is about, which we don't always remember to do.

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Speaker 1: I thought you were going to say that, like it's

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Speaker 1: our sacred duty to to sing, since we've been doing

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Speaker 1: that a week lately, we have been singing quite a bit,

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Speaker 1: I feel like, because I mean, if you've clicked on

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Speaker 1: the episode, you know, I just it would not be

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Speaker 1: you know, I can imitate a Disney orchestra, but I

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Speaker 1: can't be Selina. So I'm it's best if we know.

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Speaker 1: Although I have heard I mean when when Selena songs

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Speaker 1: come up at karaoke, they always are the most spirited

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Speaker 1: performance as whether they are good or really bad. Um,

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Speaker 1: but yes, it's our those our sacred duty to pod

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Speaker 1: in this life. Yeah when in our podcast, it is

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Speaker 1: a podcast where we examine movies from an intersectional feminist lens.

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Speaker 1: That's true, and what we've noticed is that a lot

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Speaker 1: of movies do a very bad job. Hold on, no,

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Speaker 1: it's true. Um, And we use the Bechtel tests simply

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Speaker 1: as a jumping off point to inspire a much larger conversation.

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Speaker 1: And the Bechtel Test, of course, is a media metric

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Speaker 1: created by queer cartoonist Alison Becktel, sometimes called the Bechtel

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Speaker 1: Wallace Test and by our standards because there's some different

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Speaker 1: renditions of the test, but the one that we use

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Speaker 1: is two people with names of any marginalized gender speak

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Speaker 1: to each other about something other than a man for

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Speaker 1: at least two lines of dialogue. You think it would happen,

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Speaker 1: but you think it would happen more than it does.

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Speaker 1: But today is I'm really excited. It has been a

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Speaker 1: much requested episode that I think we've gotten another spike

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Speaker 1: in request recently because of the recent TV adaptation which

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Speaker 1: I also watched, and I'm interested to talk about. UM.

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Speaker 1: So let's bring our guests into the mix. Yes, let's

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Speaker 1: do it. She is a writer and the co host

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Speaker 1: and co producer of the podcast Locator Radio. It's Malomnios. Hello, Hi, welcome,

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Speaker 1: thank you, thank you for having me. I'm extremely excited

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Speaker 1: to talk about this movie, and I mean the Bechdel

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Speaker 1: test in general, but like even the invitation, I had

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Speaker 1: never thought of this before in relation to Selena the movie,

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Speaker 1: Like it had never occurred to me to apply this

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Speaker 1: metric to the film. So I've never talked about this

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Speaker 1: before in relation to the film. Um, so I'm excited.

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Speaker 1: I'm excited too. Well, part of it is like when

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Speaker 1: we cover biopics, which we haven't done a whole ton of,

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Speaker 1: but we've done some. Sometimes there's kind of like just

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Speaker 1: a trickier conversation around doing a biopic because it's a

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Speaker 1: story about a real life person versus like a completely

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Speaker 1: fictional character. So like you know, sometimes like the conversations

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Speaker 1: that we tend to have get a little trickier when

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Speaker 1: it's a biopic. But you know, Bectal test does apply

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Speaker 1: to Selena. And yeah, for sure, Yeah, it was interesting.

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Speaker 1: I will first, Um, I guess let's talk about what

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Speaker 1: our personal histories with this movie. And I guess, well,

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Speaker 1: let's extend that to Selena in in general. You know,

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Speaker 1: I identify as Chicana. I'm Mexican American born in ninety

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Speaker 1: two in l A County and raised by two Mexican Americans. Right. Um,

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Speaker 1: my father identifies as Chicano, and he's from California. He's

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Speaker 1: from Bakersfield, and my mom is from l A. Um,

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Speaker 1: depending how do you count. I'm like third or fourth

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Speaker 1: generation Mexican American. And so I found Selina by way

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Speaker 1: of just existing and being raised in that house and

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Speaker 1: via my kind of like I really connected with her

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Speaker 1: because she's also like a second third gen Mexican American

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Speaker 1: raised by Mexican Americans. And she also had a very

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Speaker 1: public sort of relationship with her learning of the Spanish

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Speaker 1: language and her music was around. You know. The movie

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Speaker 1: came out in the nineties. She was murdered in the nineties,

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Speaker 1: and she was um twenty two, and I grew up

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Speaker 1: with her, you know, as a nineties baby. So the

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Speaker 1: film is one of those movies that there are periods

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Speaker 1: of time where it's just I have memories of the

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Speaker 1: movie just being on, like on repeat, eat in the house,

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Speaker 1: you know, like somebody left the DVD in and then

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Speaker 1: it just keeps closing. The next time on TV, it's

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Speaker 1: back on the movie. And then when you're you're walking

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Speaker 1: with the kitchen, you stop and you stand because it's playing,

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Speaker 1: and it's just a cycle. For so, you know, very much,

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Speaker 1: just in my life and as an adult, getting really

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Speaker 1: into the sort of fandom of Selena, especially here in

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Speaker 1: l A who among us has not donned a Selena

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Speaker 1: costume for Halloween or for a karaoke night, a Selena

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Speaker 1: Oaky night at east Side Love. You know what, I'm

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Speaker 1: the bi monthly like anniversaries and celebrations, the countless fan

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Speaker 1: accounts and Facebook and Instagram and YouTube pages and channels

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Speaker 1: about her, the Selena impersonators, the shows, the Coma Left

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Speaker 1: Lord festival, you know that anything for Selena's this, that, that, that, that,

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Speaker 1: all of it. I'm in it. I go to the

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Speaker 1: party's the Selena techno Cumbia. I love the drag queens,

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Speaker 1: have the merch um. It's it's all things all Selena

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Speaker 1: all the time. Hell yeah, yeah, I love it. And

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Speaker 1: she has such iconic looks that like, yeah, replicating all

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Speaker 1: the looks, yeah, all the highwaisted pants, all the crops,

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Speaker 1: the red lips, the hair, all of it, because she

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Speaker 1: was dawning looks that were like they're easy for for

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Speaker 1: like a girl who looks like her or who's somewhere

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Speaker 1: in that that range. You know, it's like, we can,

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Speaker 1: we can wear these looks and like really rock them,

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Speaker 1: and they're accessible. She wasn't serving Kylie Jenner, you know,

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Speaker 1: she was serving Selena keepinning up from Corpus Christie and inaccessible.

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Speaker 1: And and that's why so many women today continue to

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Speaker 1: replicate her aesthetic because it's like, oh, yeah, this is ours,

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Speaker 1: we can rock this, this is easy. We do this anyways.

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Speaker 1: We would have done this regardless. You know. A friend

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Speaker 1: of the pod, uh, Danny Fernandez has done some incredible

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Speaker 1: Selena looks over the years. Truly, concur I agree, shout

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Speaker 1: out Danny, Danny another iconic Kanda. We love it, We

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Speaker 1: love Jamie. What about you your history and relationship? Um

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Speaker 1: I I've known Selena's music since I was really young.

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Speaker 1: I didn't know uh any like I guess specific details

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Speaker 1: of her life. I kind of just knew the general

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Speaker 1: overview of her life. But when I was little. I

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Speaker 1: just remember this the other day, By when I was little,

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Speaker 1: I did uh like ballet Dance to Dreaming of You,

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Speaker 1: and it was like a herd of little girls in

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Speaker 1: pink dresses, just like flailing around. And so I remember

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Speaker 1: learning a little bit about Selena, because that would have

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Speaker 1: been maybe like five years after she died. I was

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Speaker 1: um and and then I didn't learn more about her

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Speaker 1: life and kind of the fan culture around her life

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Speaker 1: until kind of a couple of years ago where another

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Speaker 1: friend of the pod uh Melissa Lozada Oliva, who's an

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Speaker 1: incredible poet and writes about Selena pretty extensively, And it

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Speaker 1: was just through interacting with her work and just talking

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Speaker 1: with her that I learned more about Selena's life. So

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Speaker 1: as far as the movie goes, I'd seen it in

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Speaker 1: like bits and pieces over the years, but I hadn't

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Speaker 1: really like sat with it um before a couple of

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Speaker 1: weeks ago to get ready for this show what About You, Caitlin.

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Speaker 1: I admittedly had never seen this movie and only had

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Speaker 1: a general understanding or general sense of Selena. I knew

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Speaker 1: her as an icon, and I knew just the tragic

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Speaker 1: story of her murder, but I I didn't know a

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Speaker 1: whole lot. And it wasn't until I saw this movie

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Speaker 1: that I was like, oh my gosh, she was amazing.

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Speaker 1: And now I I was like, I'm gonna listen to

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Speaker 1: Selena songs on Spotify and so now I and I

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Speaker 1: have like Komala Floor stuck in my head right at

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Speaker 1: this very moment, like so yeah, I uh in a

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Speaker 1: in a short time now have become a pretty big fan,

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Speaker 1: all thanks to Selena the movie. And I also watched

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Speaker 1: the series on Netflix to kind of prepare for this

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Speaker 1: episode and did a bunch of reading and yeah, listen

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Speaker 1: to a bunch of our music and yeah, so that's uh,

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Speaker 1: that's kind of where I'm at. Well, I wanted to

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Speaker 1: ask you before we kind of just jump into the

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Speaker 1: meat of the movie. So I found this and Kyl

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Speaker 1: found it as well. This amazing interview you did with

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Speaker 1: Vice around the time that the series was coming out.

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Speaker 1: And I mean there were certainly a lot of takes

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Speaker 1: on the series, um, but you you spoke like really

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Speaker 1: in depth about where Latin X representation is at in

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Speaker 1: Hollywood right now, and so I kind of wanted to

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Speaker 1: start before we jump into the hyper details of the movie,

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Speaker 1: just talking a little bit about that because Selena is such,

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Speaker 1: you know, such a huge figure. But you know, you're

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Speaker 1: you're saying that there should be absolutely more figures in

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Speaker 1: the Latino community represented, So, um, yeah, I just would

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Speaker 1: like to kind of open that up. Yeah, So I

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Speaker 1: want to start by saying that I have been talking

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Speaker 1: about Selena a lot recently online because um of Selena

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Speaker 1: the series, right, So it brought up a lot of

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Speaker 1: conversations a new and what folks in the creative space

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Speaker 1: have pointed out and in the fandom have pointed out

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Speaker 1: is that there's been a lot of activity around Selena

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Speaker 1: in the past few years. The Matt Cosmetics line, the

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Speaker 1: Ever twenty one line, the series, I feel like more

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Speaker 1: Selena like impersonators and tribute artists and bands more than ever,

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Speaker 1: and a lot of activity from the fandom on the internet.

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Speaker 1: So she has this enduring legacy that has had like

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Speaker 1: a spike. And so with the series, there were so

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Speaker 1: many things going on with the series, and I have

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Speaker 1: been putting out like I g t V videos to

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Speaker 1: give my actions and my reviews of even the promo material,

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Speaker 1: the trailer they put out like in at this point

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Speaker 1: and then one itself. So I've been like really kind

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Speaker 1: of just digging in and um, so all that to say,

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Speaker 1: you know, sometimes when women criticize things and analyze things

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Speaker 1: and give opinions on things like TV shows and pop

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Speaker 1: culture icons. Um, you know, I experienced a lot of

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Speaker 1: online I'm a hater. I just am mad that they

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Speaker 1: didn't cast me as Selena. I'm a relationship with my father,

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Speaker 1: i am a traitor to the Latin community, and I'm

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Speaker 1: tearing us all down. You know, the list goes on

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Speaker 1: very chill, very chill reactions to having an opinion, very

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Speaker 1: about a television show about So that being said, I

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Speaker 1: love Selena, and I recognize that when somebody like Selena

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Speaker 1: a huge talent of just boundless, you know, potential cut

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Speaker 1: way too short. I'm talking about somebody like this, like

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Speaker 1: she was so amazing and so talented and so gifted,

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Speaker 1: but also such a professional. She was going places and

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Speaker 1: an icon like her, we can expect to see her

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Speaker 1: everywhere forever. Tattoos, people have Selena rooms in their houses.

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Speaker 1: I've been to to Selena super Fan like a house

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Speaker 1: in Texas. Uh. I went down there with the podcast

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Speaker 1: to like do a speaking engagement in South Texas, and

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Speaker 1: the woman who was hosting us, she took us to

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Speaker 1: her house real quick and she had a Selena room

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Speaker 1: not in common build with merch you know what I mean,

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Speaker 1: So not unlike Marilyn Monroe or Elvis Presley, you know,

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Speaker 1: or Tina Turner, any icon of this status. We're going

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Speaker 1: to see her on on all kinds of products and

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Speaker 1: on TV and in film and commercials forever. It's to

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Speaker 1: be expected. There's nothing wrong wrong on some level with it,

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Speaker 1: and it's almost speaks to how legendary she truly is.

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Speaker 1: At the same time, at the same time, there are

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Speaker 1: so like few examples of her level of talent, but

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Speaker 1: there are more people and more figures who possessed and

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Speaker 1: possess her level of talent in the Latin X and

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Speaker 1: the Latin American space, and I would love to learn

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Speaker 1: about them as well and see more of those figures

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Speaker 1: as well, and have that magnitude of you know, social

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Speaker 1: awareness and appreciation for their work and talent as well

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Speaker 1: from Black artists from Latin America, Indigenous artists from Latin America,

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Speaker 1: and US Latin X artists from a lot of different

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Speaker 1: ethnic and cultural backgrounds. And as a Mexican American, I

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Speaker 1: want to apply like a lens that complicates Mexi centrism

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Speaker 1: and that allows us to say, yes, this is great,

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Speaker 1: also we can we want more, right, you know. So

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Speaker 1: that's that's kind of where my take on the Selena

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Speaker 1: and representation because I don't think that this is necessarily

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Speaker 1: a celebration of like more representation. M it's kind of

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Speaker 1: a rehashing of something that we've seen, and it's not

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Speaker 1: as though it's undeserved. And of course you'd want to

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Speaker 1: highlight a figure like Selena in movies and TV and stuff,

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Speaker 1: but there's just so few stories with Latin X characters

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Speaker 1: in mainstream American media that we should see stories about

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Speaker 1: people with more just kind of average lives who didn't

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Speaker 1: rise to superstardom, because I mean, just so many different

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Speaker 1: people with so many different experiences deserve to have their

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Speaker 1: story told, and you know, we just need to see

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Speaker 1: a wider scope of Latin X stories in general. Yeah,

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Speaker 1: I mean, how many different kinds of white families do

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Speaker 1: you see on TV? And in movies like a ba

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Speaker 1: jillion they make them up like there it is, it's

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Speaker 1: always so yeah, like it it is like just some

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Speaker 1: bare minimum ship and it's always really frustrating, especially when

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Speaker 1: it's a cultural figure who's so like who is as

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Speaker 1: amazing as Selena is. It's like, it's not knocking Selena

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Speaker 1: to say that there should be more like that's that's

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Speaker 1: part of what she was fighting for. Yeah. Um, So

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Speaker 1: it's really interesting to also see how like people shut

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Speaker 1: down criticism. In my experience talking about Selena recently, the

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Speaker 1: number of men specifically and including queer men, which I

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Speaker 1: think is really important to talk about in fandom circles

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Speaker 1: because we all like love and appreciate a queer fan

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Speaker 1: base because queer fans have the best taste, and really

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Speaker 1: it's true, like true europe queer icon, it's because your

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Speaker 1: fan base has taste and you're really delivering something of

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Speaker 1: high quality, and that's what gives an artist staying power

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Speaker 1: and lasting power. Like in the pop culture space pointbling period,

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Speaker 1: if you're a diva, like, you're not a diva unless

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Speaker 1: you have queer fan base, and that's true. Queens dressing

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Speaker 1: up as you like you haven't done it right. So

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Speaker 1: but there is can still be a toxic masculinity among

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Speaker 1: your men, among gay men in particular, and so you

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Speaker 1: know within the Latin X space that queer macheese will

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Speaker 1: exist and that queer misogyny exists, and it for me

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Speaker 1: came out in these ways that a number of queer

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Speaker 1: men and straight men, Latin X men, Mexican American cheka

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Speaker 1: woman telling me as a Latino community, we must uplift

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Speaker 1: like everything Latin or everything Mexican or the or they Netflix,

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Speaker 1: They're going to think that we don't know how to

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Speaker 1: support each other. They're never gonna give us anything ever. Again,

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Speaker 1: I'm like, you guys are still fucking dramatic. First of all,

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Speaker 1: she has a feature as the fucking series and it's

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Speaker 1: the number one show on Netflix. Kenna Bitch Rant on

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Speaker 1: her own Instagram page, Lord under the Bags were all

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Speaker 1: Latinos to support all of it, and I'm like, look,

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Speaker 1: you know how many motherfuckers have a Spanish surname. You

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Speaker 1: think I'm a community with everybody with the Spanish last name?

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Speaker 1: Absolutely not. Also, that's what you're advocating for, is like?

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Speaker 1: More so like, what's the problem people are addicted to

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Speaker 1: being mad? Um? Yeah, okay, should we talk about the

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Speaker 1: movie and recap it? Let's do it? Okay, so um,

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Speaker 1: obviously this is a biopic about Selena Kentonia, the iconic

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Speaker 1: Tejano music musician. We open in media rez to get

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Speaker 1: very film school and everybody. Um was that me again?

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Speaker 1: Um into the midst of things? Okay, Um, I think

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Speaker 1: something I don't know. I don't know Latin. Okay, But

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Speaker 1: we opened that way on Selena about to play the

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Speaker 1: huge show that she plays at the Houston Astrodome. Um,

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Speaker 1: she's at the height of her career. It's February, only

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Speaker 1: about a month before she would be murdered. So we

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Speaker 1: see her playing this show, and then we cut to

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Speaker 1: her father, Abraham, as a young man and member of

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Speaker 1: a group called Lost Dinos, who get screwed out of

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Speaker 1: doing a gig by a racist club owner who didn't

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Speaker 1: know that the Dinos were Mexican. So they go and

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Speaker 1: try to play at a club where the clientele is

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Speaker 1: mostly Mexican, thinking that they'll fit in, but the crowd

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Speaker 1: there doesn't like the Dinos, kind of like white barbershop

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Speaker 1: quartet style of music. So, um, there's a bit of

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Speaker 1: backlash there. Then we cut to twenty years later, to

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Speaker 1: nineteen one now, and Abraham is now Edward Jim's almost Uh,

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Speaker 1: we need to talk more about him on this show.

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Speaker 1: Another character actor icon for the ages. The first major

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Speaker 1: thing I saw him and I think was Battlestar Galactica

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Speaker 1: and what I grew up watching Stand and Deliver from

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Speaker 1: substitute teachers. That was my Edward James. Almost like any

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Speaker 1: time a teacher is sick, there would be like a

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Speaker 1: twenty two year old substitute that's like, um, here's a

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Speaker 1: movie about math, like inspired, Yeah, and I loved it.

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Speaker 1: I was like I could. I could probably recite Stand

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Speaker 1: and Deliver from memory at Easter LA Community College. And

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Speaker 1: I don't know if they still do this. They probably

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Speaker 1: still do. They offer this summer math program for kids

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Speaker 1: called the High Miss Galanthan Math Program, and I was, yeah,

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Speaker 1: it was, it was. I mean, I mean it was.

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Speaker 1: It's cool. It's a great community resource. I went to

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Speaker 1: the Highest Glantha math program every s as a kid.

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Speaker 1: I was. It was so like, it's just yes, Edward

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Speaker 1: and him are everywhere. That's that's so cool. He made

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Speaker 1: math sexy. I'm not easy to do, not easy to do,

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Speaker 1: so true icon. I want to say, and and Edward

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Speaker 1: not Edward, um hemislanta. I want to say he was Bolivian.

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Speaker 1: Let me check, yes, yeah, Bolivian American educator. Yeah, oh god,

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Speaker 1: that was like l A l A used to feel

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Speaker 1: so far away and abstract to me. So I was like, oh, yeah,

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Speaker 1: it's like whatever happens in Standing Deliver, that's what l

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Speaker 1: A is like. It's a bit of a dramatization, but there. Yes,

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Speaker 1: um okay, so we got we have Edward James almost.

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Speaker 1: He now has a family including his wife Marcella played

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Speaker 1: by Constance Marie, a young son, a b and two daughters,

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Speaker 1: Suzette and of course Selina, who I think is eight

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Speaker 1: or nine when we first meet her as a child,

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Speaker 1: and Abraham's discovers that Selena can sing very very well,

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Speaker 1: so he basically makes his family start like form a

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Speaker 1: band with a B on bass, Suzette on drums, and

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Speaker 1: Selena as the singer. And the kids are reluctant at first,

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Speaker 1: but then they keep with it and they start playing

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Speaker 1: as Selena I Loostina's at the restaurant that Abraham opens up,

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Speaker 1: and Selena discovers that she loves performing. Uh. Then Abraham

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Speaker 1: teaches her to sing in Spanish and they have a

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Speaker 1: conversation about their identities as Mexican Americans. But then the

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Speaker 1: family restaurant has to close down after a few months

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Speaker 1: because of the Reagan era economic recession that was an

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Speaker 1: iconic I love when there This movie I feel like

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Speaker 1: does pretty well with the fact that it's like at

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Speaker 1: times of period piece. But I love when in a

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Speaker 1: period piece someone just like drops like a hot vocabulary

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Speaker 1: word to remind you what year it is where it

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Speaker 1: was like they're they're like, why is the why is

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Speaker 1: the restaurant closing? And someone responds Reaganomics. I was like, right,

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Speaker 1: it is the eighties, right, Reaganomics. Great line. Yeah, So

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Speaker 1: the family has to move to leave their home and

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Speaker 1: move into an uncle's house, which is when Abraham starts

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Speaker 1: trying to kind of ramp up their like music careers

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Speaker 1: and book gigs for Selena I Loostino's and get them

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Speaker 1: more exposure to see if they might be able to

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Speaker 1: kind of earn money this way, and Marcella expresses concerns about,

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Speaker 1: you know, people making only space for men in Tahano music,

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Speaker 1: which is the type of music that they are now playing,

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Speaker 1: and she's worried that Selena, because she's a girl, won't

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Speaker 1: be able to get very far. But then we cut

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Speaker 1: two nine and Selena is now Jennifer Lopez, and the

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Speaker 1: band is really good and they are pretty well established

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Speaker 1: Tejano musicians with a following and people love Selena. Uh.

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Speaker 1: Then we get this fun scene where their tour bus,

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Speaker 1: Big Bertha, gets stuck and these two guys stopped to

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Speaker 1: help and it fox their car all up, but they

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Speaker 1: don't even care because they love Selena so much and

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Speaker 1: they're just like, I'm gonna hang this as a shrine

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Speaker 1: on the wall of my garage. Iconic love that scene.

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Speaker 1: Then Chris Pettrez played by John Cita, gets brought into

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Speaker 1: the band as a guitarist and Selena thinks he's cute

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Speaker 1: because he's cute, that's favorite. John Cita as Chris Press specifically,

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Speaker 1: is just like like in the film Universe, Jazz Cram

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Speaker 1: Dela Crown for me. Yeah, I love him. It's so

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Speaker 1: and they're like their chemistry is so good, and you're

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Speaker 1: like it's sometimes I'm like, oh, this this romance is

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Speaker 1: taking up too much space in the media, But this

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Speaker 1: this one, Caleb and I were both like, no, it's beautiful.

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Speaker 1: I texted Jamie this morning and I was like, I'm

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Speaker 1: obsessed with Chris and Selena, Like their scenes are scenes

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Speaker 1: that that I rewind and rewatch, like, you know, like, no,

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Speaker 1: I need to rewatch the scene where she told him

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Speaker 1: he's a dumb idiate after he trashes the hotel room.

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Speaker 1: I must must replay. Yes, it's so like, it's so

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Speaker 1: it's I don't know, it should tip over into super melodrama,

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Speaker 1: but it somehow doesn't. Where John Cita So I love

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Speaker 1: when Selena goes up to him and he's like, I'm

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Speaker 1: no good for you. Like he's just like I'm a

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Speaker 1: bad boy. You don't understand, and she's like, shut the

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Speaker 1: funk up, like perfect, you're not that tough. I love

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Speaker 1: this music you spent You've spent a lot of hours

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Speaker 1: rehearsing in practicing music, Like please, I love it. So uh,

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00:25:09,880 --> 00:25:12,760
Speaker 1: Selena thinks he's cute, and then they flirt a little bit.

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Speaker 1: They go out for pizza, they start to like each other,

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Speaker 1: and then they kiss on the bus, but more like

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Speaker 1: because it's danger and someone I forget which character walks

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Speaker 1: in on them and it's like, oh my god, I'm

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00:25:31,960 --> 00:25:35,960
Speaker 1: so sorry, but he I think it's Pete. Yeah, so

400
00:25:36,280 --> 00:25:39,080
Speaker 1: they get caught, but like the real threat is getting

401
00:25:39,119 --> 00:25:43,680
Speaker 1: caught by Abraham, which doesn't happen yet. Meanwhile, they get

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00:25:43,680 --> 00:25:47,639
Speaker 1: booked for a gig in Monterrey, Mexico, and there's a

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Speaker 1: concern about whether or not the band who has made

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Speaker 1: up of Mexican Americans will be able to play to

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Speaker 1: a Mexican crowd. Um. This is also when we get

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00:25:56,720 --> 00:26:00,240
Speaker 1: the trouble with Chris where he and and so Lena

407
00:26:00,280 --> 00:26:03,239
Speaker 1: are having to sneak around. There's that whole you know,

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Speaker 1: trashing the hotel room scene. Abraham thinks he's a punk. Uh.

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Speaker 1: He's like, I'm no good for you, and she's like

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Speaker 1: shut up and kiss me um, and he immediately was

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Speaker 1: like okay. And so they keep seeing each other in secret,

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00:26:19,000 --> 00:26:20,760
Speaker 1: and then it turns and then they do the gig

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Speaker 1: in Mexico and it turns out the crowds there love Selena.

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Speaker 1: So now Selena and Chris have gotten closer. They are

415
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Speaker 1: in love. They want to get married. But this is

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Speaker 1: when Abraham finds out about the relationship and he fires Chris,

417
00:26:35,400 --> 00:26:38,200
Speaker 1: but Selena is like, I still want to be with you.

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Speaker 1: We have to get married to like show my dad

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Speaker 1: that this is serious. So they elope and Abraham finds

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Speaker 1: out about it, and he's really upset at first, but

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Speaker 1: then he comes around and then that scene where he's like, hi, son,

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Speaker 1: welcome to the family. I'm just the ultimate mark of approval,

423
00:26:58,320 --> 00:27:04,920
Speaker 1: kind of acceptance into a American home. Did you bring

424
00:27:04,920 --> 00:27:13,040
Speaker 1: your guitar? Did you bring her guitar? When the Texan

425
00:27:13,160 --> 00:27:19,479
Speaker 1: accents sneak out, I love it. Um. So the band

426
00:27:19,840 --> 00:27:23,240
Speaker 1: is all this while they're they're blowing up. Record sales

427
00:27:23,280 --> 00:27:27,200
Speaker 1: are really good. They're nominated for a Grammy. Selena starts

428
00:27:27,240 --> 00:27:32,040
Speaker 1: working on a crossover English language album. Selena opens a

429
00:27:32,280 --> 00:27:35,760
Speaker 1: boutique because she's always been interested in fashion design, and

430
00:27:35,760 --> 00:27:39,639
Speaker 1: this is when we meet Yolanda Salvidar, who is played

431
00:27:39,640 --> 00:27:47,240
Speaker 1: by Lupe ante Veros, who handles Selena's businesses and also

432
00:27:47,280 --> 00:27:51,000
Speaker 1: as the president of her fan club. Then we get

433
00:27:51,040 --> 00:27:55,840
Speaker 1: another fun scene where Selena and I'm a little unclear

434
00:27:55,920 --> 00:28:00,280
Speaker 1: on this character's name. She calls her Reenie, but then

435
00:28:00,280 --> 00:28:05,120
Speaker 1: I couldn't find her on IMDb as that name. Who

436
00:28:05,160 --> 00:28:09,280
Speaker 1: she she goes to them all with, Yeah, I'm not

437
00:28:09,520 --> 00:28:13,040
Speaker 1: entirely sure who the person is to Selena exactly, but

438
00:28:13,080 --> 00:28:16,200
Speaker 1: she's in the movie from like pretty early on, Mala,

439
00:28:16,240 --> 00:28:19,120
Speaker 1: do you know so? I think so. I think they're

440
00:28:19,160 --> 00:28:21,040
Speaker 1: supposed to be friends. I don't know if she had

441
00:28:21,080 --> 00:28:23,840
Speaker 1: a real life friend like this I don't know how

442
00:28:23,880 --> 00:28:27,840
Speaker 1: many like girlfriends Selena had like in real life, honestly, Um,

443
00:28:27,840 --> 00:28:31,800
Speaker 1: it's honest. It's the like, an enduring friend is not

444
00:28:31,840 --> 00:28:34,800
Speaker 1: necessarily somebody that comes up a lot in like the

445
00:28:34,800 --> 00:28:37,399
Speaker 1: fans spaces. I don't see a lot of that, like

446
00:28:37,520 --> 00:28:40,200
Speaker 1: the bandmates, you see the family, you see Chris, you

447
00:28:40,240 --> 00:28:44,560
Speaker 1: see the backup dancers, you know, um, and in retellings

448
00:28:44,600 --> 00:28:47,400
Speaker 1: and in writings and in readings, and I don't She's

449
00:28:47,400 --> 00:28:51,600
Speaker 1: not somebody that's in real life. Stands out to me. However,

450
00:28:51,640 --> 00:28:55,160
Speaker 1: the actress that played the friend in the movie played

451
00:28:55,360 --> 00:29:00,520
Speaker 1: the mother Marcella in Selena the series. Oh, I didn't

452
00:29:00,560 --> 00:29:05,200
Speaker 1: pick up on that either. Incredible because she's in the

453
00:29:05,240 --> 00:29:07,800
Speaker 1: scene where like they first mate Chris and they're like,

454
00:29:07,880 --> 00:29:10,920
Speaker 1: what like watching him audition basically, So like she's in

455
00:29:11,360 --> 00:29:13,600
Speaker 1: a fair number of scenes and stuff, but they like

456
00:29:13,640 --> 00:29:15,760
Speaker 1: don't really draw that much attention to her. So I

457
00:29:15,760 --> 00:29:19,400
Speaker 1: wasn't exactly sure who she was like to Selena or

458
00:29:19,440 --> 00:29:21,719
Speaker 1: even what her name was. In my notes, I referred

459
00:29:21,720 --> 00:29:24,120
Speaker 1: to her as a friend who's over the house a lot,

460
00:29:24,160 --> 00:29:28,160
Speaker 1: which I can relate with. I was that friend, yeah,

461
00:29:28,480 --> 00:29:31,160
Speaker 1: And it's you know, I'm sure because they I mean,

462
00:29:31,240 --> 00:29:33,640
Speaker 1: it's not like she didn't have friends. Well I don't know.

463
00:29:33,720 --> 00:29:35,600
Speaker 1: I don't know, but it's possible that she had there

464
00:29:35,640 --> 00:29:37,880
Speaker 1: was somebody that a family member or a friend of

465
00:29:37,880 --> 00:29:39,680
Speaker 1: the family or a neighbor that was there all the

466
00:29:39,720 --> 00:29:43,480
Speaker 1: time or definitely possible, But I don't. I wish maybe

467
00:29:43,960 --> 00:29:46,040
Speaker 1: this is actually a really great line of inquiry, like

468
00:29:46,080 --> 00:29:48,640
Speaker 1: I want to I want to know more now, I'd

469
00:29:48,640 --> 00:29:51,000
Speaker 1: be interesting because if they if they did add her,

470
00:29:51,200 --> 00:29:54,719
Speaker 1: I mean, I'm always happy in I mean, we'll talk

471
00:29:54,760 --> 00:29:56,440
Speaker 1: about it. But like one of one of the things

472
00:29:56,440 --> 00:29:59,680
Speaker 1: about this movie is I wish that we saw Selena

473
00:30:00,000 --> 00:30:02,080
Speaker 1: talking to women in her life who weren't just her

474
00:30:02,160 --> 00:30:05,160
Speaker 1: mom a little bit more so whenever that character came in,

475
00:30:05,200 --> 00:30:07,320
Speaker 1: it was like, oh, it would be cool to know,

476
00:30:07,560 --> 00:30:10,560
Speaker 1: you know a little what the context for this person is,

477
00:30:10,600 --> 00:30:14,680
Speaker 1: because we don't see Selena talking to women, you know,

478
00:30:14,720 --> 00:30:18,320
Speaker 1: about her dreams very much, so when she does, it's like, well,

479
00:30:18,360 --> 00:30:23,640
Speaker 1: who is this? Like yeah, right, In any case, a

480
00:30:23,680 --> 00:30:27,600
Speaker 1: friend who's over at the house a lot and Selena

481
00:30:28,480 --> 00:30:33,080
Speaker 1: um go to the mall in l a shortly before

482
00:30:33,320 --> 00:30:36,440
Speaker 1: the Grammys to buy address for this friend, and they

483
00:30:36,440 --> 00:30:40,120
Speaker 1: go into this store where a white lady is racist

484
00:30:40,160 --> 00:30:44,360
Speaker 1: to them. But meanwhile everyone at the mall figures out

485
00:30:44,400 --> 00:30:46,560
Speaker 1: that Selena is there, and there are a bunch of

486
00:30:46,560 --> 00:30:49,520
Speaker 1: like retail and restaurant workers and then also just shoppers

487
00:30:50,200 --> 00:30:53,760
Speaker 1: who are huge fans of Selena, and they rush to

488
00:30:53,880 --> 00:30:57,800
Speaker 1: see her. And then the racist lady looks like a fool.

489
00:31:00,920 --> 00:31:05,160
Speaker 1: She deserves, she very much deserves. And then the Selena

490
00:31:05,320 --> 00:31:09,000
Speaker 1: is like, actually, we don't want your dress and screw you.

491
00:31:09,360 --> 00:31:16,280
Speaker 1: Jayla really delivers that line. It's really very cathartic. Okay,

492
00:31:16,360 --> 00:31:19,360
Speaker 1: So then we see them at the Grammys. Selena wins

493
00:31:19,360 --> 00:31:23,640
Speaker 1: a Grammy. Things are going great until the family starts

494
00:31:23,640 --> 00:31:28,200
Speaker 1: to notice some discrepancies with the finances of Selena's businesses

495
00:31:28,320 --> 00:31:32,320
Speaker 1: and they realize that Yolanda is probably behind it, but

496
00:31:32,400 --> 00:31:35,240
Speaker 1: Yolanda denies it. Um then we cut back to that

497
00:31:35,240 --> 00:31:39,720
Speaker 1: scene at the very beginning from the Houston Astrodome, which

498
00:31:39,840 --> 00:31:44,000
Speaker 1: kind of sort of morphs into the murder of Selena

499
00:31:44,280 --> 00:31:48,880
Speaker 1: by Yolanda. And Selena has been shot, She's rushed to

500
00:31:48,880 --> 00:31:53,720
Speaker 1: the hospital, she dies, her family mourns, her fans mourn.

501
00:31:54,000 --> 00:31:59,160
Speaker 1: There are vigils with huge crowds of all of Selena's supporters,

502
00:31:59,560 --> 00:32:02,080
Speaker 1: and then we get a montage of footage of the

503
00:32:02,120 --> 00:32:06,320
Speaker 1: real Selena Quitania and that kind of closes out the movie.

504
00:32:07,640 --> 00:32:11,520
Speaker 1: So that is the story. Let's take a quick break

505
00:32:11,560 --> 00:32:21,440
Speaker 1: and then we'll come back to discuss where where to begin.

506
00:32:21,640 --> 00:32:23,560
Speaker 1: I guess one thing that stood out to me that

507
00:32:23,600 --> 00:32:26,040
Speaker 1: I just I didn't know. I didn't I knew nothing

508
00:32:26,080 --> 00:32:29,520
Speaker 1: about the production history of this movie. I didn't realize

509
00:32:29,560 --> 00:32:35,480
Speaker 1: how soon after Selena's death this movie was shot and released.

510
00:32:35,480 --> 00:32:39,800
Speaker 1: It was very, very um quick. Yeah, I just, um,

511
00:32:39,840 --> 00:32:42,320
Speaker 1: that's just kind of a rogue observation. I didn't realize

512
00:32:42,360 --> 00:32:46,240
Speaker 1: it was, you know, basically two years after Yeah, because

513
00:32:46,280 --> 00:32:50,360
Speaker 1: she was murdered in and just thinking about what it

514
00:32:50,480 --> 00:32:53,840
Speaker 1: takes to get a movie greenlit and up and running

515
00:32:53,840 --> 00:32:56,280
Speaker 1: and written and cast and all these things. I feel

516
00:32:56,320 --> 00:32:58,200
Speaker 1: like it was almost it was like right after she

517
00:32:58,280 --> 00:33:00,840
Speaker 1: was murdered, they got into talks about it and they

518
00:33:00,840 --> 00:33:05,440
Speaker 1: got started. I could assume it appeared I read that, um,

519
00:33:05,480 --> 00:33:08,880
Speaker 1: there were a lot of like non official biographies like

520
00:33:09,160 --> 00:33:12,200
Speaker 1: in the works right after her death, and the Kingtonia

521
00:33:12,280 --> 00:33:15,480
Speaker 1: family was just like, all right, we gotta if people

522
00:33:15,520 --> 00:33:19,240
Speaker 1: are gonna try to make movies that might misrepresent Selena's story,

523
00:33:19,320 --> 00:33:22,080
Speaker 1: like let's just nip this in the bud and like

524
00:33:22,240 --> 00:33:25,640
Speaker 1: be a part of doing this ourselves. Because Abraham Kingtonia

525
00:33:25,840 --> 00:33:29,280
Speaker 1: is one of the executive producers of this movie, so

526
00:33:29,480 --> 00:33:31,640
Speaker 1: they kind of this is the one they signed off on,

527
00:33:31,760 --> 00:33:36,600
Speaker 1: and there's a lot of conversations with the director, Gregory Nova,

528
00:33:36,680 --> 00:33:40,000
Speaker 1: and he came in and talked too many members of

529
00:33:40,040 --> 00:33:43,600
Speaker 1: the family and just like basically got Selena's whole life

530
00:33:43,600 --> 00:33:48,000
Speaker 1: story and um then adapted it to this screenplay and

531
00:33:48,080 --> 00:33:51,200
Speaker 1: this movie. So yeah, but I think that was kind

532
00:33:51,240 --> 00:33:53,760
Speaker 1: of why it all happened so quickly, because there was

533
00:33:54,320 --> 00:33:59,160
Speaker 1: other productions like maybe about to like mess the story up,

534
00:33:59,400 --> 00:34:01,920
Speaker 1: so they were let's let's do it right before they

535
00:34:01,960 --> 00:34:05,760
Speaker 1: do it wrong. Yeah. Yeah, And I want to say

536
00:34:05,920 --> 00:34:09,200
Speaker 1: it was m I want to liot this up now,

537
00:34:09,239 --> 00:34:12,359
Speaker 1: but it was either the director, Gregory Nava or one

538
00:34:12,400 --> 00:34:18,359
Speaker 1: of the producers Sparsa, who had a teenage daughter who

539
00:34:18,400 --> 00:34:21,359
Speaker 1: at the time before Selena's death was a Selena fan

540
00:34:21,440 --> 00:34:25,520
Speaker 1: and who was really into Selena, and his daughter was

541
00:34:25,560 --> 00:34:29,160
Speaker 1: sort of one of the catalyst behind she went like

542
00:34:29,160 --> 00:34:32,759
Speaker 1: like turning Selena's life and death into a story. I

543
00:34:32,800 --> 00:34:34,839
Speaker 1: don't know, a fact check can be done, but it's

544
00:34:34,880 --> 00:34:37,960
Speaker 1: either either a Sparta or Nava who had a teen

545
00:34:38,040 --> 00:34:40,319
Speaker 1: daughter who was a Selena fan. And I think that's

546
00:34:40,360 --> 00:34:45,160
Speaker 1: important to talk about two because her fandom also inspired

547
00:34:45,160 --> 00:34:49,520
Speaker 1: and influenced and kind of asked for the films to

548
00:34:49,560 --> 00:34:52,359
Speaker 1: sort of memorialize her, and I think it is sort

549
00:34:52,400 --> 00:34:56,600
Speaker 1: of there is a sort of timeline around like a

550
00:34:56,640 --> 00:35:00,160
Speaker 1: major event having to do with the celebrity and end

551
00:35:00,160 --> 00:35:04,680
Speaker 1: of keeping that momentum, going to put her story to

552
00:35:04,760 --> 00:35:07,200
Speaker 1: as many people as possible, and because I think on

553
00:35:07,200 --> 00:35:09,160
Speaker 1: on the one hand it's like shrewd business, but on

554
00:35:09,160 --> 00:35:11,960
Speaker 1: the other hand, it's like no, she we do. We

555
00:35:12,040 --> 00:35:14,400
Speaker 1: do want people to know about her and what happened

556
00:35:14,400 --> 00:35:16,720
Speaker 1: to her, and we also want people to hear her music.

557
00:35:16,960 --> 00:35:18,480
Speaker 1: And what I love about the film is it's such

558
00:35:18,480 --> 00:35:21,799
Speaker 1: a concert film. And what I didn't realize was that

559
00:35:21,880 --> 00:35:24,719
Speaker 1: growing up I was watching on beaches and DVD on

560
00:35:25,160 --> 00:35:27,640
Speaker 1: you know, just TV screens, and a couple of years

561
00:35:27,680 --> 00:35:30,040
Speaker 1: ago at the I want to say the Hungarian American

562
00:35:30,080 --> 00:35:33,799
Speaker 1: Cultural Center, there was this event where they rent out

563
00:35:33,360 --> 00:35:37,000
Speaker 1: of this big vintage theater from like what the thirties

564
00:35:37,080 --> 00:35:39,440
Speaker 1: or something with the huge screen and the seats and stuff,

565
00:35:39,760 --> 00:35:42,560
Speaker 1: and they played Selena the Selena the Movie on the

566
00:35:42,560 --> 00:35:45,560
Speaker 1: big screen, and they interviewed Constance Marie and a few

567
00:35:45,560 --> 00:35:50,640
Speaker 1: other people from the film, and Um, I never realized, No,

568
00:35:50,840 --> 00:35:52,600
Speaker 1: this movie was meant to be watched on the big

569
00:35:52,640 --> 00:35:54,960
Speaker 1: screen as and as if you were at a concert,

570
00:35:55,160 --> 00:35:57,880
Speaker 1: because you're in from the perspective of the audience for

571
00:35:57,960 --> 00:35:59,600
Speaker 1: so much of it, and so much of it is

572
00:36:00,040 --> 00:36:03,239
Speaker 1: recreating the sound in the space when she was performing,

573
00:36:03,360 --> 00:36:07,560
Speaker 1: you know, So, yeah, that's amazing. I like, I I

574
00:36:07,640 --> 00:36:10,680
Speaker 1: also really appreciate how I don't know, I feel like

575
00:36:10,680 --> 00:36:12,960
Speaker 1: in most biopics they cut off the song, they're like

576
00:36:13,000 --> 00:36:16,319
Speaker 1: all right, you know, but they they let it go.

577
00:36:16,480 --> 00:36:19,520
Speaker 1: And I feel like having the context of her passing

578
00:36:19,520 --> 00:36:22,560
Speaker 1: away pretty recently is also like, I don't know, I mean,

579
00:36:23,200 --> 00:36:26,520
Speaker 1: I it seems like almost like a healing thing as well,

580
00:36:26,600 --> 00:36:29,920
Speaker 1: to to be showing all of the music and like

581
00:36:30,000 --> 00:36:36,200
Speaker 1: really meticulously recreating those scenes. I was also impressed by, um,

582
00:36:36,360 --> 00:36:39,080
Speaker 1: the fact that the family was so involved in this production,

583
00:36:39,200 --> 00:36:42,759
Speaker 1: and also, you know, don't like they they do come

584
00:36:42,760 --> 00:36:45,160
Speaker 1: off as flawed characters still, I feel like that's a

585
00:36:45,280 --> 00:36:49,439
Speaker 1: kind of common biopic fumble where the subjects were either

586
00:36:49,640 --> 00:36:52,440
Speaker 1: you know, at least living, if not actually involved, where

587
00:36:52,480 --> 00:36:58,240
Speaker 1: sometimes they're like, well I don't mention that, but right, yeah,

588
00:36:58,360 --> 00:37:02,440
Speaker 1: I mean I I don't know how exactly faithful everything

589
00:37:02,800 --> 00:37:05,600
Speaker 1: was here. I'm sure you know a lot more than

590
00:37:05,840 --> 00:37:09,880
Speaker 1: I do. Malla, and and the way the series portrays

591
00:37:09,920 --> 00:37:12,280
Speaker 1: it is also very different in like a different tone,

592
00:37:13,160 --> 00:37:16,200
Speaker 1: uh where sometimes I'm like, I don't I think Abraham

593
00:37:16,360 --> 00:37:19,080
Speaker 1: is being very manipulative, but then the TV show goes

594
00:37:19,120 --> 00:37:21,800
Speaker 1: like boeing and I'm like, oh, I'm supposed to be laughing.

595
00:37:22,840 --> 00:37:31,080
Speaker 1: Um ut, very stut observation. Yes, real strange, um but

596
00:37:31,280 --> 00:37:33,640
Speaker 1: at least at least you know, in this one you

597
00:37:33,680 --> 00:37:38,880
Speaker 1: have Edward James almost who gives Abraham's negative quality like

598
00:37:38,920 --> 00:37:44,120
Speaker 1: they shine through in his performance, which, um yeah, I

599
00:37:44,120 --> 00:37:46,759
Speaker 1: don't know. I was impressed, you know two years later

600
00:37:46,840 --> 00:37:49,759
Speaker 1: that there was some nuance to how the family was depicted.

601
00:37:52,760 --> 00:37:59,480
Speaker 1: My goodness. So I in my conversations about Selena and

602
00:37:59,520 --> 00:38:04,520
Speaker 1: Selena the series, Abraham is so important and comes up

603
00:38:04,640 --> 00:38:08,400
Speaker 1: so much because I mean, again, like culturally on a

604
00:38:08,480 --> 00:38:11,800
Speaker 1: very culturally specific way, like a family like Selena's family,

605
00:38:11,920 --> 00:38:14,359
Speaker 1: and being that she worked with her family and they

606
00:38:14,400 --> 00:38:16,319
Speaker 1: spent so many hours and so many years of her

607
00:38:16,360 --> 00:38:18,719
Speaker 1: life from her most formative years starting when she was

608
00:38:18,760 --> 00:38:22,480
Speaker 1: like ten, rehearsing, touring and on the bus together and working.

609
00:38:22,520 --> 00:38:24,680
Speaker 1: And that's a lot of hours and a lot of

610
00:38:24,719 --> 00:38:28,839
Speaker 1: time to with your family. We're already super claustrophobic as

611
00:38:28,840 --> 00:38:31,960
Speaker 1: a people, and they want they keep us in the

612
00:38:32,000 --> 00:38:33,600
Speaker 1: house for as long as they possibly. They keep us

613
00:38:33,600 --> 00:38:35,040
Speaker 1: in the womb for as long as possible, and they

614
00:38:35,080 --> 00:38:38,799
Speaker 1: keep us possible having three or four generations in a

615
00:38:38,880 --> 00:38:41,439
Speaker 1: house and people stay until they get married. And that's

616
00:38:41,480 --> 00:38:45,360
Speaker 1: the desire and the expectation. Very normal, you know. Um,

617
00:38:45,560 --> 00:38:47,759
Speaker 1: the idea of like not being surrounded by family at

618
00:38:47,760 --> 00:38:49,799
Speaker 1: all times for some of us, for a lot of us,

619
00:38:50,080 --> 00:38:52,799
Speaker 1: is is very foreign, is very different. So on the

620
00:38:52,800 --> 00:38:55,960
Speaker 1: one hand, it's like, I wonder if even applying the

621
00:38:56,160 --> 00:38:59,279
Speaker 1: like the beck told test to Selena specifically is even

622
00:38:59,320 --> 00:39:02,680
Speaker 1: a fair metric, if it's even relevant on a very

623
00:39:02,719 --> 00:39:05,640
Speaker 1: specific level. Because she was murdered when she was twenty two,

624
00:39:05,680 --> 00:39:07,640
Speaker 1: she spent so much of her life with her family.

625
00:39:08,080 --> 00:39:10,799
Speaker 1: How much time did she spend alone? How much time

626
00:39:10,880 --> 00:39:14,719
Speaker 1: did she spend with non family? Probably not that much.

627
00:39:16,000 --> 00:39:18,719
Speaker 1: You know, she had to Elope like she had to

628
00:39:18,800 --> 00:39:24,160
Speaker 1: Elope and Abraham and to productions, Abraham being an official

629
00:39:24,239 --> 00:39:26,680
Speaker 1: producer on Selena the movie, an sling of the series,

630
00:39:27,040 --> 00:39:30,400
Speaker 1: presents himself as a complex and flawed person. Oh very

631
00:39:30,480 --> 00:39:33,360
Speaker 1: much so. And there's a certain level of self awareness

632
00:39:33,400 --> 00:39:37,080
Speaker 1: amongst Mexican dads. They know that they could be a

633
00:39:37,160 --> 00:39:40,920
Speaker 1: little tough and harsh and a little being very generous. Um.

634
00:39:40,960 --> 00:39:43,200
Speaker 1: They know how they are. They know they know themselves,

635
00:39:43,680 --> 00:39:46,160
Speaker 1: you know, and they'll talk about it. They own it.

636
00:39:46,680 --> 00:39:50,040
Speaker 1: But we're not complicating the tension and the impact that

637
00:39:50,040 --> 00:39:52,640
Speaker 1: that has. It's not enough to be self aware sometimes,

638
00:39:53,239 --> 00:39:56,680
Speaker 1: what's the impact and what's the tension. Maria Gutsia as

639
00:39:56,719 --> 00:40:00,960
Speaker 1: a journalist from South Texas and she just put out

640
00:40:00,960 --> 00:40:05,120
Speaker 1: a podcast called Anything for Selena. Yes, And the second

641
00:40:05,160 --> 00:40:09,680
Speaker 1: episode is all about this daughter father Mexican American relationship

642
00:40:09,760 --> 00:40:12,640
Speaker 1: and really dives into that complexity with Abraham and you

643
00:40:12,680 --> 00:40:15,680
Speaker 1: hear from him and he speaks and it's it's amazing,

644
00:40:15,760 --> 00:40:19,400
Speaker 1: honestly to hear that's so cool. Yeah, I listened to

645
00:40:19,440 --> 00:40:23,080
Speaker 1: the first episode and realm like really enjoying it. Yeah,

646
00:40:22,640 --> 00:40:27,479
Speaker 1: I was curious about Yeah, how I mean, starting yeah

647
00:40:27,560 --> 00:40:31,320
Speaker 1: with with Abraham's character. I don't know. I mean my

648
00:40:31,440 --> 00:40:34,640
Speaker 1: feeling as far as the Bechdel test goes for this,

649
00:40:35,440 --> 00:40:39,160
Speaker 1: I feel like, I don't know. It's it is complicated

650
00:40:39,160 --> 00:40:41,239
Speaker 1: whenever it's a biopic, because you're not going to like

651
00:40:41,600 --> 00:40:44,880
Speaker 1: add in new characters unless that friend truly is fictional.

652
00:40:44,960 --> 00:40:47,120
Speaker 1: But like you're not going to add in new characters

653
00:40:47,160 --> 00:40:50,840
Speaker 1: just to have the movie past the Bechtel test. But

654
00:40:50,880 --> 00:40:52,719
Speaker 1: there were like small things where I was like, well,

655
00:40:52,760 --> 00:40:56,160
Speaker 1: I wish that, you know, like Susan's right there and

656
00:40:56,920 --> 00:41:00,120
Speaker 1: her mom's right there, like there's so much more, but

657
00:41:00,200 --> 00:41:02,040
Speaker 1: like she does, But it felt to me like there

658
00:41:02,120 --> 00:41:05,800
Speaker 1: was way more of an emphasis on the father daughter

659
00:41:05,960 --> 00:41:08,759
Speaker 1: relationship than it was on the mother daughter relationship. And

660
00:41:08,800 --> 00:41:12,440
Speaker 1: maybe that you know, again, when you're adapting a person's

661
00:41:12,480 --> 00:41:16,520
Speaker 1: whole life and like yeah, yeah, you don't have that

662
00:41:16,600 --> 00:41:18,880
Speaker 1: much time. You have to kind of figure out what's

663
00:41:18,920 --> 00:41:23,160
Speaker 1: maybe what are the biggest opportunities for tension in a story,

664
00:41:23,320 --> 00:41:25,480
Speaker 1: and like what are the most kind of dramatic moments,

665
00:41:25,520 --> 00:41:27,560
Speaker 1: because those are going to be the things you want

666
00:41:27,560 --> 00:41:31,120
Speaker 1: to showcase in a cinematic story. But I'm still just

667
00:41:31,200 --> 00:41:34,520
Speaker 1: like I'd like to see more interactions with Selena and

668
00:41:34,560 --> 00:41:37,759
Speaker 1: her mother, even if you know, the ones with Abraham

669
00:41:37,880 --> 00:41:43,600
Speaker 1: or maybe more wrought with tension. Yeah, I don't know. Yeah,

670
00:41:43,800 --> 00:41:46,799
Speaker 1: I like to believe because we don't. We never hear

671
00:41:46,880 --> 00:41:51,480
Speaker 1: from Marcella, we never hear from mom, and like notoriously historically,

672
00:41:51,800 --> 00:41:56,520
Speaker 1: even in um, you know, nineties accounts of the aftermath

673
00:41:56,640 --> 00:41:59,759
Speaker 1: of Selena's murder, and Maria Garcia talks about this on

674
00:41:59,760 --> 00:42:02,480
Speaker 1: her podcast as well, and this sort of archival footage

675
00:42:02,520 --> 00:42:06,960
Speaker 1: is brought in um from journalists and such that Marcella's

676
00:42:07,040 --> 00:42:09,640
Speaker 1: just is not around and she's not public and she

677
00:42:09,680 --> 00:42:11,919
Speaker 1: doesn't make statements, and the same was sort of true

678
00:42:11,920 --> 00:42:14,799
Speaker 1: when Selena was performing. And I think one thing with

679
00:42:14,880 --> 00:42:17,960
Speaker 1: the movie being a concert film is Selena had a

680
00:42:17,960 --> 00:42:21,239
Speaker 1: particular relationship to her father Visa via music, you know,

681
00:42:22,120 --> 00:42:26,000
Speaker 1: and didn't share with her mom. Um. And I wonder if,

682
00:42:26,080 --> 00:42:29,840
Speaker 1: like I always wonder, and again coming from a culturally

683
00:42:29,880 --> 00:42:33,880
Speaker 1: specific place, well, if we had scenes with Selena and

684
00:42:33,880 --> 00:42:36,080
Speaker 1: her mom, how much of it would be about not

685
00:42:36,200 --> 00:42:39,160
Speaker 1: the music right and how much of it would be

686
00:42:39,200 --> 00:42:43,680
Speaker 1: about Selena's specific hopes, dreams, wants, desires, um, how much

687
00:42:43,680 --> 00:42:47,640
Speaker 1: would it be Selena really going to mom is a confidante,

688
00:42:48,440 --> 00:42:51,400
Speaker 1: to bounce off of each other, you know, and to

689
00:42:51,480 --> 00:42:55,560
Speaker 1: kind of recover from their time with Abraham, which is

690
00:42:55,600 --> 00:42:59,239
Speaker 1: so much of mother daughter Mexican American dynamics. Is like

691
00:42:59,600 --> 00:43:03,680
Speaker 1: we're being to each other about dad, right or mom

692
00:43:03,800 --> 00:43:07,880
Speaker 1: is is it's okay? You know how your dad is like,

693
00:43:07,960 --> 00:43:11,279
Speaker 1: it'll be fine, let him cool off. And how many

694
00:43:11,320 --> 00:43:14,640
Speaker 1: of those scenes again Abraham as producer, because Marcella is

695
00:43:14,640 --> 00:43:16,960
Speaker 1: not the producer, Abraham, how many of those scenes are

696
00:43:16,960 --> 00:43:18,960
Speaker 1: we going to be allowed to see? Or does he

697
00:43:19,080 --> 00:43:23,120
Speaker 1: even know about? How much? To even knowledge? It could

698
00:43:23,120 --> 00:43:26,640
Speaker 1: have been a ship talking absolute party every single night.

699
00:43:26,680 --> 00:43:31,120
Speaker 1: You never know. That's really, That's really I never I

700
00:43:31,200 --> 00:43:32,960
Speaker 1: never picked up on the fact that it seems like

701
00:43:33,160 --> 00:43:35,640
Speaker 1: in UM and then on Selina the series, is it

702
00:43:35,960 --> 00:43:39,279
Speaker 1: Abraham and Suzette who are involved? Is ab involved in

703
00:43:39,320 --> 00:43:43,360
Speaker 1: the series? It's it's Abraham, A, b and Susette are

704
00:43:43,400 --> 00:43:47,680
Speaker 1: all in. Marcella is not so much not enough titled

705
00:43:47,840 --> 00:43:52,160
Speaker 1: public written about way anyways? Right? I mean, I will say,

706
00:43:52,280 --> 00:43:56,400
Speaker 1: as far as how Marcella is portrayed in this movie,

707
00:43:56,480 --> 00:43:59,600
Speaker 1: I do like any scene that she and Selena have together.

708
00:43:59,760 --> 00:44:04,400
Speaker 1: I really like like the I like that she is,

709
00:44:04,480 --> 00:44:07,000
Speaker 1: So I mean, I don't know if I feel like,

710
00:44:07,040 --> 00:44:09,880
Speaker 1: for the little screen time she has comparatively like you

711
00:44:09,920 --> 00:44:12,160
Speaker 1: do kind of get a feeling for what the push

712
00:44:12,239 --> 00:44:14,800
Speaker 1: and pull in her life is of, Like she um

713
00:44:14,960 --> 00:44:18,520
Speaker 1: doesn't want to upset her husband, but that doesn't stop

714
00:44:18,600 --> 00:44:21,799
Speaker 1: her from telling him how she feels about stuff, even

715
00:44:21,840 --> 00:44:24,560
Speaker 1: though she doesn't necessarily have the final say. I like

716
00:44:24,680 --> 00:44:28,040
Speaker 1: that she, you know, is able to like speak openly

717
00:44:28,080 --> 00:44:30,960
Speaker 1: with Selena and be like, yeah, this is bullshit, but

718
00:44:31,040 --> 00:44:33,920
Speaker 1: let's navigate it how we can and then let's the

719
00:44:34,440 --> 00:44:37,520
Speaker 1: I feel like the maybe maybe the last like meaty

720
00:44:37,640 --> 00:44:41,279
Speaker 1: scene we have with them is when Selena is saying

721
00:44:41,360 --> 00:44:44,040
Speaker 1: that she wants to have a baby and she like

722
00:44:44,560 --> 00:44:47,160
Speaker 1: has these so those are like I feel like, yeah,

723
00:44:47,239 --> 00:44:50,839
Speaker 1: it is with when Selena is talking to women that

724
00:44:50,960 --> 00:44:53,680
Speaker 1: you get to know her the best, and when she's

725
00:44:53,719 --> 00:45:00,640
Speaker 1: talking to Abraham the plot is being moved forward basically, Yeah,

726
00:45:00,680 --> 00:45:03,480
Speaker 1: because I love those moments where it's like when she

727
00:45:03,560 --> 00:45:07,600
Speaker 1: talks to a friend who's over a lot about um

728
00:45:07,640 --> 00:45:10,640
Speaker 1: about how she's interested in fashion and like this is

729
00:45:10,640 --> 00:45:13,719
Speaker 1: a whole other side of herself that she um like

730
00:45:13,840 --> 00:45:16,839
Speaker 1: wants to get into and and then when she talks

731
00:45:16,840 --> 00:45:18,919
Speaker 1: to her mom, she's talking more about like what her

732
00:45:19,040 --> 00:45:22,080
Speaker 1: goals are personally, and you know, I want to get married,

733
00:45:22,120 --> 00:45:23,960
Speaker 1: I want to have a kid on top of a career,

734
00:45:24,040 --> 00:45:26,120
Speaker 1: and I really like those I just I just wish

735
00:45:26,160 --> 00:45:29,040
Speaker 1: that there was like a little bit more of that.

736
00:45:29,160 --> 00:45:30,680
Speaker 1: I don't know, I mean, you only have so much

737
00:45:30,719 --> 00:45:35,000
Speaker 1: time in a biopic, But in those moments, I was like, oh, yeah,

738
00:45:35,000 --> 00:45:40,040
Speaker 1: she's like two, Like she's interested in a lot of

739
00:45:40,120 --> 00:45:44,160
Speaker 1: different stuff. She's like hasn't fully figured herself out. And

740
00:45:45,239 --> 00:45:48,000
Speaker 1: it's such a like an interesting phase of life to

741
00:45:48,040 --> 00:45:50,520
Speaker 1: hear people talk to each other about. So I just

742
00:45:50,520 --> 00:45:51,920
Speaker 1: wish there was like a little bit more of it.

743
00:45:52,040 --> 00:45:55,600
Speaker 1: But yeah, I got two hours. Yeah I will say

744
00:45:55,640 --> 00:45:58,319
Speaker 1: that I think maybe, and I honestly would have to

745
00:45:58,360 --> 00:46:00,640
Speaker 1: go back and watch like again again, like with a

746
00:46:00,840 --> 00:46:03,120
Speaker 1: very fine tooth comb. But I want to say maybe

747
00:46:03,560 --> 00:46:08,040
Speaker 1: the only scene with only women talking to each other

748
00:46:08,040 --> 00:46:12,680
Speaker 1: about another woman is this scene at Selena's fashion show

749
00:46:12,680 --> 00:46:15,280
Speaker 1: where Yolanda is talking to the other Senoras about giving

750
00:46:15,320 --> 00:46:19,720
Speaker 1: Selena a gift. Yes, yeah, but it's sucked up because

751
00:46:19,719 --> 00:46:23,839
Speaker 1: it's like sinister because you want to and I don't

752
00:46:23,880 --> 00:46:26,439
Speaker 1: think those other ladies again, I'd have to go back

753
00:46:26,440 --> 00:46:29,719
Speaker 1: and look and listened to how Yolanda addresses those senoras.

754
00:46:29,719 --> 00:46:33,160
Speaker 1: But I don't know if they're named. You know, um,

755
00:46:33,200 --> 00:46:36,160
Speaker 1: I want to say no and this and this and

756
00:46:36,200 --> 00:46:38,839
Speaker 1: if so. It was like a quick exchange. I mean

757
00:46:38,880 --> 00:46:41,520
Speaker 1: the things as far as the Bechtel test goes, I

758
00:46:41,520 --> 00:46:43,960
Speaker 1: mean there were a few. One of the things that

759
00:46:44,000 --> 00:46:46,080
Speaker 1: made me laugh because I like that technically passes two

760
00:46:46,160 --> 00:46:51,800
Speaker 1: lines of dialogue is when Selena is uh stealing Susette's chips.

761
00:46:52,400 --> 00:46:57,920
Speaker 1: That passes the PacTel test. We did it, chips passes,

762
00:46:58,920 --> 00:47:03,600
Speaker 1: That works ower There are definitely moments, but yeah, I

763
00:47:03,600 --> 00:47:06,799
Speaker 1: mean as far as Selena is usually talking to her

764
00:47:06,920 --> 00:47:10,160
Speaker 1: mom about either her dad or Chris. But there are

765
00:47:10,239 --> 00:47:13,800
Speaker 1: some exceptions, but but usually it's Dad or Chris because

766
00:47:13,800 --> 00:47:16,239
Speaker 1: those are kind of the two relationships that are the

767
00:47:16,320 --> 00:47:20,279
Speaker 1: engine of the movie. Yeah, given the most focus. And

768
00:47:20,480 --> 00:47:25,319
Speaker 1: I wonder, like this movie was written and directed by

769
00:47:25,360 --> 00:47:29,279
Speaker 1: a man, Gregory Nava, and I wonder if it had

770
00:47:29,320 --> 00:47:32,880
Speaker 1: been approached differently or for a woman was telling the story,

771
00:47:32,920 --> 00:47:36,440
Speaker 1: if she would have given more focus to Selena's relationships

772
00:47:36,480 --> 00:47:39,120
Speaker 1: with other women in her life. I don't know. Food

773
00:47:39,360 --> 00:47:44,319
Speaker 1: food forgot, but it's it's a sort of similar set

774
00:47:44,400 --> 00:47:47,040
Speaker 1: up with the series or you have again you know

775
00:47:47,120 --> 00:47:49,840
Speaker 1: Q Productions Abraham and A. B. Susette is involved in

776
00:47:50,080 --> 00:47:52,880
Speaker 1: as well. But you know, Abraham is a very strong force.

777
00:47:53,400 --> 00:47:55,040
Speaker 1: He is in his family, and he's the head of

778
00:47:55,040 --> 00:47:56,839
Speaker 1: the house, and he's the head of two productions, and

779
00:47:56,920 --> 00:48:00,480
Speaker 1: he's in charge and in control of the estate and

780
00:48:00,520 --> 00:48:03,200
Speaker 1: all things Selena. He just quite simply is and always

781
00:48:03,200 --> 00:48:08,840
Speaker 1: has been. And the showrunners and the men who um

782
00:48:08,880 --> 00:48:11,960
Speaker 1: you know owned and founded the production studio and who

783
00:48:12,120 --> 00:48:14,399
Speaker 1: who made the series. You know, their men there their

784
00:48:14,480 --> 00:48:17,680
Speaker 1: latin x they're latinos. And I know that the writer's room,

785
00:48:17,480 --> 00:48:20,160
Speaker 1: I know they boast like you know, a very heavy

786
00:48:20,280 --> 00:48:24,200
Speaker 1: like woman in LGBT writer's room. But you know, uh,

787
00:48:24,560 --> 00:48:26,239
Speaker 1: we're in l A and we hear things, and people

788
00:48:26,239 --> 00:48:29,400
Speaker 1: gossip and people chatted and people have are working on

789
00:48:29,480 --> 00:48:30,919
Speaker 1: you know what I mean, Like people work on things,

790
00:48:31,000 --> 00:48:32,560
Speaker 1: and people know people who work on things, and then

791
00:48:32,600 --> 00:48:38,560
Speaker 1: we all talk about it. The talk of the talk

792
00:48:38,560 --> 00:48:43,720
Speaker 1: of the town is um that the incredibly talented writer's

793
00:48:43,760 --> 00:48:47,040
Speaker 1: room you know wrote essentially wrote a script and that

794
00:48:47,600 --> 00:48:49,759
Speaker 1: you know, good old Abraham, who is my favorite. I

795
00:48:49,760 --> 00:48:52,520
Speaker 1: do love Abraham, but we all have complicated relationships with

796
00:48:52,560 --> 00:48:55,480
Speaker 1: these men, and um, good old Abraham. I guess reviewed

797
00:48:55,480 --> 00:48:57,520
Speaker 1: the script and didn't like a lot of things and

798
00:48:57,520 --> 00:48:59,719
Speaker 1: and sent it back and said, rewrite it. And then

799
00:48:59,719 --> 00:49:01,640
Speaker 1: they did it, and and now we have what we have, right,

800
00:49:01,680 --> 00:49:05,080
Speaker 1: And so I'm not shocked, you know, at all by

801
00:49:05,120 --> 00:49:08,000
Speaker 1: the gender dynamics. I think it's very much to be expected.

802
00:49:08,040 --> 00:49:10,320
Speaker 1: And I just and again, and I know our dads

803
00:49:10,480 --> 00:49:12,279
Speaker 1: can do a lot for us, and they really want to.

804
00:49:12,400 --> 00:49:14,839
Speaker 1: They really do have the best of intentions. They want

805
00:49:14,880 --> 00:49:17,880
Speaker 1: to believe that they can provide everything, that they understand

806
00:49:17,920 --> 00:49:20,160
Speaker 1: everything that they've got to cover, that they're in control.

807
00:49:20,520 --> 00:49:22,600
Speaker 1: There's an issue, they can handle it. They know their

808
00:49:22,680 --> 00:49:26,840
Speaker 1: kids super super well. But again, in a family like Selena's,

809
00:49:26,840 --> 00:49:29,719
Speaker 1: for her to Elope is no small feet. It's not

810
00:49:29,760 --> 00:49:31,799
Speaker 1: a minor thing to talk about. It's not a just

811
00:49:32,040 --> 00:49:35,840
Speaker 1: oh okay, now, that's like a huge, like huge, like

812
00:49:36,040 --> 00:49:39,320
Speaker 1: nuclear bomb level deal like in a house like hers

813
00:49:39,360 --> 00:49:41,359
Speaker 1: and a family like hers in the culture and at

814
00:49:41,360 --> 00:49:43,759
Speaker 1: the time, like, no, this is not something to just

815
00:49:43,880 --> 00:49:47,800
Speaker 1: skim over and kind of forget happened. There. There was

816
00:49:47,840 --> 00:49:52,120
Speaker 1: a there was years intention and build up and unhappiness

817
00:49:52,360 --> 00:49:56,960
Speaker 1: and and distress leading up to that decision for her, honestly,

818
00:49:57,280 --> 00:49:59,879
Speaker 1: because it's one of those things that like, oh, my God,

819
00:50:00,040 --> 00:50:03,640
Speaker 1: wouldn't dream of it, dear Lord, even my sanity and

820
00:50:03,719 --> 00:50:05,839
Speaker 1: my life and my safety and my peace too much

821
00:50:05,960 --> 00:50:09,640
Speaker 1: like I feel to not to to go off and

822
00:50:09,640 --> 00:50:12,759
Speaker 1: get married against your father's express wishes, and to not

823
00:50:12,840 --> 00:50:14,880
Speaker 1: have your mom and your family there and they don't know,

824
00:50:14,960 --> 00:50:17,440
Speaker 1: and it's in secret and it's not part of your

825
00:50:17,440 --> 00:50:20,040
Speaker 1: religious tradition with family, and no, no, no no, no, no no.

826
00:50:21,880 --> 00:50:25,120
Speaker 1: So I know that there are just things that our

827
00:50:25,200 --> 00:50:27,520
Speaker 1: dads cannot do for us, cannot provide for us, and

828
00:50:27,560 --> 00:50:30,600
Speaker 1: will never understand about us. I would never I love

829
00:50:30,680 --> 00:50:33,040
Speaker 1: my dad, super involved, super supportive to this day. I

830
00:50:33,080 --> 00:50:36,279
Speaker 1: would never ever ever want my dad to tell my

831
00:50:36,280 --> 00:50:40,040
Speaker 1: life story. Are you kidding me? How? No? I'm a

832
00:50:40,080 --> 00:50:43,280
Speaker 1: grown woman. He can't. And I feel similarly about Selina.

833
00:50:43,440 --> 00:50:46,400
Speaker 1: She was, She was a grown woman. She was super sexy,

834
00:50:46,680 --> 00:50:48,640
Speaker 1: super sexy, and she knew it. She was a bad

835
00:50:48,640 --> 00:50:51,000
Speaker 1: bitch and she knew it. She was hell confident. She

836
00:50:51,040 --> 00:50:53,120
Speaker 1: was a sex symbol and she fucking knew it. I

837
00:50:53,160 --> 00:50:58,080
Speaker 1: hate hearing interviews and descriptions from you know, her living family,

838
00:50:58,120 --> 00:51:01,600
Speaker 1: but also from people who who created media about her.

839
00:51:01,719 --> 00:51:03,560
Speaker 1: She was so sweet. She was so nice. She was

840
00:51:03,600 --> 00:51:06,320
Speaker 1: so sweet, she was so nice. She was nice girl nice.

841
00:51:06,640 --> 00:51:09,799
Speaker 1: She just nice, nice girl, nice, super nice girl. She's

842
00:51:09,840 --> 00:51:11,640
Speaker 1: a sucking baddie. She's a bad bit. She was a

843
00:51:11,680 --> 00:51:15,399
Speaker 1: genius's out. She knew it. She fucking knew it, dude,

844
00:51:15,440 --> 00:51:17,560
Speaker 1: you know what I mean. She loved her man and

845
00:51:17,640 --> 00:51:19,520
Speaker 1: she was all about her man. She was all about

846
00:51:19,560 --> 00:51:22,560
Speaker 1: her dude. And they were sharing a bus. They were

847
00:51:22,560 --> 00:51:25,000
Speaker 1: on a tiny little bus, all these people, you know,

848
00:51:25,160 --> 00:51:28,520
Speaker 1: it was no, she wasn't and again accounts she wasn't

849
00:51:28,600 --> 00:51:32,880
Speaker 1: hiding her relationship. She she was openly affectionate. That was

850
00:51:32,920 --> 00:51:35,799
Speaker 1: her boo, that was her man, that was her dude. Like,

851
00:51:35,960 --> 00:51:39,200
Speaker 1: fuck you, you you know what I mean. And it was

852
00:51:39,239 --> 00:51:41,000
Speaker 1: a big fuck you when she went and eloped and

853
00:51:41,000 --> 00:51:43,520
Speaker 1: she said, nope, I'm making my own decision. And for

854
00:51:43,600 --> 00:51:46,400
Speaker 1: somebody who didn't have a traditional high school graduation, didn't

855
00:51:46,440 --> 00:51:50,520
Speaker 1: have traditional markers of like adolescence and adulthood. Because she

856
00:51:50,600 --> 00:51:52,920
Speaker 1: was neighboring and working and earning money and being a

857
00:51:52,960 --> 00:51:56,960
Speaker 1: celeb at such a young age, I consider her eloping

858
00:51:57,040 --> 00:51:59,799
Speaker 1: being her like, this is my mark of official and

859
00:52:00,000 --> 00:52:02,600
Speaker 1: treat into adulthood and womanhood. And I'm taking my man's

860
00:52:02,680 --> 00:52:10,279
Speaker 1: last name, you know what I mean, Like you love

861
00:52:10,280 --> 00:52:15,040
Speaker 1: you guys, But enough right that. But that seemed to

862
00:52:15,280 --> 00:52:17,680
Speaker 1: like the scene where she's just telling Chris like we're

863
00:52:18,280 --> 00:52:21,600
Speaker 1: we're doing this, and because it's like he's well aware

864
00:52:21,640 --> 00:52:24,239
Speaker 1: of what the risk is there. It's like a risk

865
00:52:24,239 --> 00:52:26,520
Speaker 1: to her career, risk to the family, risk to everything.

866
00:52:26,640 --> 00:52:32,040
Speaker 1: And I it's so I hadn't really considered I mean,

867
00:52:32,080 --> 00:52:35,440
Speaker 1: first of all, the idea that your dad would be

868
00:52:35,520 --> 00:52:38,160
Speaker 1: overseeing the biopic and the TV series of your life

869
00:52:38,239 --> 00:52:42,160
Speaker 1: absolutely horrifying and of course, and it's gonna and I

870
00:52:42,680 --> 00:52:45,080
Speaker 1: never thought of it that way. Of like, of course

871
00:52:45,280 --> 00:52:48,640
Speaker 1: her like, her sexuality is going to be inherently played

872
00:52:48,680 --> 00:52:52,920
Speaker 1: down because her dad, like it would be weird if

873
00:52:52,960 --> 00:52:55,640
Speaker 1: he was like, no, include all the sex you want,

874
00:52:55,719 --> 00:53:00,200
Speaker 1: like that's the year two. So I'd never consider it

875
00:53:00,320 --> 00:53:02,759
Speaker 1: that way. That that totally and so it's like we

876
00:53:02,800 --> 00:53:05,920
Speaker 1: are I don't know it. It makes me so curious

877
00:53:05,960 --> 00:53:08,080
Speaker 1: because it's like if if your family are the main

878
00:53:08,120 --> 00:53:10,279
Speaker 1: people in your life and they are also the ones

879
00:53:10,360 --> 00:53:13,960
Speaker 1: carrying your legacy to an extent, you're you're this mythic

880
00:53:14,040 --> 00:53:17,480
Speaker 1: figure because there are parts that either your family is like, oh,

881
00:53:17,600 --> 00:53:19,960
Speaker 1: I don't like that's weird to think about, like my

882
00:53:20,040 --> 00:53:23,000
Speaker 1: daughter like being sexually confident. I don't want to think

883
00:53:23,040 --> 00:53:25,680
Speaker 1: about that. Or there's just like these kind of elements

884
00:53:25,719 --> 00:53:28,839
Speaker 1: that will just become more of a miss than than

885
00:53:29,400 --> 00:53:34,319
Speaker 1: who she was. That's like damn, yep, yep, I have

886
00:53:34,400 --> 00:53:38,000
Speaker 1: to go on a walk. Let's process, let's process. Um.

887
00:53:38,040 --> 00:53:41,560
Speaker 1: I always need therapy after I talked about Selena every time, always,

888
00:53:41,600 --> 00:53:44,080
Speaker 1: it always sends me into spiral um. But now I

889
00:53:44,160 --> 00:53:47,200
Speaker 1: think about, Look, I've been podcasting for four years. I've

890
00:53:47,360 --> 00:53:49,719
Speaker 1: me and like my co host Yosa for look at

891
00:53:49,719 --> 00:53:52,640
Speaker 1: Thought our radio. We've gotten like Forbes features and l

892
00:53:52,680 --> 00:53:55,400
Speaker 1: A times like you know, write ups and in print

893
00:53:55,480 --> 00:53:58,200
Speaker 1: and Cosmo, and we throw parties. And my parents have

894
00:53:58,239 --> 00:54:00,520
Speaker 1: been to my events and like, I been doing this

895
00:54:00,600 --> 00:54:02,840
Speaker 1: and it's I'm doing it at a level where I

896
00:54:02,880 --> 00:54:06,080
Speaker 1: feel like it's a big deal. My dad still refers

897
00:54:06,080 --> 00:54:10,480
Speaker 1: to my podcast as of vlogs. Oh my god, our

898
00:54:10,560 --> 00:54:14,200
Speaker 1: dads are just going to get things wrong intention because

899
00:54:14,239 --> 00:54:16,200
Speaker 1: they don't like us, not because our dads are going

900
00:54:16,239 --> 00:54:18,279
Speaker 1: to get things wrong, and there's so many things our

901
00:54:18,320 --> 00:54:22,120
Speaker 1: dads don't fucking knowing everything with her daddy, Are you

902
00:54:22,160 --> 00:54:24,799
Speaker 1: kidding me? Right? Like I mean, and you even see

903
00:54:24,840 --> 00:54:27,160
Speaker 1: that in the movie that her dad co signed that

904
00:54:27,200 --> 00:54:31,520
Speaker 1: she didn't tell everything to her dad, Like, yeah, I

905
00:54:32,239 --> 00:54:34,520
Speaker 1: thank you for kind of contextualizing the I mean, it's

906
00:54:34,560 --> 00:54:37,960
Speaker 1: like the movie tells you that the eloping is a

907
00:54:38,040 --> 00:54:41,080
Speaker 1: fuck you. But even in the context of yeah, just

908
00:54:41,160 --> 00:54:44,520
Speaker 1: how how controlled and regimented her life was of like

909
00:54:44,600 --> 00:54:50,040
Speaker 1: her asserting herself in any like in any way that

910
00:54:50,160 --> 00:54:53,719
Speaker 1: had an actual impact in And also like I don't know,

911
00:54:54,040 --> 00:54:55,560
Speaker 1: at least as far as the movie goes, it's like,

912
00:54:55,600 --> 00:54:59,400
Speaker 1: oh she is. She's like asserting herself as the breadwinner

913
00:54:59,440 --> 00:55:01,200
Speaker 1: of the family too, because it's like, what are you

914
00:55:01,200 --> 00:55:05,839
Speaker 1: gonna do? Fire me? I'm Selina. You can't fire me,

915
00:55:05,960 --> 00:55:07,880
Speaker 1: so you're just going to have to deal with my decision.

916
00:55:09,520 --> 00:55:13,520
Speaker 1: She's so cool. She's so cool. She's super cool. And

917
00:55:13,560 --> 00:55:16,319
Speaker 1: I feel like, you know, we do a disservice when

918
00:55:16,360 --> 00:55:19,800
Speaker 1: we don't like point these things out, because I want

919
00:55:20,080 --> 00:55:23,080
Speaker 1: that part of her to be remembered, or at least

920
00:55:23,120 --> 00:55:25,040
Speaker 1: I want us to think about it or ask about it.

921
00:55:25,080 --> 00:55:27,080
Speaker 1: I want us to want to know more you know

922
00:55:27,239 --> 00:55:32,359
Speaker 1: about about her internal life, and it's I like, I

923
00:55:32,360 --> 00:55:34,879
Speaker 1: mean the same there's I don't know. I mean as

924
00:55:34,920 --> 00:55:38,759
Speaker 1: far as how the movie is like Rights Selena, I do,

925
00:55:38,880 --> 00:55:42,439
Speaker 1: I mean, she's she is actively voicing her opinion at

926
00:55:42,480 --> 00:55:47,719
Speaker 1: every step, and sometimes her opinion gets steamrolled. But that

927
00:55:47,840 --> 00:55:50,560
Speaker 1: was what was happening in her life, it seemed like.

928
00:55:50,600 --> 00:55:53,359
Speaker 1: But I really liked how just the way that it

929
00:55:53,440 --> 00:55:57,719
Speaker 1: was written, there's really no point where she doesn't say

930
00:55:57,760 --> 00:56:01,399
Speaker 1: what she's thinking about something, even when sometimes she's trying

931
00:56:01,440 --> 00:56:04,800
Speaker 1: to protect someone's feelings or trying to kind of negotiate. Yeah,

932
00:56:04,880 --> 00:56:07,719
Speaker 1: Like she says what's on her mind, and she chooses

933
00:56:07,719 --> 00:56:10,200
Speaker 1: her I guess chooses her battles in terms of like

934
00:56:10,200 --> 00:56:12,200
Speaker 1: when she's going to do the funk you. But I

935
00:56:12,719 --> 00:56:14,920
Speaker 1: don't know, I felt like a pretty well rounded as

936
00:56:15,239 --> 00:56:17,560
Speaker 1: far as like something You're dead would sign off on

937
00:56:17,800 --> 00:56:21,440
Speaker 1: a pretty like well rounded portrait of like how active

938
00:56:21,440 --> 00:56:23,680
Speaker 1: and outspoken she was, even when she didn't, you know,

939
00:56:23,760 --> 00:56:27,920
Speaker 1: win that particular battle. Yeah, And I almost feel like

940
00:56:27,960 --> 00:56:31,520
Speaker 1: the proximity to her death allowed for there were enough

941
00:56:31,560 --> 00:56:34,600
Speaker 1: people around who knew her and who remembered her and

942
00:56:34,640 --> 00:56:36,800
Speaker 1: how she was and the way that she spoke that

943
00:56:36,920 --> 00:56:39,560
Speaker 1: I don't think that they could have I don't think

944
00:56:39,560 --> 00:56:42,879
Speaker 1: it could have been written any other way. Honestly. That's

945
00:56:42,880 --> 00:56:44,839
Speaker 1: one of my big gripes with Selee the series is

946
00:56:44,880 --> 00:56:47,040
Speaker 1: we're over twenty years away from her death at this

947
00:56:47,120 --> 00:56:50,320
Speaker 1: point and her murder at this point. I mean, watching

948
00:56:50,400 --> 00:56:54,279
Speaker 1: Selena the series, she has very little screen time, very

949
00:56:54,280 --> 00:56:58,319
Speaker 1: few lines, very quiet hers like an episode where they

950
00:56:58,320 --> 00:57:00,200
Speaker 1: around the bus and they keep telling her to shut up,

951
00:57:00,360 --> 00:57:03,399
Speaker 1: you know. And I hate that fucking word now because

952
00:57:03,400 --> 00:57:06,800
Speaker 1: I used it like six times and remember that I

953
00:57:08,560 --> 00:57:10,720
Speaker 1: and you know, And there's multiple scenes like that throughout

954
00:57:10,760 --> 00:57:14,360
Speaker 1: the series. There in restaurant somewhere and Abe made some

955
00:57:14,520 --> 00:57:17,480
Speaker 1: slick sucking comment about my sister can't even talk, you know,

956
00:57:17,760 --> 00:57:20,400
Speaker 1: what do you expect from her? And it read is

957
00:57:20,520 --> 00:57:23,720
Speaker 1: very bitter and it is very jealous and it's very um.

958
00:57:24,080 --> 00:57:26,200
Speaker 1: I felt like this time around, with cleaning the series

959
00:57:26,360 --> 00:57:29,200
Speaker 1: so far away from her. You know, Aby has his

960
00:57:29,280 --> 00:57:32,280
Speaker 1: own illustrious career, and I mean that in Kumbia and

961
00:57:32,360 --> 00:57:34,520
Speaker 1: as a producer and with the Gumbia Kings, and he

962
00:57:34,600 --> 00:57:37,200
Speaker 1: is a legend in his own right. He is a

963
00:57:37,280 --> 00:57:40,120
Speaker 1: very talented songwriter and and her fusion with her brother

964
00:57:40,440 --> 00:57:43,880
Speaker 1: really brought their music to life. However, maybe is also

965
00:57:43,920 --> 00:57:47,960
Speaker 1: a fucking mess. Dude, Like, he's a mess and he

966
00:57:48,000 --> 00:57:51,400
Speaker 1: his his career. He's not a legend the way that

967
00:57:51,440 --> 00:57:54,080
Speaker 1: she's a legend. She was the star. People showed up

968
00:57:54,160 --> 00:57:56,880
Speaker 1: for her. She was the headliner. It was her and

969
00:57:56,920 --> 00:57:59,000
Speaker 1: it's always been her and it's still her. So for

970
00:57:59,040 --> 00:58:01,480
Speaker 1: the series, it read very like they muted her. They

971
00:58:01,560 --> 00:58:05,000
Speaker 1: toned her down in every way, and um, she has

972
00:58:05,040 --> 00:58:08,400
Speaker 1: practically no lines. So I appreciate that. In the movie, yeah,

973
00:58:08,520 --> 00:58:12,160
Speaker 1: you get a sense for her personality and her opinions

974
00:58:12,160 --> 00:58:15,240
Speaker 1: and her feelings. And I appreciate that because she wasn't

975
00:58:15,280 --> 00:58:17,880
Speaker 1: a shrinking violet. She wasn't a wallflower, you know, her

976
00:58:17,960 --> 00:58:21,640
Speaker 1: dad wasn't wasn't designing her costumes and doing her choreography

977
00:58:21,720 --> 00:58:23,880
Speaker 1: from her. That was from her. She was doing that.

978
00:58:24,840 --> 00:58:27,480
Speaker 1: You know. She was a creative genius. And so I'm

979
00:58:27,520 --> 00:58:32,080
Speaker 1: happy that that that part is there. Yeah. The yeah,

980
00:58:32,080 --> 00:58:34,040
Speaker 1: this series, I mean, I know this is not a

981
00:58:34,040 --> 00:58:37,520
Speaker 1: podcast about the series, but uh, the series was so

982
00:58:37,640 --> 00:58:39,680
Speaker 1: confusing to me as I'm like, do you have all

983
00:58:39,720 --> 00:58:42,560
Speaker 1: this extra time, this would be all the all of

984
00:58:42,560 --> 00:58:44,760
Speaker 1: our like mini grapes here of like, oh, it would

985
00:58:44,800 --> 00:58:47,160
Speaker 1: have been cool to know like a little more about

986
00:58:47,160 --> 00:58:49,320
Speaker 1: her dreams and a little more about this. And it's like,

987
00:58:49,360 --> 00:58:51,200
Speaker 1: all of a sudden, you have ten hours to do that,

988
00:58:51,840 --> 00:58:55,360
Speaker 1: but where was it? Yeah? Why not capitalize on opportunities

989
00:58:55,400 --> 00:58:58,600
Speaker 1: to showcase Selena more? Yeah, I do appreciate in the

990
00:58:58,640 --> 00:59:01,680
Speaker 1: movie that we just get this well rounded character because

991
00:59:01,720 --> 00:59:05,400
Speaker 1: Selena in real life, like real life people are are

992
00:59:05,840 --> 00:59:08,400
Speaker 1: well rounded people. Because we talk so much on this

993
00:59:08,440 --> 00:59:14,040
Speaker 1: podcast about fictional characters in movies, fictional women are usually

994
00:59:14,080 --> 00:59:17,480
Speaker 1: written to be just so flat and one dimensional and

995
00:59:18,080 --> 00:59:21,560
Speaker 1: just don't feel like real people. So you know, I

996
00:59:21,760 --> 00:59:25,520
Speaker 1: do when you adapt a real person onto the screen

997
00:59:26,440 --> 00:59:29,280
Speaker 1: and you do it well, you get those nuances of

998
00:59:29,280 --> 00:59:32,320
Speaker 1: their character and you get those all those dimensions because

999
00:59:32,360 --> 00:59:36,439
Speaker 1: you see you see Selena being sexy, and you see

1000
00:59:36,440 --> 00:59:39,400
Speaker 1: her being playful, you see her being smart, you see

1001
00:59:39,440 --> 00:59:42,840
Speaker 1: her being a very talented musician. You see her learning

1002
00:59:42,960 --> 00:59:46,840
Speaker 1: and grow and just like the whole what you experience

1003
00:59:46,960 --> 00:59:49,240
Speaker 1: in life as a person, you know, we see her

1004
00:59:49,320 --> 00:59:51,400
Speaker 1: go through. And one of the things I especially liked

1005
00:59:51,440 --> 00:59:55,000
Speaker 1: about the character, and I anytime there's a head of

1006
00:59:55,080 --> 00:59:58,040
Speaker 1: roal romance in a movie, I'm usually just like my

1007
00:59:58,120 --> 01:00:03,400
Speaker 1: default is just like okay, this in But like I

1008
01:00:03,480 --> 01:00:07,320
Speaker 1: loved the way the romance develops in this movie because

1009
01:00:07,360 --> 01:00:11,280
Speaker 1: like you actually see like the common ground that they share,

1010
01:00:11,560 --> 01:00:15,840
Speaker 1: and like you see them flirting in like a cute way.

1011
01:00:16,000 --> 01:00:19,200
Speaker 1: The scene when they're at like eating pizza together and

1012
01:00:19,240 --> 01:00:21,160
Speaker 1: like he's like trying to be all tough with his

1013
01:00:22,000 --> 01:00:25,520
Speaker 1: hot so it's like a start of cringe, but it's

1014
01:00:25,520 --> 01:00:29,240
Speaker 1: so cute. It's cute. And then he's like dumping like

1015
01:00:29,560 --> 01:00:32,760
Speaker 1: cholula all over his pizza, and then she's just like, Okay,

1016
01:00:32,760 --> 01:00:34,840
Speaker 1: good luck with that, Like I know that's gonna go

1017
01:00:34,880 --> 01:00:37,000
Speaker 1: horribly for you, and it does, and then they just

1018
01:00:37,040 --> 01:00:40,120
Speaker 1: like laugh about it and they're oh, I just like yeah,

1019
01:00:40,160 --> 01:00:44,480
Speaker 1: the whole the whole relationship. I just liked how they

1020
01:00:44,560 --> 01:00:48,760
Speaker 1: chose to approach that and just like and especially because

1021
01:00:49,240 --> 01:00:52,680
Speaker 1: you see Selena and I'm not exactly sure this how

1022
01:00:52,720 --> 01:00:55,880
Speaker 1: accurate this was to her real life, but like she's

1023
01:00:55,960 --> 01:00:59,160
Speaker 1: kind of the one to initiate that relationship, Like she's

1024
01:00:59,240 --> 01:01:03,280
Speaker 1: the one who like kind of approaches him and says like, oh, hey,

1025
01:01:03,320 --> 01:01:05,400
Speaker 1: your haircuts really nice, and hey, do you want to

1026
01:01:05,400 --> 01:01:08,280
Speaker 1: go get some pizza with me? And like she's kind

1027
01:01:08,280 --> 01:01:10,480
Speaker 1: of calling the shots in a way that you don't

1028
01:01:10,480 --> 01:01:14,960
Speaker 1: often see women doing in media. It's all about like, oh,

1029
01:01:15,000 --> 01:01:17,080
Speaker 1: women have to you know, were expected to just sort

1030
01:01:17,120 --> 01:01:20,240
Speaker 1: of like sit idly by while the man pursues them.

1031
01:01:20,280 --> 01:01:22,760
Speaker 1: And I was like, yeah, go get it, Selena, Like

1032
01:01:23,560 --> 01:01:25,680
Speaker 1: I love that. I love it. I love it because

1033
01:01:25,720 --> 01:01:28,280
Speaker 1: she she you know, and again, she was the star

1034
01:01:28,640 --> 01:01:30,840
Speaker 1: and was already established in a name. And I think

1035
01:01:30,880 --> 01:01:35,040
Speaker 1: that genuinely, Chris Perez was intimidated entering into the family

1036
01:01:35,040 --> 01:01:38,560
Speaker 1: and entering into the band, you know, I think that genuinely.

1037
01:01:38,680 --> 01:01:40,760
Speaker 1: And she was the princess and the queen, you know,

1038
01:01:40,880 --> 01:01:43,800
Speaker 1: and the apple of everybody's eye, the center of attention.

1039
01:01:43,960 --> 01:01:46,960
Speaker 1: And I not that Chris Perez is like, you know,

1040
01:01:47,200 --> 01:01:49,920
Speaker 1: doesn't have a backbone, or didn't approach or didn't shoot

1041
01:01:49,960 --> 01:01:52,320
Speaker 1: his shot, because I also believe that, you know, they

1042
01:01:53,040 --> 01:01:54,880
Speaker 1: noticed each other. I think she knew that was her

1043
01:01:54,880 --> 01:01:58,280
Speaker 1: man's like, you know, for at first site day one,

1044
01:01:58,360 --> 01:02:02,400
Speaker 1: She's like, No, that's that's all me, that's my that's

1045
01:02:02,440 --> 01:02:06,640
Speaker 1: my man. Out of the way. Yeah, I do believe

1046
01:02:06,680 --> 01:02:09,360
Speaker 1: that that was probably true of her real life dynamic

1047
01:02:09,400 --> 01:02:13,680
Speaker 1: with him, that I was having the same like kind

1048
01:02:13,720 --> 01:02:17,920
Speaker 1: of brain because because you know, it's like, oh, every

1049
01:02:17,960 --> 01:02:21,320
Speaker 1: movie is gonna you know, shoehorn in ahead of a romance,

1050
01:02:21,320 --> 01:02:24,360
Speaker 1: but that's like it's not shoehorn in it. It's like

1051
01:02:24,440 --> 01:02:28,560
Speaker 1: that relationship if it works the way I mean also

1052
01:02:28,680 --> 01:02:30,840
Speaker 1: it obviously worked in real life, but like the way

1053
01:02:30,880 --> 01:02:34,360
Speaker 1: it's written is so cool, and it's like, why don't

1054
01:02:34,400 --> 01:02:39,800
Speaker 1: people just write relationships like this more frequently, where like

1055
01:02:40,280 --> 01:02:43,560
Speaker 1: the relationship means more to her than just this like

1056
01:02:43,920 --> 01:02:46,800
Speaker 1: abstract and like I'm a straight lady, so I have

1057
01:02:46,880 --> 01:02:48,880
Speaker 1: to want to get married right now. Like that's not

1058
01:02:49,320 --> 01:02:53,080
Speaker 1: what that relationship meant to her exclusively, Like she did

1059
01:02:53,120 --> 01:02:56,080
Speaker 1: want to marry him, but it also was like that

1060
01:02:56,120 --> 01:02:59,440
Speaker 1: relationship was like how she was kind of taking control

1061
01:02:59,440 --> 01:03:01,320
Speaker 1: of her life a little bit, and like he was

1062
01:03:01,440 --> 01:03:05,480
Speaker 1: supportive and he wasn't, Like I mean, it's it seems

1063
01:03:05,520 --> 01:03:07,560
Speaker 1: like there were people in Selena's family and in her

1064
01:03:07,800 --> 01:03:09,960
Speaker 1: life who were kind of like threatened by her being

1065
01:03:09,960 --> 01:03:13,560
Speaker 1: the center of attention and Chris wasn't. And he was like, no,

1066
01:03:13,640 --> 01:03:15,920
Speaker 1: I like to work with you, and I'm not threatened

1067
01:03:15,920 --> 01:03:20,280
Speaker 1: by you being you know, yourself, and so it was like,

1068
01:03:20,560 --> 01:03:22,960
Speaker 1: I don't know. I guess you just don't see healthy

1069
01:03:23,000 --> 01:03:25,600
Speaker 1: relationships on screen a lot, because I was like, oh,

1070
01:03:25,760 --> 01:03:29,200
Speaker 1: this is a partnership where they are both like, you know,

1071
01:03:29,240 --> 01:03:34,000
Speaker 1: they're growing as people through I'm like getting emotional. Yeah,

1072
01:03:34,080 --> 01:03:37,040
Speaker 1: but they're they're like they're like growing together and you

1073
01:03:37,040 --> 01:03:39,760
Speaker 1: you know why they like each other and they just

1074
01:03:39,840 --> 01:03:44,280
Speaker 1: compliment each other and so and when it's written like that,

1075
01:03:44,600 --> 01:03:47,000
Speaker 1: then I don't know, I have no problem with it.

1076
01:03:47,040 --> 01:03:49,280
Speaker 1: You're like, oh, this isn't just like I need to

1077
01:03:49,360 --> 01:03:53,520
Speaker 1: marry because of the because the movie is about to end. Like,

1078
01:03:53,600 --> 01:03:56,360
Speaker 1: that's not what it is at all. Right, It's beautiful.

1079
01:03:56,560 --> 01:03:59,840
Speaker 1: It's beautiful, and I put Selena and Chris on part this.

1080
01:04:00,000 --> 01:04:04,000
Speaker 1: It's like some Romeo and Juliette levels of like legendary

1081
01:04:04,600 --> 01:04:09,200
Speaker 1: tragic romance. Honestly, and here's here's something too. You know,

1082
01:04:09,560 --> 01:04:13,800
Speaker 1: it really is very telling that it's no secret that

1083
01:04:13,840 --> 01:04:18,200
Speaker 1: there is a super tumultuous, unhealthy dynamic between the King

1084
01:04:18,240 --> 01:04:22,520
Speaker 1: Funnias and Chris Perez. You know, that unhealthy dynamic, the

1085
01:04:22,680 --> 01:04:25,439
Speaker 1: keeping him out an arm's length and not wanting him

1086
01:04:25,480 --> 01:04:30,400
Speaker 1: to be with Selena romantically, that kind of possessiveness. Abraham

1087
01:04:30,440 --> 01:04:33,160
Speaker 1: talks about it in his own way, and it's always

1088
01:04:33,160 --> 01:04:35,720
Speaker 1: been out there and it's sort of always been acknowledged.

1089
01:04:35,840 --> 01:04:39,000
Speaker 1: You know that he never trusted Chris. You never liked Chris.

1090
01:04:39,040 --> 01:04:41,320
Speaker 1: He's a bum musician from the streets on from the streets.

1091
01:04:41,320 --> 01:04:43,160
Speaker 1: I know, bum musicians from the streets. When I see

1092
01:04:43,160 --> 01:04:45,080
Speaker 1: one that that that that that that that you're young,

1093
01:04:45,120 --> 01:04:46,920
Speaker 1: you're beautiful, and you're rich, of course he's gonna love you.

1094
01:04:46,960 --> 01:04:48,880
Speaker 1: He's gonna take you away and make you stop performing,

1095
01:04:48,920 --> 01:04:51,120
Speaker 1: and he's gonna take you from your family and all

1096
01:04:51,120 --> 01:04:56,680
Speaker 1: these things, right, And you know, Chris is the ultimate

1097
01:04:56,720 --> 01:04:59,240
Speaker 1: gentleman and has never said anything bad about the family.

1098
01:04:59,800 --> 01:05:03,240
Speaker 1: But uh, we all know, because it's a matter of

1099
01:05:03,280 --> 01:05:06,160
Speaker 1: a very kind of public conversation that there has been

1100
01:05:06,200 --> 01:05:09,760
Speaker 1: litigation the Kingthenias are very litigious. You know, a ton

1101
01:05:09,840 --> 01:05:12,640
Speaker 1: of people. I mean, it's it was actually hilarious how

1102
01:05:12,640 --> 01:05:15,640
Speaker 1: many text messages I got from my friends and people

1103
01:05:15,640 --> 01:05:17,560
Speaker 1: who are in the creative space in the fandom and

1104
01:05:17,600 --> 01:05:20,800
Speaker 1: have their own businesses, And I didn't even realize how

1105
01:05:20,800 --> 01:05:23,120
Speaker 1: many of them have gotten cease and desist letters from

1106
01:05:23,120 --> 01:05:26,440
Speaker 1: the Kienias for creating Selena fand Merge. I mean, I'm like,

1107
01:05:26,800 --> 01:05:29,600
Speaker 1: I knew a certain number of people had gotten cease

1108
01:05:29,640 --> 01:05:32,720
Speaker 1: and desists, like Selena impersonators and tribute artists that I've

1109
01:05:32,720 --> 01:05:34,920
Speaker 1: seen perform in the end, that I know and that

1110
01:05:35,000 --> 01:05:38,520
Speaker 1: I know of, but then people that I didn't even

1111
01:05:38,520 --> 01:05:40,880
Speaker 1: realize how how far it had gone. And this is

1112
01:05:40,920 --> 01:05:43,440
Speaker 1: just I'm one person in my little you know sphere

1113
01:05:43,520 --> 01:05:46,960
Speaker 1: here in outlet. But Chris, having written his book you

1114
01:05:47,000 --> 01:05:49,520
Speaker 1: Know to Selena with Love, he wanted to do his

1115
01:05:49,560 --> 01:05:53,720
Speaker 1: own series about Selena, and the Kienias have been extremely

1116
01:05:53,800 --> 01:05:56,360
Speaker 1: litigious with him and have shut things down and have

1117
01:05:56,680 --> 01:06:01,800
Speaker 1: been really not nice um historically and continenuously. So it's

1118
01:06:01,920 --> 01:06:04,680
Speaker 1: this battle over which of the men in her life

1119
01:06:04,720 --> 01:06:06,880
Speaker 1: gets to tell her story and gets to control her

1120
01:06:06,960 --> 01:06:09,880
Speaker 1: narrative and her dad. It's it's her dad, and her

1121
01:06:09,920 --> 01:06:14,080
Speaker 1: dad does Oh that's a frustrating because it's I mean,

1122
01:06:14,200 --> 01:06:17,080
Speaker 1: it's I mean, you you you can never have a

1123
01:06:17,120 --> 01:06:20,880
Speaker 1: full picture of a person, but it's like it sounds

1124
01:06:20,920 --> 01:06:24,280
Speaker 1: like Chris knew a lot of parts of Selena, like

1125
01:06:24,280 --> 01:06:26,800
Speaker 1: in a lot of sides of her personality that her

1126
01:06:26,880 --> 01:06:31,120
Speaker 1: dad would never like you just can't. Right. That makes

1127
01:06:31,160 --> 01:06:35,520
Speaker 1: me sad. I hope that he's able to someday, because well,

1128
01:06:35,520 --> 01:06:37,080
Speaker 1: he does say in the movie, I don't know how

1129
01:06:37,080 --> 01:06:39,920
Speaker 1: to let you go, and it's like, well, try a

1130
01:06:40,000 --> 01:06:46,480
Speaker 1: little bit, literally, try try it all for a little bit,

1131
01:06:47,840 --> 01:06:54,080
Speaker 1: for one day, for one minute, make anny attempt at all. Uh,

1132
01:06:54,160 --> 01:06:56,360
Speaker 1: let's take another quick break and then we will come

1133
01:06:56,440 --> 01:07:08,640
Speaker 1: right back and we're back. Uh. Speaking of Abraham, the

1134
01:07:09,000 --> 01:07:12,360
Speaker 1: scenes the scenes with Abraham in this movie that I

1135
01:07:12,360 --> 01:07:17,560
Speaker 1: thought were pretty effective, both in just like the themes

1136
01:07:17,600 --> 01:07:21,200
Speaker 1: of Selena's life and also to contextualize I mean, and

1137
01:07:21,240 --> 01:07:23,880
Speaker 1: I'm sure that it's maybe a little bit overly generous

1138
01:07:23,920 --> 01:07:27,080
Speaker 1: to him, but the just contextualizing where he's coming from

1139
01:07:27,120 --> 01:07:29,720
Speaker 1: was I felt like it was pretty clear that to

1140
01:07:29,840 --> 01:07:33,840
Speaker 1: an extent, he's like projecting his dreams onto his daughter,

1141
01:07:34,080 --> 01:07:37,920
Speaker 1: which is not a I don't know if if I

1142
01:07:37,960 --> 01:07:40,600
Speaker 1: were a parent that had been like, oh, I wasn't

1143
01:07:40,640 --> 01:07:42,360
Speaker 1: able to achieve my dreams, so now you're going to

1144
01:07:42,680 --> 01:07:45,640
Speaker 1: I would not be excited to see that on screen

1145
01:07:45,840 --> 01:07:48,960
Speaker 1: because it doesn't It's not the best look in the world.

1146
01:07:49,000 --> 01:07:52,120
Speaker 1: And I liked that there were a few scenes with

1147
01:07:52,160 --> 01:07:56,640
Speaker 1: them together where he was talking about being Mexican American

1148
01:07:56,840 --> 01:08:01,320
Speaker 1: and how that factored into what he wanted for Selena.

1149
01:08:01,360 --> 01:08:03,600
Speaker 1: So I wanted to talk about those scenes and your

1150
01:08:03,600 --> 01:08:06,520
Speaker 1: opinions on those scenes well, because they were they were

1151
01:08:06,640 --> 01:08:09,439
Speaker 1: um as far as like Abraham Selena scenes that were

1152
01:08:09,600 --> 01:08:13,120
Speaker 1: like definitely stuck out to me. Yeah, I really love

1153
01:08:13,320 --> 01:08:15,560
Speaker 1: all those scenes in the movie as well, because I

1154
01:08:15,600 --> 01:08:17,960
Speaker 1: think that's one of the things that the movie does

1155
01:08:18,120 --> 01:08:24,320
Speaker 1: really really well is delve into that very classic, very

1156
01:08:24,439 --> 01:08:29,760
Speaker 1: now well known conversation about bi cultural identity and neither

1157
01:08:29,800 --> 01:08:32,880
Speaker 1: aki nida yeah right, neither from here nor from there,

1158
01:08:33,520 --> 01:08:36,599
Speaker 1: um that Mexican Americans and Chicanos have talked about, written about.

1159
01:08:36,640 --> 01:08:39,200
Speaker 1: It really engaged with for some time now as far

1160
01:08:39,280 --> 01:08:43,679
Speaker 1: as understanding our identity development and our place like racially

1161
01:08:43,720 --> 01:08:46,439
Speaker 1: and culturally in the United States. And I think it's

1162
01:08:46,439 --> 01:08:51,320
Speaker 1: a very sort of accessible and relatable conversation that a

1163
01:08:51,320 --> 01:08:53,240
Speaker 1: lot of our parents have had with us in one

1164
01:08:53,240 --> 01:08:56,240
Speaker 1: way or another, depending on you know, when your family

1165
01:08:56,280 --> 01:08:59,000
Speaker 1: got here, if your family immigrated at all, right, or

1166
01:08:59,040 --> 01:09:02,280
Speaker 1: if you are one of those families that has been

1167
01:09:02,320 --> 01:09:07,280
Speaker 1: here for generations on generations on generations in the American Southwest.

1168
01:09:08,240 --> 01:09:11,639
Speaker 1: And I also do think that there is a ton

1169
01:09:11,880 --> 01:09:16,800
Speaker 1: of very relatable conversations where yeah, you can see the

1170
01:09:16,800 --> 01:09:20,240
Speaker 1: projection happening, where you know, Abraham is like, it is

1171
01:09:20,360 --> 01:09:24,639
Speaker 1: very clear that this is a passion of his And

1172
01:09:25,000 --> 01:09:27,559
Speaker 1: in some of the dialogue in the movie, like in

1173
01:09:27,600 --> 01:09:31,280
Speaker 1: her conversation with Chris where he's talking about how his

1174
01:09:31,360 --> 01:09:33,160
Speaker 1: parents wanted him to be a doctor, so he became

1175
01:09:33,160 --> 01:09:35,559
Speaker 1: a musician. If you are my family and my dad

1176
01:09:35,560 --> 01:09:39,560
Speaker 1: would have loved you. We hated rehearsing, right, um in rehearsing,

1177
01:09:39,800 --> 01:09:42,240
Speaker 1: And I keep talking about this podcast Anything for Selena

1178
01:09:42,240 --> 01:09:46,400
Speaker 1: by um Maria Garcia. But this brings up another piece

1179
01:09:46,439 --> 01:09:49,440
Speaker 1: where even as a child, Selena was doing these press

1180
01:09:49,520 --> 01:09:53,679
Speaker 1: junkets and she was doing interviews, and um Maria Garcia

1181
01:09:53,760 --> 01:09:56,960
Speaker 1: play some of Selena's interviews, and she has a lot

1182
01:09:56,960 --> 01:09:58,720
Speaker 1: of interviews online you can watch as an adult, but

1183
01:09:58,760 --> 01:10:02,160
Speaker 1: even as a kid, some of her audio where people

1184
01:10:02,200 --> 01:10:04,240
Speaker 1: ask her, she gets asked all over the place, you

1185
01:10:04,280 --> 01:10:07,479
Speaker 1: know how she feels about having performed for so many

1186
01:10:07,560 --> 01:10:09,840
Speaker 1: years and spending so much of her childhood on a bus,

1187
01:10:09,880 --> 01:10:12,679
Speaker 1: and spending so much of her childhood with her family

1188
01:10:12,840 --> 01:10:15,519
Speaker 1: and on stage and working. And they asked her what

1189
01:10:15,560 --> 01:10:17,400
Speaker 1: do you like about performing? Why do you like it?

1190
01:10:17,400 --> 01:10:20,840
Speaker 1: And a very young Selena says it's good money, you know,

1191
01:10:21,439 --> 01:10:25,040
Speaker 1: you know, and older Selena says, um, I'm I know.

1192
01:10:25,160 --> 01:10:27,320
Speaker 1: I didn't have a traditional childhood. Yes, I did school

1193
01:10:27,360 --> 01:10:28,760
Speaker 1: by mail, but it was for a good reason. It

1194
01:10:28,800 --> 01:10:30,799
Speaker 1: was for a good cause because I was supporting my family.

1195
01:10:31,400 --> 01:10:34,439
Speaker 1: And so her real life interviews you hear a lot

1196
01:10:34,479 --> 01:10:38,400
Speaker 1: of her talking about this as a job and working

1197
01:10:38,439 --> 01:10:41,320
Speaker 1: towards a greater good and doing something that is going

1198
01:10:41,320 --> 01:10:44,519
Speaker 1: to benefit and support her family financially, and and in

1199
01:10:44,560 --> 01:10:47,280
Speaker 1: the film you have these little snippets of that as well.

1200
01:10:48,360 --> 01:10:50,840
Speaker 1: So I think that that's an interesting piece of it too,

1201
01:10:52,560 --> 01:10:55,200
Speaker 1: And just to zoom out a little bit and kind

1202
01:10:55,200 --> 01:10:59,600
Speaker 1: of just look at the grand scope of American Hollywood,

1203
01:10:59,760 --> 01:11:06,720
Speaker 1: main stream cinema, Like those conversations between Selena and Abraham.

1204
01:11:06,720 --> 01:11:09,280
Speaker 1: There's one when she's a young girl and he's like,

1205
01:11:09,400 --> 01:11:12,320
Speaker 1: you should learn how to sing in Spanish because your

1206
01:11:12,400 --> 01:11:15,280
Speaker 1: Mexican and that's beautiful and you know, never forget who

1207
01:11:15,320 --> 01:11:19,000
Speaker 1: you are. And like just that initial conversation about identity,

1208
01:11:19,160 --> 01:11:22,479
Speaker 1: which the ground work is laid for that in a

1209
01:11:22,560 --> 01:11:26,440
Speaker 1: very early scene where Abraham is a part of Lostinos

1210
01:11:26,520 --> 01:11:29,000
Speaker 1: and he's like, well, I like to sing do op,

1211
01:11:29,360 --> 01:11:33,920
Speaker 1: but I can't do that in like Tahano club because

1212
01:11:33,920 --> 01:11:35,840
Speaker 1: that's not the type of music they want to hear.

1213
01:11:36,040 --> 01:11:37,840
Speaker 1: But I can't do it at a white club because

1214
01:11:37,880 --> 01:11:41,160
Speaker 1: everyone's racist. So like just this like push and pull

1215
01:11:41,200 --> 01:11:45,320
Speaker 1: of his identity. And then like he's like, well, I

1216
01:11:45,360 --> 01:11:48,800
Speaker 1: want to make sure Selena like understands her roots and

1217
01:11:48,880 --> 01:11:51,479
Speaker 1: like is is that's a part of her cultural identity

1218
01:11:51,520 --> 01:11:53,120
Speaker 1: and stuff like that. And then there's that scene later

1219
01:11:53,160 --> 01:11:56,760
Speaker 1: on in the bus where he's saying how exhausting it

1220
01:11:56,840 --> 01:11:59,080
Speaker 1: is to be a Mexican American because you know, you

1221
01:11:59,120 --> 01:12:01,160
Speaker 1: have to be twice as perfect as everyone else. You

1222
01:12:01,200 --> 01:12:04,879
Speaker 1: have to speak Spanish perfectly, you have to speak English perfectly.

1223
01:12:05,120 --> 01:12:08,160
Speaker 1: And just this again, the whole push and pull of

1224
01:12:08,400 --> 01:12:13,439
Speaker 1: identity and the fact that that conversation gets had Like

1225
01:12:14,040 --> 01:12:18,360
Speaker 1: most mainstream American movies like don't feature a conversation like that,

1226
01:12:18,479 --> 01:12:22,599
Speaker 1: So just to have that be present in this movie,

1227
01:12:22,760 --> 01:12:25,120
Speaker 1: I was just like that was that was a very

1228
01:12:25,160 --> 01:12:30,599
Speaker 1: powerful thing to hear and too just have in the movie. Yeah, yeah,

1229
01:12:30,840 --> 01:12:34,200
Speaker 1: super powerful, And it's a really good reminder without explicitly

1230
01:12:34,200 --> 01:12:36,840
Speaker 1: saying it it's a reminder that like Abraham was a

1231
01:12:36,840 --> 01:12:40,320
Speaker 1: Mexican American, like born in the fifties in South Texas

1232
01:12:40,920 --> 01:12:44,200
Speaker 1: and was growing up in a like during the times

1233
01:12:44,240 --> 01:12:48,320
Speaker 1: of racial segregation, like probably attended racially segregated schools. His

1234
01:12:48,360 --> 01:12:50,200
Speaker 1: family was probably only allowed to buy and live in

1235
01:12:50,240 --> 01:12:53,400
Speaker 1: certain neighborhoods, and they probably you know, did racialized work.

1236
01:12:53,720 --> 01:12:57,280
Speaker 1: My dad was born in nine in Bakersville, California. Segregation

1237
01:12:57,360 --> 01:13:00,479
Speaker 1: was still a thing, signs on storefront windows, dogs or

1238
01:13:00,479 --> 01:13:04,040
Speaker 1: Mexicans allowed. He picked cotton and grapes in the fields.

1239
01:13:04,080 --> 01:13:06,880
Speaker 1: He was a child laborer, you know, like multiple generations

1240
01:13:06,880 --> 01:13:10,360
Speaker 1: of farm workers in the family. And and it's important

1241
01:13:10,360 --> 01:13:13,799
Speaker 1: to recognize that Selena is a general one generation removed

1242
01:13:13,800 --> 01:13:16,439
Speaker 1: from that as the daughter, so she is the product

1243
01:13:16,479 --> 01:13:20,960
Speaker 1: of somebody who survived that's sort of very specific South

1244
01:13:21,080 --> 01:13:26,200
Speaker 1: Texas anti Mexican racism. Doing what she's doing and crossing

1245
01:13:26,200 --> 01:13:29,720
Speaker 1: over into Mexico and it's like a reclamation, you know.

1246
01:13:29,880 --> 01:13:31,760
Speaker 1: And this is how we're going to be successful, is

1247
01:13:31,800 --> 01:13:35,080
Speaker 1: by appealing to our people and not necessarily white people,

1248
01:13:35,080 --> 01:13:37,880
Speaker 1: because it wasn't white folks filling the Houston Astrodome and

1249
01:13:37,880 --> 01:13:41,160
Speaker 1: buying her records and bringing her to stardom. It's it's

1250
01:13:41,200 --> 01:13:43,040
Speaker 1: there was a point being proven as well, like no,

1251
01:13:43,240 --> 01:13:47,479
Speaker 1: we we can also do this by being ourselves, which

1252
01:13:47,479 --> 01:13:49,639
Speaker 1: gets talked about in the movie too. Was like her

1253
01:13:49,800 --> 01:13:53,599
Speaker 1: mother being like women are not successful into Hanno music,

1254
01:13:53,800 --> 01:13:58,240
Speaker 1: like this is a male dominated genre, just you know,

1255
01:13:58,320 --> 01:14:01,120
Speaker 1: saying like I'm not so sure this is going to

1256
01:14:01,200 --> 01:14:07,000
Speaker 1: work out because patriarchy, and like, against all odds, Selena

1257
01:14:07,960 --> 01:14:13,559
Speaker 1: transcends that and becomes a hugely popular star in that

1258
01:14:13,720 --> 01:14:18,599
Speaker 1: genre and also then crosses over with her English album

1259
01:14:18,920 --> 01:14:24,880
Speaker 1: and like appeals to a wider audience and just yeah,

1260
01:14:25,360 --> 01:14:27,880
Speaker 1: the other the I love I love that scene where

1261
01:14:27,920 --> 01:14:30,519
Speaker 1: there on the bus and and the scene we were

1262
01:14:30,520 --> 01:14:32,479
Speaker 1: just talking about, and I especially love I just I

1263
01:14:32,520 --> 01:14:36,000
Speaker 1: don't know, I feel like it's really rare to see

1264
01:14:36,120 --> 01:14:40,200
Speaker 1: like a scene written where different generations are interacting in

1265
01:14:40,320 --> 01:14:43,160
Speaker 1: kind of a realistic way, because it's like the younger

1266
01:14:43,200 --> 01:14:45,479
Speaker 1: person is always going to be like yeah, I get it,

1267
01:14:45,520 --> 01:14:49,160
Speaker 1: but like shut up, like there and I just I just,

1268
01:14:49,280 --> 01:14:52,680
Speaker 1: I just I loved how Abraham's kids are interacting with

1269
01:14:52,760 --> 01:14:55,280
Speaker 1: him in that scene because they clearly like they know

1270
01:14:55,360 --> 01:14:57,519
Speaker 1: he's right, they're taking what he's saying seriously, but they're

1271
01:14:57,520 --> 01:15:00,080
Speaker 1: still like okay, but shut up, Like I just I

1272
01:15:00,120 --> 01:15:04,120
Speaker 1: don't know the way that the generational divide is made

1273
01:15:04,160 --> 01:15:07,639
Speaker 1: clear and that that seems hit. It was really good

1274
01:15:08,320 --> 01:15:11,240
Speaker 1: when she's like a good thing we have like tortillas

1275
01:15:11,280 --> 01:15:15,040
Speaker 1: and minuto to like keep our strength up, like well

1276
01:15:15,120 --> 01:15:17,960
Speaker 1: we used for this oppression, giving him ship the way

1277
01:15:18,120 --> 01:15:20,920
Speaker 1: anyone gives their dad ship when he goes on about

1278
01:15:21,720 --> 01:15:23,639
Speaker 1: or like I don't know, knowing the words to your

1279
01:15:23,720 --> 01:15:28,680
Speaker 1: dad's speech, you can probably right like here we go.

1280
01:15:28,800 --> 01:15:32,880
Speaker 1: God he's given before. And I love those moments with

1281
01:15:32,920 --> 01:15:35,519
Speaker 1: her in a b I love those moments that they

1282
01:15:35,560 --> 01:15:38,320
Speaker 1: have throughout the film where it's like, okay, you know

1283
01:15:38,360 --> 01:15:40,360
Speaker 1: how Dad is, like you know Dad, I got it.

1284
01:15:40,400 --> 01:15:43,400
Speaker 1: I'll handle Dad. You know Dad. Dad is very strong.

1285
01:15:43,520 --> 01:15:45,519
Speaker 1: Dad is a force. But they also have their power

1286
01:15:45,560 --> 01:15:48,240
Speaker 1: in their way like as siblings or is or in

1287
01:15:48,280 --> 01:15:50,080
Speaker 1: relation to their mom or in relation to each other.

1288
01:15:50,760 --> 01:15:52,400
Speaker 1: It's like, yeah, Dad has been and bad, but we

1289
01:15:52,439 --> 01:15:54,719
Speaker 1: also know which or his strings in which are his buttons,

1290
01:15:54,880 --> 01:15:57,280
Speaker 1: and just we know how to work with Dad. Just chill,

1291
01:15:57,360 --> 01:15:59,519
Speaker 1: it's fine, we'll do it. We'll get it done. And

1292
01:15:59,560 --> 01:16:06,000
Speaker 1: I love at Yeah, I wanted to ask what your

1293
01:16:06,200 --> 01:16:09,640
Speaker 1: thoughts because I believe you've spoken about this as well

1294
01:16:09,760 --> 01:16:14,040
Speaker 1: in the same article that we were referencing earlier, just

1295
01:16:14,120 --> 01:16:18,880
Speaker 1: the general kind of whitewashing of the casting of Selena

1296
01:16:18,960 --> 01:16:22,160
Speaker 1: and sort of your thoughts on the actors who have

1297
01:16:22,240 --> 01:16:26,479
Speaker 1: been chosen to play her, because to be clear, even

1298
01:16:26,479 --> 01:16:30,839
Speaker 1: though Jennifer Lopez and the actor who's cast as Selena

1299
01:16:31,000 --> 01:16:36,200
Speaker 1: for the series, Christian Seratos, uh, they are both Latina women,

1300
01:16:36,880 --> 01:16:42,240
Speaker 1: there is still an element of erasure happening here. Yeah,

1301
01:16:42,320 --> 01:16:46,760
Speaker 1: it's been so interesting, like um, having this conversation like

1302
01:16:46,840 --> 01:16:52,120
Speaker 1: in one on the internet, because literally everyone we can

1303
01:16:52,160 --> 01:16:55,679
Speaker 1: weigh in, and that is both a terrible and wonderful thing.

1304
01:16:56,640 --> 01:17:02,520
Speaker 1: So going back to the very real, historic, well documented,

1305
01:17:02,920 --> 01:17:07,920
Speaker 1: well understood, well known history of racism that her family

1306
01:17:07,960 --> 01:17:11,280
Speaker 1: experienced as brown people, as people of color, as people

1307
01:17:11,439 --> 01:17:15,639
Speaker 1: of Mexican and which meaning for them indigenous descent, right,

1308
01:17:16,439 --> 01:17:18,760
Speaker 1: it was a fact of their reality that they were

1309
01:17:19,200 --> 01:17:24,080
Speaker 1: non white, racialized people and impacted by that historically. In

1310
01:17:24,160 --> 01:17:28,679
Speaker 1: talking about the whitewashing, that is really important to me

1311
01:17:29,040 --> 01:17:33,599
Speaker 1: because it's not a separate or imagined part of her story.

1312
01:17:34,000 --> 01:17:39,640
Speaker 1: It's very integral and the whitewashing is very subtle, and

1313
01:17:39,720 --> 01:17:43,439
Speaker 1: it's multifaceted because it's not just about the skin color

1314
01:17:43,560 --> 01:17:45,759
Speaker 1: of the actresses. It's all about the It's also about

1315
01:17:45,760 --> 01:17:50,479
Speaker 1: the featurism, right with facial features, especially Selena's like nose

1316
01:17:50,520 --> 01:17:54,080
Speaker 1: and lips and her indigenous features. And I hate feeling

1317
01:17:54,080 --> 01:17:56,680
Speaker 1: like I'm kind of like, you know, breaking her up

1318
01:17:56,680 --> 01:17:59,080
Speaker 1: into body parts and things. But this is what happens.

1319
01:17:59,120 --> 01:18:03,120
Speaker 1: And nowhere is that more obvious than in the casting

1320
01:18:03,320 --> 01:18:06,680
Speaker 1: where the casting has brought us with Slaris to the

1321
01:18:06,720 --> 01:18:09,800
Speaker 1: point where speaking of compartmentalizing and breaking her down to

1322
01:18:09,840 --> 01:18:11,920
Speaker 1: body parts, they hired an actress that are so thin

1323
01:18:12,240 --> 01:18:15,879
Speaker 1: unfortunately for the character that she was attempting to realize

1324
01:18:15,920 --> 01:18:19,439
Speaker 1: on screen that she's wearing extremely obvious button hit padding.

1325
01:18:20,120 --> 01:18:24,240
Speaker 1: You know, that is super obvious and a superclown looked

1326
01:18:24,360 --> 01:18:27,679
Speaker 1: clownish right in its appearance, and it's very weird and bad.

1327
01:18:27,840 --> 01:18:32,040
Speaker 1: Bad costume, bad costume, not a good way. And we've

1328
01:18:32,080 --> 01:18:34,040
Speaker 1: all rocked a Selena costume, and a lot of us

1329
01:18:34,080 --> 01:18:38,200
Speaker 1: can rock a very convincing Selena and and and the

1330
01:18:38,240 --> 01:18:42,200
Speaker 1: butt padding is very insulting because I consider that part

1331
01:18:42,240 --> 01:18:45,800
Speaker 1: of the futurism and part of the whitewashing, and you

1332
01:18:45,920 --> 01:18:48,840
Speaker 1: can see over time how you have Selena, who's someone

1333
01:18:49,000 --> 01:18:53,760
Speaker 1: very undeniably brown and of Native descent, and then j

1334
01:18:53,960 --> 01:18:56,320
Speaker 1: Loo has a much slimmer nose and a much smaller

1335
01:18:56,479 --> 01:19:00,759
Speaker 1: like button nose, and she's just a wee bit lighter.

1336
01:19:01,400 --> 01:19:04,080
Speaker 1: And then the actress now cast per Selena the series,

1337
01:19:04,160 --> 01:19:08,679
Speaker 1: her nose is even more slender and she's even lighter

1338
01:19:09,479 --> 01:19:13,160
Speaker 1: than j Lo, and I acknowledge that Selena was a technically,

1339
01:19:13,360 --> 01:19:15,080
Speaker 1: you know, a light brown, a light skinned woman, but

1340
01:19:15,200 --> 01:19:19,439
Speaker 1: brown nonetheless, And again it was brown and Mexican people

1341
01:19:19,880 --> 01:19:22,040
Speaker 1: who are filling the seats and going to her shows

1342
01:19:22,080 --> 01:19:25,679
Speaker 1: and supporting her and seeing themselves into her, not white people,

1343
01:19:27,160 --> 01:19:31,799
Speaker 1: not factually actually factually right. And in watching like Selena

1344
01:19:31,840 --> 01:19:36,160
Speaker 1: the series, in real life, Selena, besides her costumes, she

1345
01:19:36,280 --> 01:19:40,360
Speaker 1: didn't stand out glaringly from the demographic of her crowd.

1346
01:19:40,960 --> 01:19:44,280
Speaker 1: She looked like her crowd. You see now like Selena series,

1347
01:19:44,320 --> 01:19:46,639
Speaker 1: and she looks very foreign and different from her crowd.

1348
01:19:46,800 --> 01:19:49,679
Speaker 1: It looks like Madonna doing her crossover tour in Mexico,

1349
01:19:50,320 --> 01:19:53,639
Speaker 1: you know, it looks like Reeba doing her crossover tour

1350
01:19:53,840 --> 01:19:56,680
Speaker 1: in Mexico. And some of those scenes, right, which is

1351
01:19:56,920 --> 01:20:01,360
Speaker 1: jarring and noticeable. I think that another place where whitewashing

1352
01:20:01,439 --> 01:20:04,439
Speaker 1: has happened with casting is with the dancing and the

1353
01:20:04,520 --> 01:20:07,599
Speaker 1: lack of dancing in the series. Right. I think one

1354
01:20:07,640 --> 01:20:10,880
Speaker 1: of the amazing things about the movie is that they

1355
01:20:10,920 --> 01:20:13,479
Speaker 1: were able to find an actress and a performer in

1356
01:20:13,560 --> 01:20:17,040
Speaker 1: j Lo who could execute the dancing, the Columbia and

1357
01:20:17,200 --> 01:20:20,880
Speaker 1: the disco and all the other influences, you know, that

1358
01:20:21,200 --> 01:20:25,320
Speaker 1: the hand influences and everything else that Selena brought into

1359
01:20:25,400 --> 01:20:28,519
Speaker 1: her movement. And I think that's one of the great

1360
01:20:28,600 --> 01:20:31,840
Speaker 1: victories and great successes of the film, is casting a

1361
01:20:31,960 --> 01:20:34,799
Speaker 1: dancer who could execute and bring the music, the style,

1362
01:20:34,920 --> 01:20:38,880
Speaker 1: and the culture and the flavor to life. Um. It's

1363
01:20:38,920 --> 01:20:42,840
Speaker 1: one of the pieces that is missing from the series. Yeah,

1364
01:20:43,240 --> 01:20:45,840
Speaker 1: and I know that there's been a lot written about it,

1365
01:20:45,880 --> 01:20:48,519
Speaker 1: but it was it. It does seem like, in general,

1366
01:20:48,680 --> 01:20:55,160
Speaker 1: this series almost regresses from the problems that were already

1367
01:20:55,360 --> 01:20:57,920
Speaker 1: you know, well publicized and when well talked about when

1368
01:20:58,080 --> 01:21:01,360
Speaker 1: the movie's casting was released. You know, there was pretty

1369
01:21:01,400 --> 01:21:05,800
Speaker 1: significant backlash when j Low's casting was announced in the

1370
01:21:05,920 --> 01:21:08,719
Speaker 1: first place. Um, for many of the reasons you describe.

1371
01:21:08,760 --> 01:21:13,160
Speaker 1: But then instead of course correcting years later, making not

1372
01:21:13,400 --> 01:21:15,959
Speaker 1: even the same mistake, you know, kind of an escalated

1373
01:21:16,080 --> 01:21:21,760
Speaker 1: version of the same mistake. And what I want to

1374
01:21:22,280 --> 01:21:26,639
Speaker 1: push against is this notion that well Selena was white.

1375
01:21:26,840 --> 01:21:29,720
Speaker 1: I've literally seen people tweet this. I've seen people write

1376
01:21:29,800 --> 01:21:32,520
Speaker 1: this and like send tweet and it's the most preposterous,

1377
01:21:32,600 --> 01:21:38,400
Speaker 1: a historical, ridiculous thing I have ever gained to read

1378
01:21:38,720 --> 01:21:44,640
Speaker 1: in my life because just the lie, the inaccuracy, and

1379
01:21:44,720 --> 01:21:49,320
Speaker 1: there's so much video photo documentation of Selena it's really

1380
01:21:49,360 --> 01:21:53,320
Speaker 1: not up for to day, it's really that. So then

1381
01:21:53,880 --> 01:21:57,720
Speaker 1: to see the rewriting of history, well, this is what

1382
01:21:57,840 --> 01:21:59,560
Speaker 1: she looked like, and this is what this what she

1383
01:21:59,640 --> 01:22:01,680
Speaker 1: looked like. It it's like, that's not what she looks like,

1384
01:22:01,880 --> 01:22:04,599
Speaker 1: and it's important to remember what she looks like because

1385
01:22:04,640 --> 01:22:08,599
Speaker 1: we really haven't had another one since her. And part

1386
01:22:08,640 --> 01:22:11,120
Speaker 1: of it is like we have our pop stars, but

1387
01:22:11,200 --> 01:22:15,479
Speaker 1: they're very white looking Latin people, super white looking Latin people,

1388
01:22:16,080 --> 01:22:18,800
Speaker 1: and it's even as light skinned to Selina was. That's

1389
01:22:18,840 --> 01:22:24,400
Speaker 1: how colorist and white supremacist Hollywood and Mexican media is

1390
01:22:24,720 --> 01:22:27,679
Speaker 1: that they couldn't even prop up another brown skin girl

1391
01:22:27,840 --> 01:22:30,600
Speaker 1: like the real thing. You know, we keep it j

1392
01:22:30,760 --> 01:22:34,719
Speaker 1: low and whiter always and we just got a Yalizza

1393
01:22:34,840 --> 01:22:38,880
Speaker 1: Barrisio recently, you know, in the last couple few years.

1394
01:22:39,200 --> 01:22:42,519
Speaker 1: Um So, the the indigenous and brown representation, even within

1395
01:22:42,600 --> 01:22:45,639
Speaker 1: the Mexican communities for women on screen is just not there,

1396
01:22:45,960 --> 01:22:47,640
Speaker 1: and it's a crying shame and it's sucked up. And

1397
01:22:47,680 --> 01:22:50,360
Speaker 1: I also blame the men in their involvement because I

1398
01:22:50,439 --> 01:22:55,720
Speaker 1: think they have very whitewashed um beauty standard goggles that

1399
01:22:55,840 --> 01:23:00,599
Speaker 1: they look through. Absolutely. Yeah, well that's a a problem

1400
01:23:00,680 --> 01:23:03,639
Speaker 1: that we talk about a lot, just kind of adhering

1401
01:23:03,680 --> 01:23:08,599
Speaker 1: to Western beauty standards, and Hollywood has as a terrible

1402
01:23:08,920 --> 01:23:14,040
Speaker 1: history of whitewashing or erasing I mean again kind of

1403
01:23:14,160 --> 01:23:16,400
Speaker 1: zooming out a little bit. As far as Latin X

1404
01:23:16,479 --> 01:23:21,439
Speaker 1: representation in mainstream American movies, the representation has either been

1405
01:23:21,840 --> 01:23:28,200
Speaker 1: non existent or they're but full of reductive stereotypes or

1406
01:23:28,960 --> 01:23:34,320
Speaker 1: whitewashed with I think pretty commonly white actors playing in

1407
01:23:34,520 --> 01:23:43,040
Speaker 1: like British people from England playing Miss Katherine Zeta, right, yeah,

1408
01:23:43,360 --> 01:23:50,800
Speaker 1: our favorite Mexican crews are other favorite Mexican Yeah, so

1409
01:23:51,080 --> 01:23:55,880
Speaker 1: just like European people playing Latin X characters. I have

1410
01:23:56,000 --> 01:23:59,519
Speaker 1: a just a quick list here of some examples. Ben

1411
01:23:59,640 --> 01:24:04,320
Speaker 1: Affle plays a real life Mexican American man Antonio J.

1412
01:24:04,560 --> 01:24:15,559
Speaker 1: Mendez and Argo Umize I have not seen Argo um

1413
01:24:15,840 --> 01:24:19,120
Speaker 1: Al Pacino plays a Puerto Rican character in Carlt's Way.

1414
01:24:19,600 --> 01:24:25,400
Speaker 1: Juliette Binoche plays uh Maria Segovia, a real life Chilean

1415
01:24:25,600 --> 01:24:29,920
Speaker 1: woman in the movie The thirty Three. Jennifer Connelly plays

1416
01:24:29,960 --> 01:24:34,080
Speaker 1: a real life Salvadorian woman in Beautiful Mind. Alicia Nash

1417
01:24:34,880 --> 01:24:40,760
Speaker 1: Charlton Heston god This plays a Mexican character in Touch

1418
01:24:40,800 --> 01:24:47,040
Speaker 1: of Evil um Unfortunately, our King Alfred Molina has trade

1419
01:24:47,240 --> 01:24:51,040
Speaker 1: a real life Mexican artist, Diego Rivera, of course in Frida.

1420
01:24:51,200 --> 01:24:54,479
Speaker 1: Like there's a lot of these examples. It's just all

1421
01:24:54,600 --> 01:24:57,599
Speaker 1: too common. And to see a version of this happening

1422
01:24:57,800 --> 01:25:01,960
Speaker 1: in the casting of projects about Lena, where they are

1423
01:25:02,160 --> 01:25:07,600
Speaker 1: erasing real life Selena's indigenous roots and features is like

1424
01:25:09,560 --> 01:25:12,400
Speaker 1: there's just no excuse for it. And the racism in

1425
01:25:12,479 --> 01:25:15,200
Speaker 1: the casting and in Latin American media is like, does

1426
01:25:15,240 --> 01:25:19,320
Speaker 1: a couple of things so it will replace like what

1427
01:25:19,520 --> 01:25:21,519
Speaker 1: we would refer to as a mess pisa, right, like

1428
01:25:21,520 --> 01:25:23,840
Speaker 1: I would be a mestiza, Selena be messisa like of

1429
01:25:23,920 --> 01:25:27,840
Speaker 1: indigenous and European and honestly for many Mexicans that we

1430
01:25:27,880 --> 01:25:30,920
Speaker 1: don't always acknowledge or talk about. There's there's also a

1431
01:25:31,000 --> 01:25:35,120
Speaker 1: lot of Afro Indigenous and Afro Missisa heritage and communities

1432
01:25:35,160 --> 01:25:38,360
Speaker 1: out there. I've seen people tweet that Selena was white.

1433
01:25:38,439 --> 01:25:41,600
Speaker 1: I've also seen people tweet that Selena looks Afro Indigenous

1434
01:25:41,680 --> 01:25:44,400
Speaker 1: to them, you know, and that a light skinned black

1435
01:25:44,439 --> 01:25:47,639
Speaker 1: actress could have played Selena um And it's so it's

1436
01:25:47,760 --> 01:25:51,320
Speaker 1: extremely interesting to see the range of how we interpret

1437
01:25:51,400 --> 01:25:54,840
Speaker 1: her today. But what happens is the racism as such

1438
01:25:54,960 --> 01:25:58,759
Speaker 1: that even a light skin Latina mestiza like Selena gets

1439
01:25:59,520 --> 01:26:02,559
Speaker 1: cast by like non Mexican and super white looking people.

1440
01:26:03,520 --> 01:26:07,080
Speaker 1: And then you have a ton of Afro Latinos historically

1441
01:26:07,160 --> 01:26:10,720
Speaker 1: acting in Hollywood. The racism is such that they never

1442
01:26:10,840 --> 01:26:14,600
Speaker 1: are cast as Latino characters ever, and they're not acknowledged

1443
01:26:14,640 --> 01:26:19,040
Speaker 1: and celebrated as Latin Latino actors and actresses. Gina Torres

1444
01:26:19,120 --> 01:26:21,880
Speaker 1: has is you know, uh after Latino actors, and she

1445
01:26:22,080 --> 01:26:25,720
Speaker 1: has been very vocal historically about her racier and exclusion

1446
01:26:26,240 --> 01:26:29,200
Speaker 1: from Latin American media spaces, and so she plays like

1447
01:26:29,280 --> 01:26:34,280
Speaker 1: black American characters a lot of after Latino actors musicians

1448
01:26:34,800 --> 01:26:39,160
Speaker 1: are embraced in black Hollywood and playing Black American African

1449
01:26:39,200 --> 01:26:43,679
Speaker 1: American characters, but Latin media's against so racists that they're

1450
01:26:43,720 --> 01:26:46,320
Speaker 1: not even seen or recognized at all anywhere. The space

1451
01:26:46,479 --> 01:26:49,680
Speaker 1: is not even present for them, right, And so it's

1452
01:26:50,000 --> 01:26:53,080
Speaker 1: it's this is how the whitewashing is done of real

1453
01:26:53,240 --> 01:26:56,200
Speaker 1: life POC. You know, they're just getting replaced with white

1454
01:26:56,240 --> 01:27:00,479
Speaker 1: people are being rejected from the space completely. They cannot

1455
01:27:00,520 --> 01:27:03,320
Speaker 1: pass as wid or they were not you know, light enough,

1456
01:27:03,439 --> 01:27:06,479
Speaker 1: or if they were black in real life m O

1457
01:27:10,439 --> 01:27:14,760
Speaker 1: levels level. I mean, there was even I I saw

1458
01:27:15,240 --> 01:27:19,080
Speaker 1: in it may have been from scholarly journal Wikipedia, but

1459
01:27:19,160 --> 01:27:22,559
Speaker 1: that there were white actresses in the running to play

1460
01:27:22,640 --> 01:27:26,680
Speaker 1: Selena in in nineties seven, like and that Hollywood was like,

1461
01:27:26,760 --> 01:27:30,679
Speaker 1: well you should you know, here's j Lo is not white,

1462
01:27:31,200 --> 01:27:35,440
Speaker 1: as if that is as if that is a representation,

1463
01:27:36,240 --> 01:27:39,760
Speaker 1: when like, it's just so maddening. But it did seem

1464
01:27:39,840 --> 01:27:42,240
Speaker 1: like from what I was able to find that at

1465
01:27:42,320 --> 01:27:45,840
Speaker 1: least in the early stages of production, there were white

1466
01:27:45,880 --> 01:27:49,000
Speaker 1: actresses in the running to to play Selena, which is

1467
01:27:49,080 --> 01:27:52,720
Speaker 1: just yeah, and the question that I always have, and

1468
01:27:52,840 --> 01:27:54,880
Speaker 1: especially when we're talking about real life people, you know,

1469
01:27:55,040 --> 01:27:57,800
Speaker 1: casting as a choice, a lot of people weighing on

1470
01:27:58,120 --> 01:28:00,200
Speaker 1: and if we can choose to go lighter and dinner

1471
01:28:00,240 --> 01:28:02,320
Speaker 1: and more euro why aren't Why can't we choose to

1472
01:28:02,439 --> 01:28:06,120
Speaker 1: go darker and more indigenous? Why can't we go browner?

1473
01:28:06,560 --> 01:28:09,479
Speaker 1: Why can't we go fuller? Figured? These choices are made,

1474
01:28:09,520 --> 01:28:12,840
Speaker 1: but it's always in the same direction, and it's problematic.

1475
01:28:13,080 --> 01:28:15,559
Speaker 1: And look, there are so many Selena tribute artists who

1476
01:28:15,640 --> 01:28:18,759
Speaker 1: are of appropriate age. And I don't like to judge

1477
01:28:18,760 --> 01:28:20,920
Speaker 1: actresses based on their age, because if you can act,

1478
01:28:20,960 --> 01:28:23,360
Speaker 1: you connect and you can overcome age in a lot

1479
01:28:23,360 --> 01:28:25,600
Speaker 1: of ways on screen, but also when you're playing like

1480
01:28:25,640 --> 01:28:28,200
Speaker 1: a literal fifteen year old and you're thirty, like things

1481
01:28:28,280 --> 01:28:31,000
Speaker 1: happen with that, with with it on screen, just things

1482
01:28:31,080 --> 01:28:34,160
Speaker 1: happen with that, you know. And um, I have that

1483
01:28:34,240 --> 01:28:36,719
Speaker 1: group with Selena the series and and even with Selena

1484
01:28:36,760 --> 01:28:39,040
Speaker 1: the movie. You know, the girls are out there, the

1485
01:28:39,120 --> 01:28:41,280
Speaker 1: South Texas girls are out there, and I want to

1486
01:28:41,320 --> 01:28:45,240
Speaker 1: come back to Selena was exceptionally talented, but she wasn't

1487
01:28:45,520 --> 01:28:47,519
Speaker 1: exceptional as far as her look. There's a lot of

1488
01:28:47,560 --> 01:28:50,120
Speaker 1: beautiful girls who look like Selena. A lot of beautiful

1489
01:28:50,120 --> 01:28:53,400
Speaker 1: girls who look like Selena and they're out there, so

1490
01:28:54,040 --> 01:28:56,160
Speaker 1: you know, I want that to be part of the

1491
01:28:56,240 --> 01:28:58,640
Speaker 1: narrative to that these are choices that are made, but

1492
01:28:58,720 --> 01:29:02,599
Speaker 1: not for lack of options exactly. Hell yeah, Is there

1493
01:29:02,760 --> 01:29:05,400
Speaker 1: was there anything else, um that either of you wanted

1494
01:29:05,439 --> 01:29:07,800
Speaker 1: to hit on? I think that that's about everything I have.

1495
01:29:08,800 --> 01:29:12,479
Speaker 1: I have a couple of really quick things. One we

1496
01:29:12,680 --> 01:29:19,120
Speaker 1: see a makeover montage, but this time it's a man over.

1497
01:29:19,520 --> 01:29:23,200
Speaker 1: I love the hair cutting bats unsceen love it the

1498
01:29:23,320 --> 01:29:28,200
Speaker 1: cutting of the like punk bracelets off with like wire

1499
01:29:28,280 --> 01:29:33,400
Speaker 1: cutters or whatever. That is good. Love that because we

1500
01:29:33,479 --> 01:29:37,759
Speaker 1: always talk about you know, makeover montages being reserved mostly

1501
01:29:37,840 --> 01:29:41,439
Speaker 1: for women and that being done too like better appeal

1502
01:29:41,520 --> 01:29:44,840
Speaker 1: to a man um. Now I feel like that. Yeah,

1503
01:29:44,880 --> 01:29:48,120
Speaker 1: this for Selena, it's it's the total opposite where that's

1504
01:29:48,160 --> 01:29:50,360
Speaker 1: like one of the few areas of self expression that

1505
01:29:50,479 --> 01:29:54,920
Speaker 1: she gets to, you know, really curate for herself. She

1506
01:29:54,960 --> 01:29:58,360
Speaker 1: doesn't need a makeover. She's like she's got the instinct,

1507
01:29:58,479 --> 01:30:02,280
Speaker 1: like she's got the style. Yeah right right. Um. I

1508
01:30:02,360 --> 01:30:05,840
Speaker 1: also just wanted to shout out Suzette for kind of

1509
01:30:06,000 --> 01:30:09,840
Speaker 1: breaking barriers as a woman drummer, which I wish got

1510
01:30:09,920 --> 01:30:11,760
Speaker 1: touched on in the movie a little bit more. They do.

1511
01:30:12,160 --> 01:30:17,000
Speaker 1: Like there's a couple moments where Suzette as a child

1512
01:30:17,280 --> 01:30:20,000
Speaker 1: is like, girls don't play drums, and she's like really

1513
01:30:20,280 --> 01:30:23,920
Speaker 1: resentful that she got stuck with the drums until she

1514
01:30:24,040 --> 01:30:29,280
Speaker 1: realized she was a pioneer. Right. Um, but yeah, I

1515
01:30:29,360 --> 01:30:35,480
Speaker 1: just I love you know, women as drummers representation, absolutely,

1516
01:30:35,720 --> 01:30:38,080
Speaker 1: I agree. And and being you know, like a plus

1517
01:30:38,120 --> 01:30:40,680
Speaker 1: size girl and they plus size the actress and I

1518
01:30:40,720 --> 01:30:46,280
Speaker 1: appreciate they They were really um excellent with that casting choice.

1519
01:30:46,320 --> 01:30:48,519
Speaker 1: I think as Susette she was great. Yeah, I wish

1520
01:30:48,560 --> 01:30:51,560
Speaker 1: she was I wish she had more to do. And

1521
01:30:51,640 --> 01:30:53,479
Speaker 1: I loved all her girls and her hats. I loved

1522
01:30:53,520 --> 01:30:59,120
Speaker 1: all her also iconic looks that Suzette is delivering. Should

1523
01:30:59,120 --> 01:31:01,120
Speaker 1: talk about those as well. Uh. And I think my

1524
01:31:01,200 --> 01:31:06,040
Speaker 1: final just little thing was um, women eating on screen representation.

1525
01:31:06,320 --> 01:31:09,760
Speaker 1: You have that scene where the pizza She's like, I

1526
01:31:09,800 --> 01:31:11,960
Speaker 1: can eat a whole medium pizza by myself and I

1527
01:31:12,040 --> 01:31:15,040
Speaker 1: love Pepperoni, and I I scarf to Rito's, and that

1528
01:31:15,120 --> 01:31:17,639
Speaker 1: you actually see her eat and not just like talk

1529
01:31:17,800 --> 01:31:20,000
Speaker 1: because sometimes we'll have there will be seen. Like I

1530
01:31:20,080 --> 01:31:23,639
Speaker 1: always think of there's something about Mary, where Cameron Diaz

1531
01:31:23,720 --> 01:31:27,080
Speaker 1: is like, I love going to the baseball game and

1532
01:31:27,320 --> 01:31:30,320
Speaker 1: having a corn dog and drinking a bunch of beers.

1533
01:31:31,000 --> 01:31:33,680
Speaker 1: She's saying this while at lunch with her girlfriends. They

1534
01:31:33,720 --> 01:31:35,600
Speaker 1: all have salads in front of them, and none of

1535
01:31:35,800 --> 01:31:39,120
Speaker 1: the characters even eat the salad. That's just like, I think,

1536
01:31:39,240 --> 01:31:45,599
Speaker 1: maybe the most um iconic, least feminist moments committed to film.

1537
01:31:45,880 --> 01:31:49,080
Speaker 1: That is, like, I'm not like other girls. I'm starving

1538
01:31:49,439 --> 01:31:54,960
Speaker 1: like the horrible, horrible, horrible, horrible right she was, And

1539
01:31:55,040 --> 01:31:57,040
Speaker 1: I mean I think about it too. She probably ate

1540
01:31:57,080 --> 01:31:59,320
Speaker 1: a lot, because that's a lot of calories, a lot

1541
01:31:59,360 --> 01:32:03,840
Speaker 1: of performing, letter rehearsing, probably constantly eating. Love that for her.

1542
01:32:04,960 --> 01:32:12,760
Speaker 1: She eats the chips, she steals susettees Dorito's. That's feminist. Yeah,

1543
01:32:13,160 --> 01:32:16,760
Speaker 1: is there anything else you wanted to touch on? Mala? No,

1544
01:32:16,960 --> 01:32:19,080
Speaker 1: I think that was very thorough. I think we got

1545
01:32:19,160 --> 01:32:21,240
Speaker 1: all I think we got all of it. I feel

1546
01:32:21,320 --> 01:32:25,840
Speaker 1: great about what we've done here today. Yeah. Well, with

1547
01:32:26,080 --> 01:32:33,960
Speaker 1: that in mind, does this movie pass the Bechdel Test? Yes? Yeah,

1548
01:32:36,040 --> 01:32:40,519
Speaker 1: another win, another another win. Yeah, we have we do see,

1549
01:32:40,600 --> 01:32:42,120
Speaker 1: even though I wish there were more than we do.

1550
01:32:42,200 --> 01:32:45,400
Speaker 1: See scenes where Selena and Suzette talked to each other

1551
01:32:45,760 --> 01:32:50,519
Speaker 1: about you know, music or other things that aren't a

1552
01:32:50,600 --> 01:32:54,680
Speaker 1: man Selena and her mother Marcella, which brings us to

1553
01:32:54,840 --> 01:32:59,400
Speaker 1: our nipple scale, which is our metric where we rate

1554
01:32:59,479 --> 01:33:04,400
Speaker 1: a movie from zero to five nipples based on an

1555
01:33:04,479 --> 01:33:10,760
Speaker 1: intersectional feminist examination of the movie, and based on I

1556
01:33:10,880 --> 01:33:13,600
Speaker 1: wasn't quite sure where I would land. I think like

1557
01:33:13,840 --> 01:33:16,640
Speaker 1: we need, I like needed our conversation to happen to

1558
01:33:17,120 --> 01:33:21,000
Speaker 1: to really, um make me figure out what my rating

1559
01:33:21,120 --> 01:33:24,120
Speaker 1: was going to be. I want to rate it highly.

1560
01:33:24,640 --> 01:33:26,800
Speaker 1: But we also, you know, so many good points were

1561
01:33:26,920 --> 01:33:30,680
Speaker 1: brought up about there needs to be more Latin X

1562
01:33:30,760 --> 01:33:39,360
Speaker 1: representation in mainstream Hollywood media that is not about the

1563
01:33:39,479 --> 01:33:42,960
Speaker 1: same person over and over again. Um, there just needs

1564
01:33:43,040 --> 01:33:46,760
Speaker 1: to be a wider scope of stories and people being explored.

1565
01:33:47,360 --> 01:33:52,760
Speaker 1: The white washing of Selena in the casting. But then

1566
01:33:52,960 --> 01:33:54,360
Speaker 1: you know, at the same time, there's a lot of

1567
01:33:54,400 --> 01:33:57,760
Speaker 1: things that I think we're handled really well, the conversations

1568
01:33:57,800 --> 01:34:03,200
Speaker 1: about identity, the the relations the romantic relationship. But then

1569
01:34:03,520 --> 01:34:06,360
Speaker 1: kind of like on the flip side of that, I'm

1570
01:34:06,400 --> 01:34:09,680
Speaker 1: just like, well, I wish there hadn't been so much

1571
01:34:09,760 --> 01:34:13,599
Speaker 1: focus on Selena's relationships with these two men in her life,

1572
01:34:13,640 --> 01:34:17,160
Speaker 1: her father and and Chris, and that it wasn't so

1573
01:34:17,400 --> 01:34:21,600
Speaker 1: filtered through the lens of like Abraham king Toniaz. I

1574
01:34:21,680 --> 01:34:25,120
Speaker 1: wish like we could explore other kind of people's perspectives

1575
01:34:25,479 --> 01:34:28,479
Speaker 1: of her life, so it wasn't just like filtered through

1576
01:34:29,120 --> 01:34:32,640
Speaker 1: his kind of control and lens. So I don't know.

1577
01:34:32,840 --> 01:34:35,320
Speaker 1: I'm well, I think I'm going to give it a

1578
01:34:35,800 --> 01:34:41,479
Speaker 1: four nipples, and I will give two of them to Selena.

1579
01:34:42,080 --> 01:34:45,280
Speaker 1: I will give one to Suzette, and I will give

1580
01:34:45,360 --> 01:34:54,360
Speaker 1: one to Suzette's drum. Set'll go, I'll go for as well. Um,

1581
01:34:54,840 --> 01:34:58,000
Speaker 1: I think that there there are certainly, I mean, I

1582
01:34:58,080 --> 01:35:00,400
Speaker 1: don't know. Especially, I think that I'm coming from a

1583
01:35:00,479 --> 01:35:03,360
Speaker 1: slightly biased place, having like watched the movie in a

1584
01:35:03,479 --> 01:35:08,320
Speaker 1: series pretty close together and greatly preferring the movie to

1585
01:35:08,439 --> 01:35:12,160
Speaker 1: this series. But even even I mean, all things considered,

1586
01:35:12,200 --> 01:35:15,640
Speaker 1: I think that the discussion about colorism should continue to

1587
01:35:15,680 --> 01:35:17,800
Speaker 1: be had, and as it pertains to this movie and

1588
01:35:17,960 --> 01:35:22,000
Speaker 1: to the casting of Selena in particular, because it's like

1589
01:35:22,080 --> 01:35:26,679
Speaker 1: how we curate and present our icons over the course

1590
01:35:26,720 --> 01:35:30,000
Speaker 1: of years does make a huge, huge, huge difference, And

1591
01:35:30,040 --> 01:35:32,519
Speaker 1: I feel like that's you know, just something that is

1592
01:35:32,600 --> 01:35:37,200
Speaker 1: always going to warrant further discussion, um, especially because an

1593
01:35:37,439 --> 01:35:41,000
Speaker 1: icon is so kind of malleable, and and you should

1594
01:35:41,360 --> 01:35:43,320
Speaker 1: you know, as time goes on, you should be getting

1595
01:35:43,640 --> 01:35:48,320
Speaker 1: better at representing them, not worse. Um. But in terms

1596
01:35:48,400 --> 01:35:52,360
Speaker 1: of how um Selena is written and kind of honored

1597
01:35:52,439 --> 01:35:56,160
Speaker 1: in this movie. You know, I'm not a Selena expert,

1598
01:35:56,200 --> 01:35:59,519
Speaker 1: but but as far as she's presented, I mean, she's amazing.

1599
01:35:59,720 --> 01:36:05,360
Speaker 1: She is like extremely motivated. She is navigating her identity,

1600
01:36:05,439 --> 01:36:08,760
Speaker 1: whether that means culturally or as a woman, or just

1601
01:36:08,920 --> 01:36:13,120
Speaker 1: as a fucking person who wants some control over their

1602
01:36:13,280 --> 01:36:16,880
Speaker 1: own life. And yeah, I mean I'm always going to

1603
01:36:16,960 --> 01:36:20,320
Speaker 1: wish that you get the other sides of her. And um,

1604
01:36:21,200 --> 01:36:23,360
Speaker 1: I don't know that the telling this that her legacy

1605
01:36:23,439 --> 01:36:26,920
Speaker 1: is still kind of a tug of war between two

1606
01:36:27,040 --> 01:36:30,479
Speaker 1: male figures in her life is like, I mean, that's

1607
01:36:30,520 --> 01:36:33,240
Speaker 1: always going to be the thing, right, is Like you

1608
01:36:33,360 --> 01:36:36,240
Speaker 1: just wish that she she could have lived to tell

1609
01:36:36,280 --> 01:36:40,000
Speaker 1: her own story. But as as far as this adaptation goes, like,

1610
01:36:40,120 --> 01:36:43,040
Speaker 1: I feel like it's you get more of a sense

1611
01:36:43,240 --> 01:36:47,520
Speaker 1: of her like spirit and her life and the complications

1612
01:36:47,880 --> 01:36:50,880
Speaker 1: of who she was. And I love it, and I've

1613
01:36:50,880 --> 01:36:53,400
Speaker 1: watched it more times than I needed to to get ready,

1614
01:36:53,400 --> 01:36:58,640
Speaker 1: I watched it four times. It's just because it's a

1615
01:36:58,760 --> 01:37:01,360
Speaker 1: really good movie. On top of everything we've talked about,

1616
01:37:01,360 --> 01:37:04,680
Speaker 1: it's just a goodass movie. So um so yeah, I'll

1617
01:37:04,680 --> 01:37:08,040
Speaker 1: give it four nipples, uh two to Selena and complete

1618
01:37:08,080 --> 01:37:12,160
Speaker 1: the set, and then I'll give one to Marcella, and

1619
01:37:12,200 --> 01:37:13,720
Speaker 1: then I'll give one to a friend that's at the

1620
01:37:13,800 --> 01:37:21,599
Speaker 1: house a lot. She I love it. I think I wanna.

1621
01:37:22,080 --> 01:37:24,800
Speaker 1: I mean, because it's Selena. I want I always want

1622
01:37:24,840 --> 01:37:28,120
Speaker 1: to give a perfect score, a plus five stars, you know,

1623
01:37:28,720 --> 01:37:31,200
Speaker 1: so just off of her name. Off the strength of

1624
01:37:31,360 --> 01:37:35,680
Speaker 1: her name and her legacy alone made the film good

1625
01:37:35,800 --> 01:37:38,160
Speaker 1: because the source material was so good. It's hard to

1626
01:37:38,240 --> 01:37:42,000
Speaker 1: funk up excellent source material, right to funk up excellent

1627
01:37:42,040 --> 01:37:44,320
Speaker 1: source material, which is part of my gripe. But the

1628
01:37:44,439 --> 01:37:47,640
Speaker 1: movie right like it was true to the material, so

1629
01:37:47,720 --> 01:37:49,760
Speaker 1: it was good. So I want to give it five.

1630
01:37:49,880 --> 01:37:51,439
Speaker 1: I want to give five nipples and I want to

1631
01:37:51,479 --> 01:37:54,920
Speaker 1: get I want to give three nipples to Selena. Yeah yeah,

1632
01:37:54,920 --> 01:37:56,760
Speaker 1: I'm gonna give t nipples to Selena though, because I

1633
01:37:56,880 --> 01:37:59,439
Speaker 1: want to give one to Marcella because she doesn't get enough.

1634
01:38:00,640 --> 01:38:02,599
Speaker 1: I want to susatte and I want to honestly give

1635
01:38:02,640 --> 01:38:04,679
Speaker 1: a nipple to Chris Perez because I think that Chris

1636
01:38:04,760 --> 01:38:07,320
Speaker 1: Perez was like an advocate for her and still is

1637
01:38:07,439 --> 01:38:10,240
Speaker 1: and like very on her side in an empowering sort

1638
01:38:10,280 --> 01:38:13,040
Speaker 1: of way. Because I think he as he as a musician,

1639
01:38:13,080 --> 01:38:17,000
Speaker 1: could appreciate the artist that she was and the individual

1640
01:38:17,120 --> 01:38:18,920
Speaker 1: that she was. So I want to give Chris a

1641
01:38:18,960 --> 01:38:21,400
Speaker 1: little shout out because they give him a hard time.

1642
01:38:21,720 --> 01:38:25,680
Speaker 1: M I love it, Chris, I mean even the way

1643
01:38:25,720 --> 01:38:31,080
Speaker 1: the movie shows him. Chris Perez male feminist certified daddy.

1644
01:38:31,680 --> 01:38:36,760
Speaker 1: Yeah yeah, well mama, thank you so much for being here.

1645
01:38:36,840 --> 01:38:40,120
Speaker 1: This has been incredible. Yeah, this was fun. Thank you

1646
01:38:40,160 --> 01:38:42,120
Speaker 1: for having me and let me know what gress out.

1647
01:38:42,120 --> 01:38:44,160
Speaker 1: I can't wait to hear it. Oh my gosh. Yeah,

1648
01:38:44,320 --> 01:38:47,840
Speaker 1: and come back anytime. Okay, I have you back. Um,

1649
01:38:48,000 --> 01:38:51,840
Speaker 1: where can people check out your stuff? Follow you online,

1650
01:38:51,920 --> 01:38:55,080
Speaker 1: check out your podcast? Tell us everything? Oh my god.

1651
01:38:55,160 --> 01:38:57,200
Speaker 1: So if you want to leten to my podcast, Um,

1652
01:38:57,280 --> 01:39:00,880
Speaker 1: I'm one half of lookal Radio a Radiola, which is

1653
01:39:00,960 --> 01:39:03,920
Speaker 1: just a very extra way of saying a podcast posted

1654
01:39:04,880 --> 01:39:08,160
Speaker 1: with my good friend and co producer Thesa FM. So

1655
01:39:08,320 --> 01:39:10,960
Speaker 1: you can find look at what our radio across streaming

1656
01:39:11,000 --> 01:39:15,479
Speaker 1: platforms were online. Follow us on Instagram, on Twitter, TikTok

1657
01:39:15,560 --> 01:39:18,720
Speaker 1: look at Underscore radio. If you want to follow me

1658
01:39:18,840 --> 01:39:23,120
Speaker 1: as an individual, I'm at Mala Underscore monos on all

1659
01:39:23,200 --> 01:39:26,040
Speaker 1: socials and I'm also not only fans, so subscribe to

1660
01:39:26,080 --> 01:39:32,080
Speaker 1: my only fans awesome. You can check us out on

1661
01:39:32,160 --> 01:39:35,439
Speaker 1: Twitter and Instagram at bechtel Cast. You can subscribe to

1662
01:39:35,680 --> 01:39:38,840
Speaker 1: our patreon ak Matreon. It's five dollars a month and

1663
01:39:38,960 --> 01:39:42,559
Speaker 1: it gets you access to two bonus episodes every single month.

1664
01:39:42,920 --> 01:39:48,200
Speaker 1: Imagine imagine that plus the entire back catalog, which is

1665
01:39:48,400 --> 01:39:52,840
Speaker 1: somewhere around like seventy or eighty episodes. Now, so too many,

1666
01:39:53,920 --> 01:39:58,439
Speaker 1: There's a lot. I'd say, actually not enough, but there

1667
01:39:58,479 --> 01:40:00,439
Speaker 1: you go. Okay, so that is that is the half

1668
01:40:00,600 --> 01:40:05,439
Speaker 1: full energy we do need to be bringing. I was

1669
01:40:05,520 --> 01:40:12,760
Speaker 1: like still living going how you can also get us

1670
01:40:12,760 --> 01:40:19,400
Speaker 1: smirch on t felic dot com, slash the back Pelcast indeed,

1671
01:40:20,200 --> 01:40:23,160
Speaker 1: and um, you know. To close out, I would just

1672
01:40:23,320 --> 01:40:30,920
Speaker 1: like to say bitty bitty bum bum bye bye bye baby,

1673
01:40:31,040 --> 01:40:31,439
Speaker 1: bye bye