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Speaker 1: Attention Bechdel Cast listeners, especially those who lived in the

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Speaker 1: UK or Ireland and or anywhere that you could easily

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Speaker 1: get to either of those places.

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Speaker 2: We're going on tour, baby, and it's not just any tour.

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Speaker 2: It's the Shrek Tannic Tour. That's right. Shrek and or

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Speaker 2: Titanic are the movies recovering on this tour at the

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Speaker 2: demand of us, and you question mark, see you there,

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Speaker 2: We'll figure it out.

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Speaker 1: Yeah, you might have heard other episodes where we've talked

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Speaker 1: about Titanic or talked about one of the Shrek movies,

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Speaker 1: but you're in for some surprises on this tour. We're

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Speaker 1: gonna be doing stuff you haven't seen before. There's gonna

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Speaker 1: be games, there's gonna be clips, there's gonna be costumes,

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Speaker 1: there's gonna be all kinds of new and interesting and

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Speaker 1: exciting things. It's a spectacle.

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Speaker 2: It's gonna be fun. It's a celebration of the movies,

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Speaker 2: but it's also just a celebration of the show and

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Speaker 2: the Bechdelcast community. We've never done a full tour across

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Speaker 2: the Pond before and we're very, very excited to come

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Speaker 2: and see everybody. So hopefully, if you're in the area,

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Speaker 2: you can make it. It's during the spring. We're gonna have fun.

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Speaker 1: Our first leg of the tour is in London on

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Speaker 1: May twenty second. There are two shows that night, a

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Speaker 1: six point thirty show on Shrek and a nine o'clock

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Speaker 1: show on Titanic.

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Speaker 2: Next, on May twenty fourth, we are going to be

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Speaker 2: in Oxford as a part of the Saint Audio Podcast Festival.

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Speaker 1: Then we're scooting up to Edinburgh. On May twenty sixth

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Speaker 1: we are covering Shrek.

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Speaker 2: Then on May twenty eighth we are in Manchester once

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Speaker 2: again covering Titanic.

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Speaker 1: And finally a show that we recently added in Dublin

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Speaker 1: on May twenty ninth that is also a Titanic show.

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Speaker 2: We're so excited to meet everybody. We chose two of

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Speaker 2: our favorite movies so that we can celebrate the community

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Speaker 2: and just have a good time. So please come out.

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Speaker 2: You can get all of the tickets over at our

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Speaker 2: link tree, which is in the description link Tree slash

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Speaker 2: Bechdel Cast, and we hope to see you there. We

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Speaker 2: have such ridiculous outfits, oh my gosh, and exclusive merch

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Speaker 2: and everything else, so you.

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Speaker 1: Don't even know how many videos I've edited for these

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Speaker 1: shows to screen. I'm so excited.

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Speaker 2: Thank for everyone to see incredible flex.

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Speaker 1: Thank you all right, we will see you.

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Speaker 2: There, see you there.

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Speaker 3: On the Bechdel Cast, the questions asked if movies have

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Speaker 3: women and them, are all their discussions just boyfriends and

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Speaker 3: husbands or do they have individualism? It's the patriarchy, zeph

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Speaker 3: and bast start changing it with the Bechdel Cast.

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Speaker 1: Thes are alive. Wow, my beautiful singing force with us

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Speaker 1: sound well, the sound of podcasts, of.

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Speaker 2: Course, can you imagine? I mean, that's a real dystopia.

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Speaker 2: If the hills are alive with the sound of podcasts,

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Speaker 2: that is like, so I would be so scared, And

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Speaker 2: this is my job, and I cannot advocate for a

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Speaker 2: world in which the hills are alive with the sound

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Speaker 2: of podcasts. That's a dangerous world. That's a slippery slope.

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Speaker 1: That's dystopia for sure.

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Speaker 2: Yeah, that's hell. The hills are alive with the sound

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Speaker 2: of podcasts.

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Speaker 1: In hell, Hell is alive with the sound of podcasts.

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Speaker 2: Ed boy, is it welcome to imagine that? I quite

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Speaker 2: liked that opening up. Okay, welcome to the Bedel Cast.

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Speaker 2: My name is Jamie loftis.

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Speaker 1: My name is Caitlin Deronte, and this is our show

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Speaker 1: where we examine movies through an intersectional feminist lens, using

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Speaker 1: the Bechdel test simply as a jumping off point something

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Speaker 1: to inspire larger conversations about representation and things of that nature.

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Speaker 1: But Jamie, what's the Bechdel test though?

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Speaker 2: Well? The Bechdel test is a media metric created by

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Speaker 2: Alison Bechdel, sometimes called the Bechdel Wallace Test because she

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Speaker 2: co created it with her friend Liz Wallace. Originally appeared

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Speaker 2: in her Amazing comics collection Dikes to Watch out For

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Speaker 2: as a joke pointing out how not just how how

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Speaker 2: infrequently that's the word I was looking for, how infrequently

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Speaker 2: women talk in movies, but how infrequently queer women appear

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Speaker 2: in movies at all. Yes, this later became a more

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Speaker 2: sort of sanitized media metric that we use as a

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Speaker 2: jumping off point for discussion. So the version of the

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Speaker 2: tests that we use and talk about for all of

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Speaker 2: three seconds in every episode is that we require two

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Speaker 2: characters of a marginalized gender with names talk to each

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Speaker 2: other about something other than a man for more than

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Speaker 2: two lines of dialogue, and it should be plot moving dialogue. Yeah,

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Speaker 2: that is the Bechdel test. And the hills are alive

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Speaker 2: with the sound.

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Speaker 1: Of women talking to each other. Yes, wow, in heaven

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Speaker 1: that is wow.

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Speaker 2: Can you imagine being banished to like the hills where

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Speaker 2: it's just like Joe Rogan?

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Speaker 1: Oh my god, don't even put that out into the universe.

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Speaker 2: Sometimes I like to think about, like, what would be

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Speaker 2: an interesting version of Hell that's a fun one, completely empty,

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Speaker 2: or like, the hills are beautiful, the weather is perfect

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Speaker 2: all the time, but you can't turn off the Joe

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Speaker 2: Rogan so you can never enjoy it.

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Speaker 1: Yikes. Yeah that does sound like Hell.

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Speaker 2: Thank you so much.

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Speaker 1: Anyway, the movie we're talking about today is the Sound

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Speaker 1: of music if you haven't figured it out, And we

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Speaker 1: have an amazing guest joining us today. She is the

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Speaker 1: director of strategy and Partnerships for the Working Families Parties.

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Speaker 1: She's the co founder of the Resistance Revival Course. She's

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Speaker 1: also a former children's theater actress and has ties to

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Speaker 1: this very musical It's N'linie Stamp aka Sister Abbess.

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Speaker 4: Was that the part you played mother Superior Mother? Well?

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Speaker 5: No, no, no, it's okay, but yes, I got to say,

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Speaker 5: climb every mountain, O, my god, and a falsetto soprano voice.

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Speaker 5: But thanks for having meal, Oh my gosh, thanks.

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Speaker 1: For being here.

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Speaker 2: What again? Truly awesome.

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Speaker 4: I might break out into song some point.

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Speaker 1: Oh please please, on an episode like this, It's unavoidable.

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Speaker 2: I kind of forgot how many hits are. I mean,

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Speaker 2: it's really all hits in the Sound of Music. Okay,

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Speaker 2: so let's Nlinie. Let's start with you. What is your

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Speaker 2: history with the Sound of Music, the movie, the show

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Speaker 2: tell us everything?

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Speaker 4: Yep.

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Speaker 5: So I first watched Sound of Music the movie when

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Speaker 5: I was six years old.

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Speaker 4: I think it was one of the first.

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Speaker 5: My aunt still has like the whole Rogers and hammer

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Speaker 5: Stein collection of musical like vhs.

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Speaker 4: She still has them, and so we would watch all

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Speaker 4: of them.

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Speaker 5: A lot of them pretty racist, like Flower Drum Song

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Speaker 5: and so Yeah and the King and I you know

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Speaker 5: and so yeah. But I loved the music. I mean

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Speaker 5: I loved singing Rogers and hammer Sign.

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Speaker 4: Julie Andrews is a hero of mine.

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Speaker 5: I literally get emotional say her name, like, especially since

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Speaker 5: she can't sing anymore. It's like or sing the way

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Speaker 5: she used to, you know, and so I saw it

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Speaker 5: and then saw it on a Broadway tour, probably when

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Speaker 5: I was about ten. I was a child actress. I

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Speaker 5: had a screen actress, Gill Card. I thought I was

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Speaker 5: gonna be on Broadway. So I was in Staten Island

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Speaker 5: Children's theater for many years from where I was eight

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Speaker 5: till I was eighteen, So ten years of Statn Island

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Speaker 5: Children's Theater Association. Shout out to SICTA and I played.

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Speaker 5: I think it was my sophomore year of high school.

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Speaker 5: I went to the Fame school. I'm gonna live for

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Speaker 5: vocal music, so like I went, oh my god. You know,

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Speaker 5: Nicki Minaj was two years older than me, which was hilarious,

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Speaker 5: and you know, and so it's sophomore year. But I

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Speaker 5: went to a children's theater group, like I love them,

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Speaker 5: They're amazing. They're still some of my good friends.

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Speaker 4: But it was mostly white.

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Speaker 5: And I was one of maybe two black young girls.

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Speaker 5: And you know, we're auditioning for the sound of music,

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Speaker 5: and I think I remember somebody be like, oh, you

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Speaker 5: should be one of the track kids. And somebody was like,

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Speaker 5: but how does that make sense? And I was like

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Speaker 5: uh oh.

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Speaker 4: I was like uh oh.

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Speaker 5: But then they gave me the role of Mother Superior.

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Speaker 5: And you know, the musical is different than the movie, right,

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Speaker 5: Like My Favorite Things isn't sung by Julie Andrews.

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Speaker 4: It's sung by the nuns like Mother Superior.

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Speaker 5: So like I was like, ooh, I get my Favorite

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Speaker 5: Things like great, Like you know, I was like really

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Speaker 5: excited about that stuff. But you know, it was actually

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Speaker 5: the sixtieth anniversary of the movie. In December, they re

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Speaker 5: released the whole album and I like, listen to it again.

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Speaker 5: I started crying because I was like, we now we're

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Speaker 5: actually dealing with Nazis like again in the world, like

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Speaker 5: and so I was just like it's like Atalvice was

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Speaker 5: like playing and I'm just sitting there just rocking myself

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Speaker 5: back and forth on a bed, just listening to it.

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Speaker 5: And I got to meet the director too, because he

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Speaker 5: also directed West Side Story. Yes, I got to meet

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Speaker 5: the director before he died, because I went to the

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Speaker 5: fiftieth anniversary of West Side Story and I met Rita

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Speaker 5: Moreno when I was twelve, which was my hero as

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Speaker 5: a Porrigan. West Side Story was very at to me.

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Speaker 5: So it just yeah, so this, I mean sound of

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Speaker 5: music has had something in my life for my whole life,

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Speaker 5: and to this day, I'm like, oh wow, these songs

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Speaker 5: are like, yeah, we're not the Von Trapps.

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Speaker 4: But we have to face off some of this stuff.

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Speaker 2: So yeah, yeah, that's really beautiful. Oh my gosh, thank you, Caitlin.

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Speaker 2: What's your history with the Sound of Music.

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Speaker 1: I had only seen it once before, I believe in college,

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Speaker 1: when I was watching a bunch of iconic movies that

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Speaker 1: I hadn't seen yet, and I watched it, and I

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Speaker 1: famously am not a big musical person. I'm so sorry everybody,

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Speaker 1: unless it's an animated movie musical, or unless it's like

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Speaker 1: a very wacky absurdist like Dix the Musical I loved.

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Speaker 2: Is it good?

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Speaker 4: I haven't seen it yet.

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Speaker 2: I'm very excited to see it, and I know it's great,

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Speaker 2: But this is it's very funny to listen to you repeatedly,

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Speaker 2: f be like Dix the Musical is better than the

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Speaker 2: Sound of Music, if you.

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Speaker 1: Can quote me on that.

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Speaker 2: Yeah, I was. It's just like god tear take.

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Speaker 4: It really is.

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Speaker 1: It's a very Caitlin take as well. But I do

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Speaker 1: love Dix the Musical. Sound of Music I like, but it's.

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Speaker 2: No Dix the Musical it's no Dix the musical.

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Speaker 1: Yeah, it's a little maybe it's like too earnest for me.

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Speaker 1: I don't know. Like, obviously Julie Andrews is so talented

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Speaker 1: and amazing and like so extremely likable and every movie

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Speaker 1: that she's in, But as someone who's not a musical

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Speaker 1: oriented person, I saw it once and I was like, yep,

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Speaker 1: that was enough for me. But you know, I watched

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Speaker 1: it twice to prep for this episode and was like, Oh,

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Speaker 1: I forgot that so many of these like very familiar

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Speaker 1: songs that are still in the zeitgeist are from this

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Speaker 1: movie and this musical. So I was like, oh, it's wild, wild, right,

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Speaker 1: all of these songs are from this So that was

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Speaker 1: a nice reminder.

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Speaker 2: The closest experience I can think to it is like

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Speaker 2: every time you go to see like The Nutcracker, you're like, oh,

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Speaker 2: every single piece in this is very famous, and I

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Speaker 2: sort of like, like I rediscover that every time I

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Speaker 2: like listen to The Nutcracker around Christmas. Same deal with

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Speaker 2: this musical. You're like it's all hits.

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Speaker 1: Yeah, yeah, Jamie, what about you.

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Speaker 2: I didn't get into this when I was a kid.

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Speaker 2: I think it was just like it was too long

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Speaker 2: for me. I'm not sure what it was, or maybe

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Speaker 2: I was just a very pop and I don't know why.

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Speaker 2: I was like, I have to pick one. Julie Andrews' sixties.

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Speaker 1: Standard Takes Care of Children. Yeah, character, that.

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Speaker 5: Is almost the same movie.

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Speaker 2: They came out back to back, and it's like she's

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Speaker 2: just doing it. She's like, this is the blonde version,

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Speaker 2: although like the Sound of Music has way more going on,

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Speaker 2: but also no cartoon penguins, and so you're just like,

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Speaker 2: that's something to keep in mind as you're watching the

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Speaker 2: Sound of Music. There's never going to be a cartoon penguin.

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Speaker 1: True.

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Speaker 2: I guess it would be tasteless given the subject matter. Anyways,

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Speaker 2: I wasn't a huge fan of it as a kid.

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Speaker 2: I knew all the songs I love, Love, Love Julie Andrews,

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Speaker 2: and this was a really interesting musical to revisit I forgot.

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Speaker 2: I knew like all the main points, but I forgot

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Speaker 2: a lot of the smaller plot points. And completely by coincidence,

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Speaker 2: I recently saw Cabaret for the first time, which I mean,

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Speaker 2: it couldn't be a more different musical, but shares a

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Speaker 2: lot of the themes and the DNA of this musical

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Speaker 2: where Cabaret takes place in leate Weimar, Germany and Berlin,

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Speaker 2: and also I think in a very different and more

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Speaker 2: cynical way, asks the viewer like, well, what would you

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Speaker 2: do if you were in this position and in Cabaret?

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Speaker 2: I mean, I saw Cabaret at the Vista last week

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Speaker 2: and it blew me away. I mean, it's like that

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Speaker 2: movie's fucked up, really, but it was like terrific. Yeah,

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Speaker 2: And then prepping for Sound of Music a couple of

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Speaker 2: days later. The music couldn't be more different, but it

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Speaker 2: takes place a couple years later and is in some

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Speaker 2: ways asking the viewer the same question. It was interesting

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Speaker 2: to watch back to back. I texted my mom. I

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Speaker 2: was like, Mom, do you love the sound of music?

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Speaker 2: And I got like a wall of text The answer

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Speaker 2: is yes, she said when I first saw it at

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Speaker 2: the movies, it was the first movie she saw in theaters.

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Speaker 1: Oh wow.

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Speaker 2: She was like four when it came out, and she said,

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Speaker 2: when I saw it at the movie with my Grandma Viv,

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Speaker 2: I decided I wanted to be the problem to be solved,

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Speaker 2: just like Maria's like, okay.

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Speaker 4: That's iconic. Wow, that's iconic.

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Speaker 2: And she said the idea was not to control her,

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Speaker 2: simply let her be thank you for being you. I

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Speaker 2: was like, thanks, mom, I'm so hyped this morning.

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Speaker 4: Wow, that's amazing. That's amazing.

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Speaker 5: It's also interesting that you just said the like the question,

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Speaker 5: because I feel like a lot of musicals did that

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Speaker 5: in the six movie musicals, like it was that it

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Speaker 5: was Fiddler on the Roof, it was right, like all

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Speaker 5: these things were like what would you do if you

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Speaker 5: were there while we're singing? And do you have iconic

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Speaker 5: songs that people still know to this day?

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Speaker 4: So it's like, I mean, if I were a rich.

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Speaker 5: I mean, it wasn't if I were a rich girl,

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Speaker 5: because it got turned into.

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Speaker 2: And Stefani hi on the no no, when Stefani was

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Speaker 2: ripping these off.

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Speaker 1: Oh goodness. Well, let's take a quick break and then

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Speaker 1: we'll come back for the recap. And we are back,

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Speaker 1: and here's the recap of Sound of Music. I don't

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Speaker 1: know if we need like a content warning here, but

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Speaker 1: we're gonna be talking about Nazis and Nazi Germany, so

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Speaker 1: just so everyone knows, Okay, here we go. We are

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Speaker 1: just outside Salzburg, Austria, It's at the end of the

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Speaker 1: nineteen thirties, and Maria, played by Julie Andrews, is wandering

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Speaker 1: around the rolling hills, singing that the hills are alive

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Speaker 1: with the sound of music, and that's the name of

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Speaker 1: the movie.

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Speaker 2: And boy are they The opening shot to this movie

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Speaker 2: is so beautiful, beautiful.

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Speaker 4: It still makes me gass.

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Speaker 2: It's so beautiful.

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Speaker 1: I'm like, should I move to Austria? I might, I

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Speaker 1: don't know.

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Speaker 2: I don't think that's the lesson of the movie.

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Speaker 1: Now, then why make it look so beautiful at the beginning? Okay?

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Speaker 1: We cut to a convent where some nuns are talking

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Speaker 1: and then singing about Maria, saying that she's two whimsical,

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Speaker 1: that she's a flibberty gibbet.

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Speaker 2: If you will, got her ass.

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Speaker 1: Most of them like her, but she's not a very

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Speaker 1: good nun. They can all agree, and so the reverend

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Speaker 1: mother basically fires Maria from being a nun.

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Speaker 2: But like in a nice way. I always I forget

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Speaker 2: how nice. Yeah, They're like, cut her loose, let her

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Speaker 2: explore the world. It challenged. Immediately, I've realized how set

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Speaker 2: the nun trope is in my head, where I'm like

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Speaker 2: nuns are mean none. They probably hate her because she

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Speaker 2: likes to sing and have fun. But then I was like, no,

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Speaker 2: I'm thinking of the Sister act Nuns. This is a

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Speaker 2: sister act.

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Speaker 1: Yeah.

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Speaker 5: I mean one of my lyrics is how do you

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Speaker 5: catch a cloud and bring her down?

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Speaker 4: Like? They don't call her, they say she's a cloud.

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Speaker 1: How do you hold a moonbeam in your hand?

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Speaker 2: Yeah? Yeah, I don't want my coworkers to talk about

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Speaker 2: like that.

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Speaker 1: Well, Jamie, I do. I call you a moonbeam and

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Speaker 1: a cloud every day.

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Speaker 2: Sure, Jamie doesn't show up, but I don't a great

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Speaker 2: she's great? Which is that whole That whole song passes

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Speaker 2: the Vectel test. It is so sweet, I know. I

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Speaker 2: also wanted to shout out Marnie Nixon plays one of

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Speaker 2: the sisters, and she is extremely famous, although it very

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Speaker 2: rarely appears and stuff because she was the famous like

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Speaker 2: dubbed voice of the fifties and sixties. When Natalie Wood

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Speaker 2: is singing in West Side Story, no she's not Marnie

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Speaker 2: Nixon is singing. When I Habern is singing in My

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Speaker 2: Fair Lady, No she's not. Marne Nixon is singing the

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Speaker 2: King And I also her like she was the ghost singer,

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Speaker 2: and so the fact that she was physically in this

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Speaker 2: movie was like a big deal.

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Speaker 1: I also singing in the rain vibes of a singer

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Speaker 1: dubbing for another actor, and that's the movie we're about

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Speaker 1: to cover. So it's all connected. Her web connects them all,

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Speaker 1: Madam Webb's web.

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Speaker 2: Sorry, I can't start thinking about Madam Web. Think about

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Speaker 2: Madam Web a week later.

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Speaker 1: Okay, So Maria is fired from being a nun and

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Speaker 1: Reverend Mother's like, you're no longer married to God, so

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Speaker 1: now you can go off God divorced you? Yeah, from God?

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Speaker 1: But the Reverend mother sends Maria to be a governess

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Speaker 1: for a family nearby, the Von Trapp family.

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Speaker 2: Okay, bear with me. I think that this is where

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Speaker 2: the movie for the good chunk of the first half,

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Speaker 2: and then a little bit at the end this movie,

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Speaker 2: I was like, wait, this is School of Rock, Like

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Speaker 2: what okay, what Jody Andrews is doing with the Von

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Speaker 2: Traps is literally what Jack Black does in school. The

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Speaker 2: whole when they're putting together their first song was like,

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Speaker 2: do ray me.

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Speaker 4: That's a good point.

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Speaker 1: And then Joan Cusack is Captain von Trapp basically because

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Speaker 1: doesn't she need to like learn to lighten up as

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Speaker 1: the movie goes on.

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Speaker 2: Ye, yes, whoa exactly exactly.

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Speaker 5: I'm actually officially gagged right now.

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Speaker 2: Go of Rock is my favorite movie, and so I'm

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Speaker 2: always looking for things to be more like it. But

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Speaker 2: this time I was like, wait, it's actually working. At

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Speaker 2: the end when the kids from School of Rock go

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Speaker 2: back and be like, we have to get Dewey, we

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Speaker 2: gotta get here. Answer the von Trapps do that. They

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Speaker 2: go back and they like, you got to get Maria.

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Speaker 4: They do they do?

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Speaker 1: Oh my god, this is a revelation.

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Speaker 4: Also connection that film was filmed in Staten Island.

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Speaker 5: Oh, School of Rock was all filmed, so we were

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Speaker 5: all trying to do jack backsidings when when that, Yeah,

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Speaker 5: it was a big thing island.

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Speaker 1: I mean even the naming convention of both movie titles

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Speaker 1: School of Rock Sound of Music Music exactly exactly.

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Speaker 4: Somebody asked this question.

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Speaker 2: I guess I don't really have anything else to say

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Speaker 2: about it, just that I was like, wow, Sound of

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Speaker 2: Music is World War two School of Rock, and now

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Speaker 2: you know, now we know?

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Speaker 1: Okay, So Maria is sent to be the governess for

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Speaker 1: the von Trapp family. The father is a navy captain

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Speaker 1: who's his wife died a few years prior or sometime prior,

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Speaker 1: and so he needs a governess to take care of

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Speaker 1: his seven children. And Maria is nervous and apprehensive about

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Speaker 1: taking care of so many children, especially because there have

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Speaker 1: been so many other governesses who quit after a short time.

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Speaker 1: But she sings about having confidence in herself. And then

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Speaker 1: she arrives at the mansion and meets the father, Captain

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Speaker 1: Gayorg von Trapp.

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Speaker 2: Everyone's like, why do you look like shit? It was

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Speaker 2: like leave her alone. She just got here.

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Speaker 3: Yeah.

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Speaker 1: Yeah. They keep commenting on her ugly dress, and it's like,

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Speaker 1: leave Julie Andrews alone.

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Speaker 2: But to be fair, she also says leave me alone

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Speaker 2: my first day.

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Speaker 4: Yes, She's like, excuse y'all.

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Speaker 2: You are rich?

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Speaker 1: Yeah, so yeah, gay Org von Trapp. Also the name

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Speaker 1: Gaeorg is just it's funny to me. He's played by

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Speaker 1: Christopher Plummer. And then we also meet his children, who

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Speaker 1: so the captain doesn't really allow to be children. He

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Speaker 1: doesn't want them playing or having fun. He treats them

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Speaker 1: like they're in boot camp. There's no affection, it's all discipline.

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Speaker 1: He has a whistle that he blows at them all

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Speaker 1: the time m h. And all of this is very

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Speaker 1: appalling to Maria and she's like, no, no, no, I'm going

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Speaker 1: to fix this. The children are Lisil who is sixteen,

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Speaker 1: Friedrich who's fourteen, Luisa is thirteen, Kurt is eleven, Brigida

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Speaker 1: is ten, Marta is seven, and Gretel is five. Some

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Speaker 1: of them have distinct personalities, but there's others that I

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Speaker 1: couldn't really keep track of. They get kind of lost

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Speaker 1: in the shuffle.

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Speaker 2: I like how they all have like they're like, I'm

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Speaker 2: incorrigible and that they're like, oh, so you're classic ten

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Speaker 2: year olds.

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Speaker 1: Yeah, but he also doesn't know what that means.

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Speaker 4: No, they don't know.

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Speaker 5: They use big words, and you're like, your father is

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Speaker 5: clearly just making you.

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Speaker 4: Say these things.

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Speaker 2: Yeah, Captain von Trapp has you reading the dictionary? Like, yeah,

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Speaker 2: he really needs a sense of control. I'm excited to

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Speaker 2: talk about Captain von Trapp because I feel like the

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Speaker 2: way that he's written. At first, he's such a stereotype,

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Speaker 2: but then like as it bears out, you're like, I

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Speaker 2: don't agree with him, but I understand more. Wow, that's

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Speaker 2: what he does.

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Speaker 1: Yes, so he steps out of the room, and then

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Speaker 1: all of the children try to like clown on Maria

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Speaker 1: and they're like bullying her. They put a toad in

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Speaker 1: her pocket. It seems like they want her to fail

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Speaker 1: like the other governesses have failed. But Maria, she gets

438
00:23:39,920 --> 00:23:42,840
Speaker 1: settled in and then the family sits down for dinner,

439
00:23:43,359 --> 00:23:46,200
Speaker 1: and Maria has a way of making the children feel

440
00:23:46,280 --> 00:23:49,320
Speaker 1: so guilty about how they treated her earlier, and several

441
00:23:49,359 --> 00:23:52,760
Speaker 1: of them start crying at the dinner table. And then

442
00:23:53,240 --> 00:23:58,320
Speaker 1: a telegram arrives for the Captain from his lady love,

443
00:23:58,840 --> 00:24:03,560
Speaker 1: Baroness Schrader, inviting him to Vienna. We will learn that

444
00:24:03,600 --> 00:24:08,280
Speaker 1: he intends to marry the Baroness soon. Also, the telegram

445
00:24:08,400 --> 00:24:13,480
Speaker 1: is delivered by this boy named Rolf, who is Lisal's

446
00:24:13,760 --> 00:24:14,600
Speaker 1: little boyfriend.

447
00:24:14,920 --> 00:24:18,680
Speaker 2: There's one person in this world I hate. It's Rolf.

448
00:24:18,880 --> 00:24:21,880
Speaker 1: Oh Rolf, that motherfucker.

449
00:24:23,480 --> 00:24:25,879
Speaker 4: They really didn't meet him in the show, to be honest. No.

450
00:24:26,440 --> 00:24:29,800
Speaker 1: Yeah, So Liseel goes outside to hang out with Rolf

451
00:24:29,880 --> 00:24:32,040
Speaker 1: and they sing and dance, and that is when we

452
00:24:32,119 --> 00:24:35,560
Speaker 1: get the I am sixteen going on seventeen songs.

453
00:24:35,600 --> 00:24:38,240
Speaker 2: I danced to that in ballet class when I was

454
00:24:38,359 --> 00:24:39,080
Speaker 2: like eight.

455
00:24:39,440 --> 00:24:40,000
Speaker 1: Wow.

456
00:24:40,280 --> 00:24:43,159
Speaker 2: Yeah, I didn't know that it was sung by a

457
00:24:43,240 --> 00:24:47,399
Speaker 2: Nazi character at the time. That's another thing that like,

458
00:24:48,080 --> 00:24:51,840
Speaker 2: because the theme of this movie is so intense, but

459
00:24:52,000 --> 00:24:53,879
Speaker 2: all of the songs I feel like exist in the

460
00:24:53,880 --> 00:24:58,480
Speaker 2: popular consciousness out of context where you're like, oh, that's

461
00:24:58,520 --> 00:25:01,439
Speaker 2: kind of a cute, slightly song, and then you're like,

462
00:25:01,480 --> 00:25:05,399
Speaker 2: it's in context even wilder, even worse.

463
00:25:05,560 --> 00:25:08,520
Speaker 4: Yeah, oh yeah.

464
00:25:08,600 --> 00:25:14,359
Speaker 1: So then Maria finds out from the housekeeper why Captain

465
00:25:14,440 --> 00:25:18,520
Speaker 1: von Trapp treats the children the way that he does. Basically,

466
00:25:18,560 --> 00:25:22,879
Speaker 1: ever since his wife died, he doesn't want anything in

467
00:25:22,920 --> 00:25:25,520
Speaker 1: the house that reminds him of her, and that's why

468
00:25:25,520 --> 00:25:30,560
Speaker 1: there's no like fun or play or music. Then Lisil

469
00:25:30,680 --> 00:25:36,760
Speaker 1: sneaks back inside from her rendezvous with Rolf via Maria's room,

470
00:25:37,359 --> 00:25:39,800
Speaker 1: but Maria's like, don't worry, I won't knark on you,

471
00:25:40,320 --> 00:25:43,520
Speaker 1: and that allows them to kind of like bond a

472
00:25:43,560 --> 00:25:46,080
Speaker 1: little bit. And then the other kids come into Maria's

473
00:25:46,160 --> 00:25:49,600
Speaker 1: room because they're afraid of the thunderstorm that's happening, and

474
00:25:49,640 --> 00:25:53,160
Speaker 1: so she sings these are a few of my favorite

475
00:25:53,240 --> 00:25:56,080
Speaker 1: things to distract them and make them feel better.

476
00:25:56,280 --> 00:25:56,800
Speaker 4: Great song.

477
00:25:57,080 --> 00:25:59,639
Speaker 1: But then Captain von Trapp comes in to be like,

478
00:26:00,280 --> 00:26:04,440
Speaker 1: what's all this joy and merriment that I'm hearing?

479
00:26:04,960 --> 00:26:09,040
Speaker 2: School of rock vibes? Yeah, Joan cusag bursting and being

480
00:26:09,119 --> 00:26:10,960
Speaker 2: like they're hearing music?

481
00:26:11,280 --> 00:26:15,760
Speaker 1: What is it? So he again he's all about discipline,

482
00:26:16,080 --> 00:26:20,359
Speaker 1: and he wants Maria to find some herself, and she's like, oh,

483
00:26:20,400 --> 00:26:21,280
Speaker 1: fuck this guy.

484
00:26:21,760 --> 00:26:23,840
Speaker 4: If I didn't do it for God, Like, why would

485
00:26:23,840 --> 00:26:24,119
Speaker 4: I do it?

486
00:26:24,200 --> 00:26:25,080
Speaker 1: Yeah? Why would I do it?

487
00:26:25,119 --> 00:26:27,040
Speaker 4: That was going to Maria's.

488
00:26:28,280 --> 00:26:32,000
Speaker 2: God divorced me. I'm like, I can do it over

489
00:26:32,040 --> 00:26:34,880
Speaker 2: the fuck I want. The worst scenario has occurred.

490
00:26:35,080 --> 00:26:38,320
Speaker 1: Yeah, Yeah, She's like, if I'm not doing it for God,

491
00:26:38,359 --> 00:26:44,000
Speaker 1: I'm definitely not doing it for gay Org certainly not okay.

492
00:26:44,080 --> 00:26:47,680
Speaker 1: So Captain von Trapp leaves the following morning to visit

493
00:26:47,720 --> 00:26:52,119
Speaker 1: the Baroness, and Maria uses that opportunity of his absence

494
00:26:52,240 --> 00:26:56,359
Speaker 1: to take the children out and encourage them to play.

495
00:26:56,600 --> 00:27:01,280
Speaker 1: And oh they're laughing, Oh they're frolicking. Oh they're wearing

496
00:27:01,359 --> 00:27:04,960
Speaker 1: clothes that she made them out of old drapes, and

497
00:27:05,240 --> 00:27:10,399
Speaker 1: she also teaches them songs to sing, starting with dough

498
00:27:10,760 --> 00:27:12,720
Speaker 1: a Dear.

499
00:27:16,720 --> 00:27:20,480
Speaker 2: I started crying so much during that sequence, and I

500
00:27:21,400 --> 00:27:27,480
Speaker 2: don't know why. It's so beautiful, like so good, really good. Yeah.

501
00:27:27,600 --> 00:27:31,879
Speaker 2: I wasn't expected to start weeping, but look at God.

502
00:27:30,520 --> 00:27:35,080
Speaker 5: I also don't know anybody who doesn't know that song, right,

503
00:27:35,480 --> 00:27:37,320
Speaker 5: Like in the world, I've never met somebody, whether you

504
00:27:37,400 --> 00:27:39,919
Speaker 5: like musicals, whether you don't, wherever you're from like I do,

505
00:27:40,040 --> 00:27:42,200
Speaker 5: I've never met a person who doesn't know that song.

506
00:27:42,440 --> 00:27:45,200
Speaker 5: They might know where it's from, but they know that song.

507
00:27:45,320 --> 00:27:48,800
Speaker 5: And so it's just like the test of time, truly.

508
00:27:49,880 --> 00:27:53,320
Speaker 2: Rogers and hammersiin I like, they had hits. They had hits.

509
00:27:53,560 --> 00:27:55,520
Speaker 2: I have some notes for them, but they had hits.

510
00:27:55,640 --> 00:28:00,199
Speaker 1: Sure is that not? Who did the Brandy Cinderella? They

511
00:28:00,200 --> 00:28:01,480
Speaker 1: did the music and lang?

512
00:28:01,560 --> 00:28:06,280
Speaker 2: Yeah, yes, And Julie Andrews played that role on TV

513
00:28:06,640 --> 00:28:10,680
Speaker 2: originally that was her first Rogers and Hammerstein outing yes.

514
00:28:11,320 --> 00:28:14,880
Speaker 5: Yep, yeah, yeah, because she started with My Fair Lady.

515
00:28:14,920 --> 00:28:17,320
Speaker 5: And that's why Marnie Nixon is important in the Sound

516
00:28:17,320 --> 00:28:21,720
Speaker 5: of Music. It's because Julie Andrews got snubbed for being

517
00:28:21,720 --> 00:28:23,879
Speaker 5: in the movie of My Fair Lady. They chose Audrey Hepberd,

518
00:28:23,880 --> 00:28:26,840
Speaker 5: who couldn't sing. And I believe that the story is

519
00:28:26,920 --> 00:28:29,720
Speaker 5: that Julie Andrews wanted Marnie Nixon to be in.

520
00:28:29,680 --> 00:28:31,400
Speaker 4: The same movie with her, to be like we can

521
00:28:31,440 --> 00:28:31,920
Speaker 4: both sing.

522
00:28:32,680 --> 00:28:36,960
Speaker 2: Yeah, that's really cool. I love Julie Andrews. She's such

523
00:28:37,000 --> 00:28:40,680
Speaker 2: a beautiful salt. They almost put Audrey Hepburn in this role.

524
00:28:40,800 --> 00:28:43,760
Speaker 2: At one point. Audrey Hepburn was supposed to be in

525
00:28:43,800 --> 00:28:45,680
Speaker 2: this role and they were like, what are we doing here?

526
00:28:45,880 --> 00:28:50,160
Speaker 2: Thank god, she can't sing. No, I love Audrey hepberd

527
00:28:50,240 --> 00:28:52,200
Speaker 2: but like it's not gonna happen.

528
00:28:52,920 --> 00:28:57,360
Speaker 1: Yeah, okay, So they're singing about dough a deer, female deer.

529
00:28:57,720 --> 00:29:01,320
Speaker 1: And then also during their outings, the children reveal the

530
00:29:01,400 --> 00:29:04,160
Speaker 1: reason that they were so cruel to the other governesses,

531
00:29:04,280 --> 00:29:06,200
Speaker 1: which is that they were trying to get their father's

532
00:29:06,240 --> 00:29:11,160
Speaker 1: attention because again he's not attentive or affectionate, and they

533
00:29:11,280 --> 00:29:13,600
Speaker 1: just like act out so that he will maybe pay

534
00:29:13,640 --> 00:29:18,959
Speaker 1: attention to them. Then Captain von Trapp returns home with

535
00:29:19,160 --> 00:29:23,520
Speaker 1: Baroness Schrader played by Eleanor Parker, as well as Max

536
00:29:23,640 --> 00:29:29,360
Speaker 1: Dettweiler aka Uncle Max played by Richard Hayden, who is

537
00:29:29,760 --> 00:29:34,320
Speaker 1: scouting a musical group to perform at the Salzburg Folk Festival.

538
00:29:35,080 --> 00:29:36,920
Speaker 1: So his whole thing is like I need to find

539
00:29:37,080 --> 00:29:40,400
Speaker 1: a music group for the festival, and I am very

540
00:29:40,440 --> 00:29:42,680
Speaker 1: centrist in my politics.

541
00:29:43,040 --> 00:29:46,040
Speaker 2: I mean school of rock, Battle of the Bands, Boom done.

542
00:29:46,200 --> 00:29:46,720
Speaker 1: There it is.

543
00:29:47,400 --> 00:29:50,440
Speaker 2: They're low, They're low, the stakes.

544
00:29:50,160 --> 00:29:52,720
Speaker 4: Are high, sticks are high. We got to do it.

545
00:29:53,200 --> 00:29:56,720
Speaker 2: Von Trapp's steaks significantly way higher.

546
00:29:57,600 --> 00:30:03,920
Speaker 1: Yeah, but okay. So this is also the part of

547
00:30:04,040 --> 00:30:06,680
Speaker 1: the movie where we start getting hints of the socio

548
00:30:06,720 --> 00:30:10,640
Speaker 1: political climate of the world of this movie. So again,

549
00:30:10,680 --> 00:30:14,160
Speaker 1: it's the late nineteen thirties Europe. Hitler is rising to power,

550
00:30:15,040 --> 00:30:20,600
Speaker 1: which Captain von Trapp opposes. There's also mentions of the Antelus,

551
00:30:20,880 --> 00:30:24,280
Speaker 1: which we can talk about in context corner later on,

552
00:30:24,800 --> 00:30:29,880
Speaker 1: but we get those hints. Then Maria and the children

553
00:30:30,320 --> 00:30:33,920
Speaker 1: return from one of their outings on a boat and

554
00:30:33,960 --> 00:30:36,600
Speaker 1: then they fall into the water with their clothes on,

555
00:30:36,800 --> 00:30:40,840
Speaker 1: and we're like, okay. Leonardo DiCaprio vibes yes, because he's

556
00:30:40,880 --> 00:30:43,080
Speaker 1: always in water in his clothes famously.

557
00:30:43,240 --> 00:30:43,560
Speaker 4: Oh yes.

558
00:30:44,760 --> 00:30:47,800
Speaker 1: Captain von Trapp is like, what the fuck are you

559
00:30:47,840 --> 00:30:50,320
Speaker 1: doing with my kids? And Maria is like, you need

560
00:30:50,360 --> 00:30:52,600
Speaker 1: to let them be children, and you need to love

561
00:30:52,640 --> 00:30:55,320
Speaker 1: them instead of ignore them, because all they want is

562
00:30:55,360 --> 00:30:59,320
Speaker 1: to be loved by you. But he refuses to listen

563
00:30:59,360 --> 00:31:02,360
Speaker 1: to her, and he tries to fire her, and she's like,

564
00:31:02,560 --> 00:31:07,440
Speaker 1: I already got fired by God, so nice, try you

565
00:31:08,000 --> 00:31:08,440
Speaker 1: no worser.

566
00:31:09,720 --> 00:31:12,920
Speaker 2: I do love that she's only sad because she loves

567
00:31:12,960 --> 00:31:15,480
Speaker 2: the kids. She's never like I did a bad job.

568
00:31:15,560 --> 00:31:18,000
Speaker 2: She's just like, well, fuck you, like your kids are

569
00:31:18,000 --> 00:31:20,400
Speaker 2: gonna be miserable. Best of a life. I'm going to

570
00:31:20,440 --> 00:31:22,560
Speaker 2: see if I can get back together with God.

571
00:31:24,680 --> 00:31:26,520
Speaker 1: He kindled my romance with God.

572
00:31:27,280 --> 00:31:28,520
Speaker 4: Get another date with God.

573
00:31:31,120 --> 00:31:34,920
Speaker 1: Okay, So he tries to fire Maria, but then Captain

574
00:31:35,000 --> 00:31:38,520
Speaker 1: von Trapp, here's his children singing that the hills are

575
00:31:38,560 --> 00:31:42,480
Speaker 1: alive with the sound of music to Baroness Schrader, and

576
00:31:42,520 --> 00:31:47,840
Speaker 1: he's like, wow, it's beautiful, and he even joins in singing.

577
00:31:47,880 --> 00:31:50,680
Speaker 2: And he sings eight of us and it's so beautiful.

578
00:31:50,760 --> 00:31:51,120
Speaker 2: Mm hmm.

579
00:31:51,360 --> 00:31:55,120
Speaker 1: Yeah, that happens a little bit after, but he's basically like,

580
00:31:55,440 --> 00:32:00,200
Speaker 1: never mind, Maria, you're unfired. I recognize and appreciate what

581
00:32:00,240 --> 00:32:01,400
Speaker 1: you've done for my children.

582
00:32:01,480 --> 00:32:06,080
Speaker 2: But he apologizes, which I was truly shocked. Yeah, a

583
00:32:06,120 --> 00:32:10,280
Speaker 2: man apologizing in a movie in nineteen sixty five. Hello,

584
00:32:11,480 --> 00:32:12,640
Speaker 2: I didn't know what happened.

585
00:32:12,880 --> 00:32:14,360
Speaker 1: Hard to imagine, but it does.

586
00:32:14,760 --> 00:32:17,600
Speaker 2: It's like, I'm horny apology.

587
00:32:18,960 --> 00:32:24,000
Speaker 1: Wow, the Barcelo, it really is so now that he's

588
00:32:24,000 --> 00:32:27,640
Speaker 1: like on board with music. In the household, Maria and

589
00:32:27,680 --> 00:32:33,200
Speaker 1: the children put on a marionette puppet show. They're yodeling. Hih.

590
00:32:33,880 --> 00:32:40,320
Speaker 4: The only.

591
00:32:40,400 --> 00:32:42,560
Speaker 2: Looks fun. The puppets are scary.

592
00:32:42,720 --> 00:32:44,040
Speaker 1: They are so scary looking.

593
00:32:44,160 --> 00:32:45,320
Speaker 2: But I'm loving every second.

594
00:32:45,640 --> 00:32:48,080
Speaker 4: It was so weird. I was like, when did the

595
00:32:48,200 --> 00:32:50,440
Speaker 4: acid trip scene get rid into.

596
00:32:52,160 --> 00:32:57,400
Speaker 1: Truly? Yeah, but you know the father's loving it. Yeah,

597
00:32:57,440 --> 00:33:00,880
Speaker 1: he's into it, and so is Uncle Max. Uncle Max

598
00:33:00,960 --> 00:33:04,080
Speaker 1: is like, you are the people who I've been looking

599
00:33:04,120 --> 00:33:08,160
Speaker 1: for this whole time to perform in this upcoming Salzburg

600
00:33:08,240 --> 00:33:11,160
Speaker 1: folk festival. Their father isn't too sure. He doesn't want

601
00:33:11,160 --> 00:33:14,360
Speaker 1: them singing in public, but then he's like, well whatever,

602
00:33:14,440 --> 00:33:17,120
Speaker 1: and then this is where he sings the song Adelweiss.

603
00:33:18,560 --> 00:33:22,600
Speaker 1: Then the family throws a party so the captain von

604
00:33:22,640 --> 00:33:25,880
Speaker 1: Trapp can introduce all of his friends to the Baroness.

605
00:33:26,880 --> 00:33:29,760
Speaker 1: But von Trapp is kind of paying more attention to

606
00:33:29,960 --> 00:33:35,280
Speaker 1: Maria than the Baroness, and they dance, and Baroness Trader

607
00:33:35,360 --> 00:33:38,880
Speaker 1: does not like this, and she suggests that Maria and

608
00:33:38,920 --> 00:33:42,479
Speaker 1: the captain are in love with each other, and Maria

609
00:33:42,600 --> 00:33:44,800
Speaker 1: is like, well, I guess it must be true then

610
00:33:44,880 --> 00:33:47,520
Speaker 1: if you said it, in which case it would be

611
00:33:47,600 --> 00:33:50,840
Speaker 1: inappropriate if I stayed here. So Maria packs her bags

612
00:33:51,120 --> 00:33:52,080
Speaker 1: leaves a note.

613
00:33:51,840 --> 00:33:55,560
Speaker 2: This whole thing. I'm like, Maria, Maria, what why.

614
00:33:56,960 --> 00:33:57,240
Speaker 1: Girl?

615
00:33:57,880 --> 00:34:01,000
Speaker 2: Yeah? Weird moment to fall right.

616
00:34:01,400 --> 00:34:04,960
Speaker 1: She's so headstrong, right, she's so outspoken, she's so good

617
00:34:05,000 --> 00:34:08,480
Speaker 1: about speaking her mind. And this time maybe it's because

618
00:34:08,520 --> 00:34:11,480
Speaker 1: like she's just like, damn, I am in love with

619
00:34:11,560 --> 00:34:14,280
Speaker 1: him and I'm supposed to be in love with God

620
00:34:14,880 --> 00:34:15,960
Speaker 1: or something.

621
00:34:16,080 --> 00:34:20,359
Speaker 2: Like if I'm cheating on God, suckin. Get here.

622
00:34:21,719 --> 00:34:24,920
Speaker 1: Yeah. Anyway, So she returns to the convent and the

623
00:34:25,000 --> 00:34:28,359
Speaker 1: children are very sad that Maria is gone, especially because

624
00:34:28,400 --> 00:34:30,640
Speaker 1: she left without saying goodbye, and they don't really know

625
00:34:30,680 --> 00:34:33,680
Speaker 1: why she left. So they go to the convent to

626
00:34:33,840 --> 00:34:37,040
Speaker 1: try to talk to her school of raw, but she's

627
00:34:37,239 --> 00:34:40,560
Speaker 1: in seclusion. She is in seeing or speaking to anyone

628
00:34:40,600 --> 00:34:44,440
Speaker 1: right now, until Maria does finally open up to the

629
00:34:44,480 --> 00:34:48,640
Speaker 1: reverend mother about her feelings for Captain von Trapp. So

630
00:34:49,320 --> 00:34:51,640
Speaker 1: the reverend mother is like, well, then you should go

631
00:34:51,719 --> 00:34:55,000
Speaker 1: back to the von trap house and follow your dreams

632
00:34:55,080 --> 00:35:00,000
Speaker 1: and like, smooch him if you want, and she's like, okay,

633
00:35:00,800 --> 00:35:02,280
Speaker 1: So Maria does.

634
00:35:02,360 --> 00:35:04,959
Speaker 4: Just that till you found your dream.

635
00:35:06,400 --> 00:35:07,840
Speaker 2: And then the crowd is cheering.

636
00:35:07,960 --> 00:35:09,640
Speaker 1: We're cheering, We're cheering.

637
00:35:10,160 --> 00:35:14,680
Speaker 2: Yeah, it's really beautiful. She's so supportive the nuns, I mean,

638
00:35:15,160 --> 00:35:17,440
Speaker 2: and then they cut a Nazi's breaks at the end.

639
00:35:17,520 --> 00:35:20,840
Speaker 4: I'm like, they're just gangs, these ladies.

640
00:35:23,320 --> 00:35:28,000
Speaker 1: Yeah, truly. So Maria returns to the von trap house

641
00:35:28,200 --> 00:35:31,080
Speaker 1: and they're delighted that she's back, and the captain is

642
00:35:31,120 --> 00:35:33,600
Speaker 1: so happy that she's back that he breaks up with

643
00:35:33,680 --> 00:35:37,719
Speaker 1: the Baroness Schrader and he goes to Maria to be like,

644
00:35:37,800 --> 00:35:41,080
Speaker 1: by the way, I dumped my fiance because I'm in

645
00:35:41,080 --> 00:35:44,879
Speaker 1: love with you, and then the kiss cut to them

646
00:35:44,920 --> 00:35:48,200
Speaker 1: getting married at the convent. And I have also been

647
00:35:48,239 --> 00:35:50,960
Speaker 1: so conditioned to think that a wedding is how a

648
00:35:51,040 --> 00:35:54,160
Speaker 1: movie ends that I thought the movie was over after that,

649
00:35:54,760 --> 00:35:59,560
Speaker 1: but there's like a half hour left where the children

650
00:35:59,600 --> 00:36:02,919
Speaker 1: prepare for their performance at the folk festival that night

651
00:36:03,080 --> 00:36:06,520
Speaker 1: with Uncle Max, and then Nazis come by to be like,

652
00:36:07,280 --> 00:36:11,560
Speaker 1: why isn't Captain von Trapp flying the Nazi flag? You

653
00:36:11,600 --> 00:36:14,239
Speaker 1: know what's going on? With you and your family. And

654
00:36:14,280 --> 00:36:18,040
Speaker 1: then Lisa's boyfriend Rolf, who is like a full blown

655
00:36:18,120 --> 00:36:22,480
Speaker 1: Nazi now, he delivers a telegram to Captain von Trapp,

656
00:36:22,680 --> 00:36:27,640
Speaker 1: summoning him to Berlin, which, as von Trapp says, to

657
00:36:27,760 --> 00:36:31,239
Speaker 1: refuse would be fatal to the family. To accept would

658
00:36:31,280 --> 00:36:35,400
Speaker 1: be unthinkable. So they make plans to flee from Austria

659
00:36:35,560 --> 00:36:39,799
Speaker 1: that night, but Nazis see them trying to escape, so

660
00:36:39,840 --> 00:36:42,600
Speaker 1: the von Traps are like, oh no, We're just going

661
00:36:42,680 --> 00:36:46,680
Speaker 1: to the music festival. So the Nazis follow them there

662
00:36:46,760 --> 00:36:49,600
Speaker 1: and are like hovering over them as they're performing and stuff,

663
00:36:50,040 --> 00:36:54,240
Speaker 1: but they sneak out after their performance. The Nazis continue

664
00:36:54,280 --> 00:36:58,120
Speaker 1: to pursue them, so the von Traps hide at the convent.

665
00:36:59,000 --> 00:37:02,400
Speaker 1: They have a close counter with Rolf, who tries to

666
00:37:02,440 --> 00:37:06,120
Speaker 1: wrap them out, but they managed to run away and

667
00:37:06,160 --> 00:37:12,040
Speaker 1: they escape into the hills which are alive with the

668
00:37:12,080 --> 00:37:16,759
Speaker 1: sound of music. Oh boy, are they the end? You

669
00:37:16,840 --> 00:37:19,600
Speaker 1: did it? I did it. So let's take a quick

670
00:37:19,680 --> 00:37:26,680
Speaker 1: break and we will come back to discuss.

671
00:37:32,640 --> 00:37:34,200
Speaker 2: And we're back.

672
00:37:34,640 --> 00:37:36,279
Speaker 1: We are back, if it's cool.

673
00:37:36,320 --> 00:37:39,200
Speaker 2: I wanted to start with a little context quarter on

674
00:37:39,280 --> 00:37:43,839
Speaker 2: who these damn Von Traps were. Yes, please, because they

675
00:37:43,840 --> 00:37:48,680
Speaker 2: were real, I kind of forget that, to be honest same,

676
00:37:49,040 --> 00:37:52,640
Speaker 2: so obviously this is like, honestly, this was more historically

677
00:37:52,719 --> 00:37:55,799
Speaker 2: accurate than I expected it to be. But there are

678
00:37:55,920 --> 00:38:00,160
Speaker 2: some a couple of significant deviations just from their personal histories,

679
00:38:00,560 --> 00:38:04,120
Speaker 2: the most significant of which was that Maria was like

680
00:38:04,160 --> 00:38:08,040
Speaker 2: sort of forced into a marriage with von Trapp and

681
00:38:08,120 --> 00:38:11,400
Speaker 2: she very much wanted to remain a nun. Most of

682
00:38:11,400 --> 00:38:14,920
Speaker 2: her biography is correct. She was orphaned very young, she

683
00:38:15,360 --> 00:38:19,040
Speaker 2: moved into a convent and then was sent to be

684
00:38:19,160 --> 00:38:21,919
Speaker 2: a governess. But I don't know what the age gap

685
00:38:21,960 --> 00:38:24,560
Speaker 2: between these two actors are. The real life age gap

686
00:38:24,640 --> 00:38:28,239
Speaker 2: was twenty five years. And gay Org went back to

687
00:38:28,800 --> 00:38:31,520
Speaker 2: Mother Superior and was like, hey, I want to marry

688
00:38:31,840 --> 00:38:34,520
Speaker 2: Maria because she's great with my kids, because she did

689
00:38:34,560 --> 00:38:39,479
Speaker 2: absolutely love the kids, and the Mother Superior was like, yeah,

690
00:38:39,480 --> 00:38:41,440
Speaker 2: sure you can marry her. And Maria's like, well, hold on,

691
00:38:41,560 --> 00:38:44,000
Speaker 2: I don't want to, and they were like, sorry, you're

692
00:38:44,040 --> 00:38:47,560
Speaker 2: gonna get married to him. So this whole series of

693
00:38:47,560 --> 00:38:53,480
Speaker 2: adaptations comes from Maria's memoirs, so she is the primary source.

694
00:38:54,000 --> 00:38:56,719
Speaker 2: So I don't know, as with all memoirs, grain of salt,

695
00:38:56,719 --> 00:38:59,520
Speaker 2: but this is how she describes their relationship. I really

696
00:38:59,560 --> 00:39:02,319
Speaker 2: and truly he was not in love. I liked him

697
00:39:02,400 --> 00:39:05,319
Speaker 2: but didn't love him. However, I loved the children, so

698
00:39:05,400 --> 00:39:10,200
Speaker 2: in a way I really married the children, bye and bye.

699
00:39:10,239 --> 00:39:12,040
Speaker 2: I learned to love him more than I have ever

700
00:39:12,160 --> 00:39:15,200
Speaker 2: loved before or after. But she was like not thrilled

701
00:39:15,239 --> 00:39:16,280
Speaker 2: about this marriage.

702
00:39:16,560 --> 00:39:17,040
Speaker 4: Oh wow.

703
00:39:17,560 --> 00:39:20,600
Speaker 2: And then I think like over time became more okay

704
00:39:20,640 --> 00:39:22,000
Speaker 2: with that question mark. But it was like you was

705
00:39:22,040 --> 00:39:25,600
Speaker 2: significantly older than her and she was. She loved his kids,

706
00:39:25,680 --> 00:39:31,279
Speaker 2: but was not crazy about him anyways, So that all

707
00:39:31,480 --> 00:39:35,759
Speaker 2: takes place a lot of the story about you know,

708
00:39:35,840 --> 00:39:40,279
Speaker 2: they start singing, they become this family band, they are

709
00:39:40,600 --> 00:39:42,959
Speaker 2: pressured to join the Nazi party, and then they leave.

710
00:39:43,239 --> 00:39:46,640
Speaker 2: That's all true. The locations and the timeline is quite different.

711
00:39:46,680 --> 00:39:49,760
Speaker 2: I think Maria came into their life like ten years

712
00:39:49,960 --> 00:39:53,120
Speaker 2: before any of this happened. Yeah, but I don't think

713
00:39:53,120 --> 00:39:56,680
Speaker 2: that like the spirit or their decisions weren't changed. Those

714
00:39:56,680 --> 00:40:01,080
Speaker 2: were the actual decisions that they made, sort of turned

715
00:40:01,160 --> 00:40:05,480
Speaker 2: up to a thirteen for movie purposes. There were particulars

716
00:40:05,520 --> 00:40:08,080
Speaker 2: that I didn't like. They were asked to perform at

717
00:40:08,160 --> 00:40:09,360
Speaker 2: Hitler's birthday party.

718
00:40:09,880 --> 00:40:12,960
Speaker 4: Oh yes, I didn't know that. There's some wild stories

719
00:40:13,000 --> 00:40:13,959
Speaker 4: about them, Like.

720
00:40:14,840 --> 00:40:17,400
Speaker 2: I think that the movie maybe gives them a little

721
00:40:17,400 --> 00:40:21,439
Speaker 2: more distance from the center of the Nazi Party than

722
00:40:22,040 --> 00:40:26,000
Speaker 2: was accurate, thankfully. I mean they never do it. They

723
00:40:26,040 --> 00:40:29,920
Speaker 2: do as in the movie they flee Austria, not in secret.

724
00:40:30,320 --> 00:40:32,719
Speaker 2: They are like, hey, we're going to just go be

725
00:40:32,960 --> 00:40:35,560
Speaker 2: in our family band and not join the Nazi Party.

726
00:40:35,560 --> 00:40:38,920
Speaker 2: But while they were touring, the Nazis would use their house.

727
00:40:39,280 --> 00:40:43,240
Speaker 2: The proximity was far closer than I think the movie

728
00:40:43,760 --> 00:40:47,880
Speaker 2: in the show indicates, but the decisions are essentially the same,

729
00:40:48,080 --> 00:40:48,880
Speaker 2: so right.

730
00:40:49,440 --> 00:40:54,360
Speaker 1: There's also some characters who are either like completely fictional

731
00:40:54,719 --> 00:40:58,960
Speaker 1: or fictionalized versions of the real people, and then a

732
00:40:58,960 --> 00:41:01,560
Speaker 1: lot of the events that play out in the movie

733
00:41:01,760 --> 00:41:06,600
Speaker 1: are quite embellished or heightened for dramatic effect. A few

734
00:41:06,719 --> 00:41:10,719
Speaker 1: examples would be that, like the family didn't use that

735
00:41:10,880 --> 00:41:16,120
Speaker 1: folk festival as like a means to escape. They were

736
00:41:16,120 --> 00:41:20,160
Speaker 1: able to like take a train to Italy and then

737
00:41:20,239 --> 00:41:23,600
Speaker 1: like go to London and then eventually the US, but

738
00:41:24,200 --> 00:41:26,200
Speaker 1: they made it seem like they had to like flee

739
00:41:26,360 --> 00:41:31,480
Speaker 1: very urgently for dramatic effect. In the film adaptation, The

740
00:41:32,040 --> 00:41:36,640
Speaker 1: Father was not this like aloof patriarch who disapproved of

741
00:41:36,640 --> 00:41:37,000
Speaker 1: the music.

742
00:41:37,160 --> 00:41:40,120
Speaker 2: He was a sweetheart, and Maria was kind of mean,

743
00:41:40,360 --> 00:41:45,799
Speaker 2: which I thought was fascinating. They were like Maria had

744
00:41:46,040 --> 00:41:50,319
Speaker 2: really severe mood swings and like she was not Julian Andrews.

745
00:41:51,160 --> 00:41:53,200
Speaker 2: She's very human mm hmm.

746
00:41:53,640 --> 00:41:53,839
Speaker 4: Yeah.

747
00:41:53,880 --> 00:41:58,120
Speaker 1: And then the children were like their names and their

748
00:41:58,120 --> 00:42:01,279
Speaker 1: ages in the movie are very different from who those

749
00:42:01,640 --> 00:42:06,440
Speaker 1: real people were, and they're just kind of like, not

750
00:42:06,800 --> 00:42:10,240
Speaker 1: super based on the real children. Also, there were younger

751
00:42:10,320 --> 00:42:15,400
Speaker 1: children who were the children of Maria and Gaeor.

752
00:42:15,560 --> 00:42:18,160
Speaker 2: There was like ten of them total in real life.

753
00:42:18,320 --> 00:42:20,760
Speaker 5: I think one of them still operate the chap family

754
00:42:20,800 --> 00:42:22,160
Speaker 5: Lodge in like still Vermont.

755
00:42:23,600 --> 00:42:25,319
Speaker 4: Her grandchild runs it because of.

756
00:42:25,280 --> 00:42:27,839
Speaker 5: How young her children were, you know what I mean,

757
00:42:27,920 --> 00:42:30,640
Speaker 5: Like her grandchild right now is still alive enough to

758
00:42:30,800 --> 00:42:32,720
Speaker 5: run the family lodge.

759
00:42:32,880 --> 00:42:35,680
Speaker 2: This is like I have a whole day. Anytime someone

760
00:42:35,760 --> 00:42:38,799
Speaker 2: is buying like your book or your rights from you,

761
00:42:39,000 --> 00:42:42,279
Speaker 2: chances are you're gonna get fucked over. Because the von

762
00:42:42,320 --> 00:42:44,319
Speaker 2: Trapp family does not actually end up making a lot

763
00:42:44,320 --> 00:42:47,400
Speaker 2: of money off of the sound of music because Maria

764
00:42:47,920 --> 00:42:52,200
Speaker 2: didn't catch something in the contract. Basically, they didn't get

765
00:42:52,440 --> 00:42:55,600
Speaker 2: kicked back on any of this, So that's like why

766
00:42:55,680 --> 00:42:58,160
Speaker 2: they run the von Trapp Lodge and like find ways

767
00:42:58,400 --> 00:43:01,080
Speaker 2: to capitalize on there because this was like one of

768
00:43:01,160 --> 00:43:04,040
Speaker 2: the most highest grossing movies of all time. Yes, and

769
00:43:04,239 --> 00:43:06,880
Speaker 2: they got nothing and they weren't consulted.

770
00:43:07,000 --> 00:43:08,080
Speaker 4: They won Best Picture.

771
00:43:09,040 --> 00:43:12,360
Speaker 2: Yeah, it sucks. I feel like that happens every like

772
00:43:12,480 --> 00:43:15,360
Speaker 2: almost every single time. You know, the powers that be

773
00:43:15,400 --> 00:43:18,360
Speaker 2: fied a way to fuck you over for sure.

774
00:43:19,239 --> 00:43:23,000
Speaker 1: And then I guess, just to provide some historical context

775
00:43:23,160 --> 00:43:27,440
Speaker 1: for the world that this movie takes place in, so

776
00:43:27,480 --> 00:43:32,960
Speaker 1: there's references to the Anschluss, which was the annexation of

777
00:43:33,080 --> 00:43:36,439
Speaker 1: the federal state of Austria into the German Reich, which

778
00:43:36,440 --> 00:43:39,400
Speaker 1: happened on May thirteenth, nineteen thirty eight. So the idea

779
00:43:39,520 --> 00:43:43,720
Speaker 1: was that there would be this united Austria and Germany.

780
00:43:43,760 --> 00:43:46,600
Speaker 1: They would like come together to form a quote unquote

781
00:43:46,640 --> 00:43:52,319
Speaker 1: Greater Germany. The idea of this arose in the eighteen seventies.

782
00:43:52,880 --> 00:43:57,360
Speaker 1: By the nineteen twenties, the idea of this unification had

783
00:43:57,719 --> 00:44:02,520
Speaker 1: strong support from both Austria and Germany, particularly to like

784
00:44:03,239 --> 00:44:06,320
Speaker 1: people on like the political left as well as the center.

785
00:44:06,360 --> 00:44:09,240
Speaker 1: But like it was like kind of a leftist movement

786
00:44:09,360 --> 00:44:15,920
Speaker 1: for Austrians. But then when Hitler rose to power in Germany,

787
00:44:15,960 --> 00:44:20,840
Speaker 1: this unification became like a very Nazi you know that

788
00:44:20,840 --> 00:44:24,040
Speaker 1: there were all these like Nazi overtones with it because

789
00:44:24,120 --> 00:44:29,480
Speaker 1: Hitler was like, I'm trying to basically incorporate as many

790
00:44:29,719 --> 00:44:34,720
Speaker 1: like ethnic Germans who were outside of Germany into Greater Germany.

791
00:44:34,760 --> 00:44:37,120
Speaker 1: So he was trying to like basically make this like

792
00:44:37,239 --> 00:44:40,920
Speaker 1: super German knee country, and that's why he was in

793
00:44:40,960 --> 00:44:44,239
Speaker 1: favor of it. And von Chrapp was very opposed to

794
00:44:44,640 --> 00:44:49,520
Speaker 1: the Nazi Party, so that's why even though he was

795
00:44:49,560 --> 00:44:51,560
Speaker 1: like a naval captain and stuff like that, he was

796
00:44:51,600 --> 00:44:54,160
Speaker 1: just like, I'm out of here. I'm getting my family

797
00:44:54,239 --> 00:44:56,680
Speaker 1: out of here, and so that's why they like fled

798
00:44:56,760 --> 00:44:59,560
Speaker 1: and eventually ended up in the US. So that was

799
00:44:59,600 --> 00:45:03,080
Speaker 1: stuff that I didn't even know about, So just sharing

800
00:45:03,120 --> 00:45:07,480
Speaker 1: for anyone who didn't know. I'm by no means a historian,

801
00:45:07,560 --> 00:45:10,120
Speaker 1: especially when it comes to the history of Austria. But

802
00:45:10,440 --> 00:45:14,080
Speaker 1: I learned all this stuff and we're sharing it with

803
00:45:14,120 --> 00:45:15,920
Speaker 1: the listeners in case they needed to know.

804
00:45:16,560 --> 00:45:18,719
Speaker 5: And it's kind of crazy because where I've actually done

805
00:45:18,719 --> 00:45:19,040
Speaker 5: a lot.

806
00:45:18,920 --> 00:45:19,640
Speaker 4: Of work with them.

807
00:45:20,280 --> 00:45:25,000
Speaker 5: It's really funny the German and Austrian left political parties

808
00:45:25,040 --> 00:45:28,320
Speaker 5: now and it's crazy to I've still never been to

809
00:45:28,360 --> 00:45:30,799
Speaker 5: Austria and if I go, like I would totally like

810
00:45:30,840 --> 00:45:34,279
Speaker 5: I would find the von Trap House and cry and

811
00:45:34,360 --> 00:45:36,960
Speaker 5: the fountain near Joe Raymie, like I would just recreate

812
00:45:37,000 --> 00:45:39,719
Speaker 5: everything by myself with outfits that I make out of

813
00:45:39,760 --> 00:45:42,799
Speaker 5: my window curtains. You know, I'm necessarily like that is

814
00:45:42,840 --> 00:45:45,759
Speaker 5: my life goal and husband. But it's interesting because like

815
00:45:45,840 --> 00:45:49,160
Speaker 5: right now in Germany there is this far right party

816
00:45:49,200 --> 00:45:53,960
Speaker 5: called the day Aft for sure, but you know, and

817
00:45:54,200 --> 00:45:56,680
Speaker 5: in Austria and they keep growing every year and they're

818
00:45:56,800 --> 00:46:02,000
Speaker 5: legitimate descendants from Nazi parties like folks who have you know.

819
00:46:01,920 --> 00:46:03,880
Speaker 4: They just transformed their names and all that stuff.

820
00:46:03,920 --> 00:46:05,680
Speaker 5: So it's kind of it is wild that such a

821
00:46:05,760 --> 00:46:07,520
Speaker 5: globally popular film.

822
00:46:07,560 --> 00:46:09,560
Speaker 4: And obviously an era of time that we.

823
00:46:09,440 --> 00:46:12,960
Speaker 5: Are always talk about and it is crucial to history.

824
00:46:13,400 --> 00:46:16,040
Speaker 5: It's just crazy that the places where this was really

825
00:46:16,080 --> 00:46:17,799
Speaker 5: birth or Nazism.

826
00:46:17,360 --> 00:46:20,840
Speaker 4: Was birthed and popularized.

827
00:46:20,120 --> 00:46:24,239
Speaker 5: Disgustingly so are seeing a resurgence and this far right

828
00:46:24,760 --> 00:46:28,240
Speaker 5: as we're speaking, which is totally my blowing at the moment.

829
00:46:28,520 --> 00:46:30,800
Speaker 2: The last thing I wanted to just conclude about the

830
00:46:30,840 --> 00:46:33,920
Speaker 2: historical that's something that because all the biographies of the

831
00:46:33,960 --> 00:46:36,319
Speaker 2: kids and the ages were sort of skewed as a

832
00:46:36,520 --> 00:46:40,839
Speaker 2: result to make the storyline work. The eldest son at

833
00:46:40,880 --> 00:46:44,959
Speaker 2: the time they actually fled Austria was a doctor who

834
00:46:45,400 --> 00:46:49,000
Speaker 2: resigned in protest after all of the Jewish doctors at

835
00:46:49,040 --> 00:46:53,640
Speaker 2: his firm were fired, And so in the movie, because

836
00:46:53,680 --> 00:46:55,719
Speaker 2: of the facts that have been changed, it's made to

837
00:46:55,760 --> 00:46:58,880
Speaker 2: seem like it was like strictly Von Trapp being like, okay,

838
00:46:59,040 --> 00:47:02,280
Speaker 2: it's time to go. But because the kids were actually

839
00:47:02,480 --> 00:47:04,959
Speaker 2: working adults, or many of them were, at the time

840
00:47:04,960 --> 00:47:09,600
Speaker 2: that they left, it was a very collective effort of

841
00:47:09,640 --> 00:47:12,760
Speaker 2: like here's what I'm seeing in my corner of the world,

842
00:47:12,840 --> 00:47:17,000
Speaker 2: and like we can't stay here anymore. In general, I mean,

843
00:47:17,080 --> 00:47:20,000
Speaker 2: there's a lot that's been changed, but I feel like

844
00:47:20,000 --> 00:47:24,400
Speaker 2: with adaptations it's like, well, how's the message and like

845
00:47:24,600 --> 00:47:28,160
Speaker 2: demonstrative acts of what happened been changed? And here the

846
00:47:28,239 --> 00:47:31,440
Speaker 2: answer is no. I mean, there's stuff that's been changed

847
00:47:31,480 --> 00:47:34,640
Speaker 2: and movie fied. I think that honestly, the most damning

848
00:47:34,680 --> 00:47:37,160
Speaker 2: thing that's changed is that Maria didn't want to marry

849
00:47:37,239 --> 00:47:38,000
Speaker 2: Von Trapp.

850
00:47:38,600 --> 00:47:39,080
Speaker 1: Yeah.

851
00:47:39,200 --> 00:47:43,040
Speaker 2: Yeah, But as far as like what their political stances were.

852
00:47:43,280 --> 00:47:46,359
Speaker 2: By all accounts, it seems like that holds true because

853
00:47:46,360 --> 00:47:49,719
Speaker 2: I'm always nervous in watching stuff like this where it's like, well, actually, no,

854
00:47:50,160 --> 00:47:52,000
Speaker 2: they got out, but it wasn't for the reasons you

855
00:47:52,040 --> 00:47:55,040
Speaker 2: would think kind of thing. But they they actually they

856
00:47:55,120 --> 00:47:59,480
Speaker 2: held the line and started a band, so I'm good

857
00:47:59,480 --> 00:48:02,399
Speaker 2: for them. And then like later in their family history,

858
00:48:02,400 --> 00:48:05,520
Speaker 2: they would send a lot of money back to Austria

859
00:48:05,640 --> 00:48:10,880
Speaker 2: to help rebuild and support people. So they seemed like

860
00:48:11,640 --> 00:48:16,480
Speaker 2: real ones. Shout out to my friend the von Trapp family,

861
00:48:17,280 --> 00:48:18,960
Speaker 2: and I think a lot of them live in Pittsburgh

862
00:48:19,040 --> 00:48:19,960
Speaker 2: now and I love.

863
00:48:21,000 --> 00:48:23,040
Speaker 1: Western Pennsylvania represent.

864
00:48:26,480 --> 00:48:26,760
Speaker 4: Well.

865
00:48:26,880 --> 00:48:33,719
Speaker 1: The characters being very fictionalized and their characterizations being very

866
00:48:33,760 --> 00:48:38,040
Speaker 1: different from who they actually were as far as personality

867
00:48:38,160 --> 00:48:41,480
Speaker 1: goes makes it easier for us, because anytime we've covered

868
00:48:41,520 --> 00:48:44,520
Speaker 1: like a biopic, it's always just like, how exactly do

869
00:48:44,560 --> 00:48:48,319
Speaker 1: we discuss this, or at least the characters because they're

870
00:48:48,320 --> 00:48:51,080
Speaker 1: based on real people. But in this case, like so

871
00:48:51,239 --> 00:48:54,960
Speaker 1: much is fictionalized as far as the character's personalities that

872
00:48:55,040 --> 00:48:59,080
Speaker 1: it makes our discussion a little bit easier, especially considering

873
00:48:59,120 --> 00:49:04,320
Speaker 1: like the reframing of the relationship between Captain von Trapp

874
00:49:04,400 --> 00:49:08,200
Speaker 1: and Maria for the sake of the adaptation being reframed

875
00:49:08,200 --> 00:49:13,400
Speaker 1: as like this whirlwind romance versus like a forced marriage

876
00:49:13,480 --> 00:49:16,960
Speaker 1: kind of thing. Like essentially, Yeah, So as far as

877
00:49:17,040 --> 00:49:20,360
Speaker 1: the character of Maria goes, I mean, it's Julie Andrews.

878
00:49:20,400 --> 00:49:26,360
Speaker 1: So she's just inherently lovable and so sweet and so patient.

879
00:49:26,760 --> 00:49:30,520
Speaker 1: And I don't even know exactly what I want to

880
00:49:30,520 --> 00:49:34,320
Speaker 1: say about the character. But you know, she like gets

881
00:49:34,360 --> 00:49:38,759
Speaker 1: the children to be this musical troupe. But a lot

882
00:49:38,760 --> 00:49:40,719
Speaker 1: of also what she does is that she has to

883
00:49:40,760 --> 00:49:43,800
Speaker 1: like help a father learn the lesson that he should

884
00:49:43,880 --> 00:49:46,760
Speaker 1: love his children via music.

885
00:49:47,280 --> 00:49:50,319
Speaker 2: Well, I see, I think that's an oversimplification.

886
00:49:50,680 --> 00:49:53,279
Speaker 1: I mean, for sure, but my.

887
00:49:53,239 --> 00:49:56,040
Speaker 2: Thing is like that is on its face true. I'm

888
00:49:56,080 --> 00:49:59,640
Speaker 2: gonna come to the Captain's defense here because I do

889
00:49:59,640 --> 00:50:02,880
Speaker 2: feel like within the story and also like the fact

890
00:50:02,880 --> 00:50:04,680
Speaker 2: that that is not what happened in real life, she

891
00:50:04,840 --> 00:50:07,239
Speaker 2: was kind of cranky and he was very affectionate with

892
00:50:07,280 --> 00:50:10,719
Speaker 2: his kids. But in any case, in the world of

893
00:50:10,760 --> 00:50:13,160
Speaker 2: this story, I feel like we are shown a very

894
00:50:13,320 --> 00:50:18,080
Speaker 2: like rigid parent archetype. But I feel like over the

895
00:50:18,080 --> 00:50:20,440
Speaker 2: course of the movie, it is teased out why he's

896
00:50:20,480 --> 00:50:22,120
Speaker 2: behaving that way. He doesn't need to be taught to

897
00:50:22,160 --> 00:50:24,520
Speaker 2: love his children, He needs to be taught to navigate

898
00:50:24,560 --> 00:50:28,759
Speaker 2: his own grief feelings. And is that Maria's job?

899
00:50:28,960 --> 00:50:29,240
Speaker 1: No?

900
00:50:29,239 --> 00:50:32,040
Speaker 2: No, But I also think that that's not her goal either.

901
00:50:32,160 --> 00:50:36,480
Speaker 2: Her goal is to be a good guardian to this kid.

902
00:50:36,560 --> 00:50:39,280
Speaker 2: Her goal is to do a good job. Like I

903
00:50:39,320 --> 00:50:43,839
Speaker 2: thought this kind of averted a lot of the stereotypes

904
00:50:43,880 --> 00:50:47,760
Speaker 2: that you see in this sort of movie, because she's

905
00:50:48,000 --> 00:50:50,680
Speaker 2: just like, I care about the kids. I will openly

906
00:50:50,760 --> 00:50:54,799
Speaker 2: defy you to take care of the kids. Like your

907
00:50:54,840 --> 00:50:57,640
Speaker 2: takeaway can be whatever it is, but like I'm as

908
00:50:57,719 --> 00:50:59,279
Speaker 2: long as I'm working here, I'm going to act in

909
00:50:59,280 --> 00:51:02,359
Speaker 2: their best in try right. Yeah, And then he gets

910
00:51:02,400 --> 00:51:02,880
Speaker 2: on board.

911
00:51:03,560 --> 00:51:03,719
Speaker 4: Yeah.

912
00:51:03,719 --> 00:51:05,120
Speaker 5: And I think that the thing that for me that

913
00:51:05,160 --> 00:51:07,640
Speaker 5: was always trivial about Maria is like she for the

914
00:51:07,640 --> 00:51:10,400
Speaker 5: whole movie, she's like, I am my independent person. And

915
00:51:10,400 --> 00:51:12,480
Speaker 5: in the movie they add the song I Have confidence.

916
00:51:12,480 --> 00:51:15,000
Speaker 5: It's not in the musical. But the thing that's so

917
00:51:15,040 --> 00:51:18,000
Speaker 5: funny is that like she doesn't really listen to Georg,

918
00:51:18,200 --> 00:51:22,120
Speaker 5: she doesn't listen to sometimes she doesn't listen to mother Abbess,

919
00:51:22,160 --> 00:51:24,160
Speaker 5: or sometimes she does, but the person she listens to

920
00:51:24,480 --> 00:51:26,520
Speaker 5: they have very little screen time, is the Baroness.

921
00:51:27,000 --> 00:51:29,759
Speaker 4: And on one hand, for the history of movie.

922
00:51:29,520 --> 00:51:32,239
Speaker 5: Making, I'm like, you know what she's listening to at

923
00:51:32,280 --> 00:51:33,120
Speaker 5: least a woman.

924
00:51:33,000 --> 00:51:35,560
Speaker 4: And like just a band or you know all that stuff.

925
00:51:35,680 --> 00:51:37,040
Speaker 4: The other hand, I'm like, why does it have to

926
00:51:37,040 --> 00:51:37,719
Speaker 4: be a rich woman?

927
00:51:37,880 --> 00:51:40,120
Speaker 5: Like why is like, out of all of the people,

928
00:51:40,400 --> 00:51:43,080
Speaker 5: couldn't they have just made it a different character. But

929
00:51:43,120 --> 00:51:45,120
Speaker 5: I just that's something that's most trivial to me. It's like,

930
00:51:45,120 --> 00:51:47,720
Speaker 5: out of all people you listen to, like that moment

931
00:51:47,960 --> 00:51:50,360
Speaker 5: just doesn't make sense because of the very few moments

932
00:51:50,400 --> 00:51:51,120
Speaker 5: they have together.

933
00:51:51,680 --> 00:51:53,440
Speaker 4: And I'm like, I'm still like, well, why.

934
00:51:53,680 --> 00:51:56,680
Speaker 2: Like why the Baroness character is all over the place

935
00:51:56,719 --> 00:51:59,960
Speaker 2: to be? I don't quite get her because it's like

936
00:52:00,120 --> 00:52:03,320
Speaker 2: she kind of rolls in, reminding me of like Meredith

937
00:52:03,400 --> 00:52:07,600
Speaker 2: from The Parent Trap, where she's like, I'm your new

938
00:52:07,880 --> 00:52:12,239
Speaker 2: blonde mother, and like here I am. I seem like

939
00:52:12,320 --> 00:52:14,120
Speaker 2: I might be up to no good. But then it

940
00:52:14,160 --> 00:52:17,040
Speaker 2: turns out and she kind of is up to no good.

941
00:52:17,040 --> 00:52:19,319
Speaker 2: But then at the I don't know, she tells this

942
00:52:19,400 --> 00:52:22,080
Speaker 2: huge lie that I still don't buy. Maria falling for

943
00:52:22,880 --> 00:52:24,759
Speaker 2: I'm like, well, you love him, so you have to

944
00:52:24,800 --> 00:52:27,000
Speaker 2: go and get out of my way. So she does

945
00:52:27,040 --> 00:52:31,839
Speaker 2: something like emotionally evil, but then she like lets him

946
00:52:31,840 --> 00:52:35,040
Speaker 2: go so easily. She's like, all right, I guess I know,

947
00:52:35,120 --> 00:52:37,440
Speaker 2: and I've been vested. See you later. And then she

948
00:52:37,600 --> 00:52:40,120
Speaker 2: pops out of the movie and I was like, do

949
00:52:40,160 --> 00:52:42,759
Speaker 2: you do you care about this relationship or not? Like

950
00:52:42,880 --> 00:52:45,680
Speaker 2: I don't understand what her end game is.

951
00:52:45,760 --> 00:52:48,799
Speaker 1: It was one of those like you're not firing me,

952
00:52:49,120 --> 00:52:51,399
Speaker 1: I quit because we're like.

953
00:52:51,840 --> 00:52:57,280
Speaker 4: She quit fired the family.

954
00:52:57,960 --> 00:53:01,320
Speaker 1: I interpreted that is like she wouldn't let her ego

955
00:53:01,560 --> 00:53:04,040
Speaker 1: be damaged by being broken up with. So she's like,

956
00:53:04,520 --> 00:53:06,960
Speaker 1: you actually were never the right man for me, and

957
00:53:07,000 --> 00:53:10,320
Speaker 1: that's why I'm leaving, and that's why I've decided actually

958
00:53:10,400 --> 00:53:11,439
Speaker 1: that we're breaking up.

959
00:53:11,880 --> 00:53:15,960
Speaker 2: And I've done that before, but actually I this It

960
00:53:16,000 --> 00:53:17,319
Speaker 2: was my idea and.

961
00:53:21,800 --> 00:53:25,279
Speaker 1: It tracks to me with who she's established to be,

962
00:53:25,280 --> 00:53:28,040
Speaker 1: because like, sure, I think a lesser movie would have

963
00:53:28,160 --> 00:53:31,879
Speaker 1: made her just like very one dimensionally evil a lah

964
00:53:32,320 --> 00:53:35,359
Speaker 1: Billy z Ain in Titanic or something like that.

965
00:53:35,600 --> 00:53:38,600
Speaker 2: Her hands off my fiance, and.

966
00:53:38,520 --> 00:53:42,680
Speaker 1: She is definitely presented as like an obstacle for Maria

967
00:53:42,840 --> 00:53:47,239
Speaker 1: and she is certainly manipulative in different moments, but you

968
00:53:47,280 --> 00:53:49,960
Speaker 1: also like see her try to make an effort with

969
00:53:50,440 --> 00:53:54,080
Speaker 1: the children, and she does seem to be quite affectionate

970
00:53:54,120 --> 00:53:57,520
Speaker 1: toward Captain von Trapp, so like she has qualities that

971
00:53:57,600 --> 00:53:59,800
Speaker 1: to me make her feel like a more well rounded person.

972
00:54:00,000 --> 00:54:02,880
Speaker 1: I'm not a good person, not someone you'd want to

973
00:54:02,920 --> 00:54:06,919
Speaker 1: hang out with, but like someone who has dimension. And

974
00:54:07,640 --> 00:54:09,239
Speaker 1: I was like a little surprised because.

975
00:54:09,000 --> 00:54:11,200
Speaker 2: She's better than you think she's gonna be, right, even

976
00:54:11,200 --> 00:54:12,719
Speaker 2: though she does the one evil thing.

977
00:54:13,000 --> 00:54:16,040
Speaker 1: She does the evil thing, And I was confused when

978
00:54:16,040 --> 00:54:18,360
Speaker 1: she was first appearing on screen and she has like

979
00:54:18,360 --> 00:54:21,480
Speaker 1: a little sidebar with Uncle Max, and I was like,

980
00:54:21,520 --> 00:54:24,400
Speaker 1: wait a minute, Okay, she's like there to try to

981
00:54:24,480 --> 00:54:27,759
Speaker 1: marry Van Trapp to take his money, but then she's like,

982
00:54:27,880 --> 00:54:30,440
Speaker 1: but I'm rich and so I don't need I have

983
00:54:30,480 --> 00:54:32,960
Speaker 1: my own money. And then Max is like, yeah, rich

984
00:54:32,960 --> 00:54:35,879
Speaker 1: people should marry each other so they can also stay

985
00:54:35,960 --> 00:54:38,920
Speaker 1: rich together, and poor people can stay poor.

986
00:54:39,000 --> 00:54:41,160
Speaker 4: Like isn't that what happens already?

987
00:54:41,480 --> 00:54:42,040
Speaker 1: Yeah? Right?

988
00:54:42,840 --> 00:54:45,160
Speaker 2: I was like that the whole seems to be the play,

989
00:54:45,200 --> 00:54:48,040
Speaker 2: but the whole history of the world.

990
00:54:48,080 --> 00:54:50,200
Speaker 1: Right, So I was confused. At first, because I was like, oh,

991
00:54:50,239 --> 00:54:54,080
Speaker 1: she's like scheming to take his money. But then I'm like, no,

992
00:54:54,120 --> 00:54:56,640
Speaker 1: that's not even what's happening. So she's a little bit

993
00:54:56,719 --> 00:54:59,759
Speaker 1: she's more nuanced than I would have expected. And you know,

994
00:54:59,800 --> 00:55:02,600
Speaker 1: you mentioned Meredith from The Parent Trap, who is like

995
00:55:02,640 --> 00:55:06,360
Speaker 1: pretty one dimensionally evil, and yeah, this movie like doesn't

996
00:55:06,520 --> 00:55:09,680
Speaker 1: take that character in that direction. She's like, yeah, she's

997
00:55:09,719 --> 00:55:11,120
Speaker 1: got a little more nuance to her.

998
00:55:11,360 --> 00:55:13,839
Speaker 2: And it doesn't seem like the kids hate her. They

999
00:55:13,880 --> 00:55:17,520
Speaker 2: just don't like her as much as they like Maria, right, yeah,

1000
00:55:17,560 --> 00:55:20,600
Speaker 2: which is fine. I don't know, I think, honestly, that's

1001
00:55:20,840 --> 00:55:23,520
Speaker 2: a really good point. And maybe I'm just more like

1002
00:55:24,239 --> 00:55:27,880
Speaker 2: bugged by. I'm like, why did Maria fall for her trick?

1003
00:55:29,239 --> 00:55:32,240
Speaker 2: But that's just a reaction to how much I love

1004
00:55:32,480 --> 00:55:37,520
Speaker 2: Maria's character. Like she is, so it's like effortless the

1005
00:55:37,560 --> 00:55:40,520
Speaker 2: way that like I was reading a couple of essays

1006
00:55:40,560 --> 00:55:44,959
Speaker 2: just about the character of Maria and how like this

1007
00:55:45,160 --> 00:55:51,080
Speaker 2: movie presents becoming like a parent as an active choice,

1008
00:55:51,480 --> 00:55:53,719
Speaker 2: and I feel like we're so often told that, like

1009
00:55:54,360 --> 00:55:58,200
Speaker 2: women are expected to be parents and to be inherently

1010
00:55:58,320 --> 00:56:01,239
Speaker 2: nurturing and to be all this stuff, which I think

1011
00:56:01,360 --> 00:56:03,920
Speaker 2: there are counterpoints to in the movie, because that's not

1012
00:56:03,960 --> 00:56:06,680
Speaker 2: who the Baroness is. She's doing her best, but like

1013
00:56:06,840 --> 00:56:10,759
Speaker 2: it's not quite cooking. Maria loves these kids and like

1014
00:56:11,040 --> 00:56:13,719
Speaker 2: is choosing to be there. It's not expected of her,

1015
00:56:13,840 --> 00:56:16,680
Speaker 2: and she's like making an active effort to want to

1016
00:56:16,719 --> 00:56:21,360
Speaker 2: do that, and like her norm is also her active choice,

1017
00:56:21,360 --> 00:56:23,520
Speaker 2: which is like she wanted to be a nun. But

1018
00:56:23,560 --> 00:56:26,359
Speaker 2: then it's like, I just really I like how much

1019
00:56:26,400 --> 00:56:28,799
Speaker 2: space she has within the story, and it's still very

1020
00:56:28,840 --> 00:56:32,200
Speaker 2: much of its time, Like there's only so many she

1021
00:56:32,320 --> 00:56:34,759
Speaker 2: can't become a doctor, like you know, the stuff that

1022
00:56:35,000 --> 00:56:38,640
Speaker 2: our options to many women today aren't available to her.

1023
00:56:38,680 --> 00:56:42,600
Speaker 2: But I really liked that she is so active. There's

1024
00:56:42,680 --> 00:56:46,600
Speaker 2: literally a song about how she's confident, yes, and it

1025
00:56:46,680 --> 00:56:49,000
Speaker 2: doesn't feel like it just feels completely in stuck with

1026
00:56:49,040 --> 00:56:51,560
Speaker 2: who she is, and the fact that she's loved for

1027
00:56:51,600 --> 00:56:56,200
Speaker 2: those qualities is the coolest. I just love her, And.

1028
00:56:56,160 --> 00:56:59,600
Speaker 5: I think it's also just like speaking to like who

1029
00:57:00,120 --> 00:57:02,560
Speaker 5: Julie Andrews is, Like if you think about all of

1030
00:57:02,600 --> 00:57:06,640
Speaker 5: the roles, she's hot, like you know Mary Poppins and

1031
00:57:07,200 --> 00:57:09,480
Speaker 5: My Fair Lady, Eliza Doolittle unbrought like you know in

1032
00:57:09,520 --> 00:57:13,200
Speaker 5: the original, like all of these are for the time period,

1033
00:57:13,800 --> 00:57:18,560
Speaker 5: compared to the Damsel and the Distressed on Jeenew's of

1034
00:57:19,120 --> 00:57:22,520
Speaker 5: fifties and sixties musicals, like they are actually pretty radical

1035
00:57:22,560 --> 00:57:25,640
Speaker 5: for the time where you know, you compare that with

1036
00:57:25,800 --> 00:57:29,720
Speaker 5: the roles that Shirley mcclaan used to play in Oklahoma

1037
00:57:29,880 --> 00:57:34,160
Speaker 5: or in Carousel and all these Rogers and Hammerside musicals,

1038
00:57:34,440 --> 00:57:36,840
Speaker 5: same things too, right, And it just to me, it

1039
00:57:36,920 --> 00:57:40,280
Speaker 5: was just something like and it continued throughout Julie Andrews's career.

1040
00:57:40,360 --> 00:57:43,400
Speaker 5: She was Victor, Victoria all of these like she could

1041
00:57:43,440 --> 00:57:47,480
Speaker 5: have been the Damsel in distress Angenoux. She's got that

1042
00:57:47,560 --> 00:57:50,680
Speaker 5: beautiful face, she's small body, right, like all these things

1043
00:57:50,680 --> 00:57:52,520
Speaker 5: that were very popular for that at the time. But

1044
00:57:52,600 --> 00:57:54,960
Speaker 5: she really was like a no, I'm going to play

1045
00:57:55,360 --> 00:57:58,680
Speaker 5: roles that aren't just the traditional you know woman.

1046
00:58:00,120 --> 00:58:03,320
Speaker 1: All at the Yeah, and don't forget her most iconic

1047
00:58:03,400 --> 00:58:07,080
Speaker 1: role of all time, which of course is her voicing

1048
00:58:07,120 --> 00:58:15,479
Speaker 1: the Queen in Shrek Too. Oh yeah, yes, Princess Diary

1049
00:58:15,560 --> 00:58:21,360
Speaker 1: is sure to me that pales in comparison to the

1050
00:58:21,520 --> 00:58:25,360
Speaker 1: Queen Fiona's mom and Shrek Too and beyond.

1051
00:58:27,080 --> 00:58:30,640
Speaker 2: It's true, it's the best thing. Here is something I

1052
00:58:30,680 --> 00:58:35,600
Speaker 2: wrote down at one am last night. In the Sound

1053
00:58:35,640 --> 00:58:39,640
Speaker 2: of Music, Maria is a Montessori teacher called by God,

1054
00:58:40,920 --> 00:58:45,520
Speaker 2: and in Mary Poppins, Julie Andrews is a Montessori teacher

1055
00:58:45,560 --> 00:58:48,880
Speaker 2: who's also a wizard.

1056
00:58:49,880 --> 00:58:55,280
Speaker 1: Yeah again, they're very similar movies, and that Julie Andrews

1057
00:58:55,320 --> 00:58:58,880
Speaker 1: is summoned to care for children. I want to go

1058
00:58:59,000 --> 00:59:05,200
Speaker 1: back to the her being duped basically by the baroness.

1059
00:59:05,480 --> 00:59:09,800
Speaker 2: Yea, what's going on there? Please please help me get there?

1060
00:59:09,840 --> 00:59:12,880
Speaker 1: I don't know. And because this is not at all

1061
00:59:12,920 --> 00:59:16,120
Speaker 1: how it played out in real life for Maria, it's like,

1062
00:59:16,800 --> 00:59:20,080
Speaker 1: obviously this was completely fabricated for the sake of the

1063
00:59:20,200 --> 00:59:25,160
Speaker 1: musical in the movie. I can't speak to Catholic guilt

1064
00:59:25,240 --> 00:59:28,080
Speaker 1: from experience, but part of me is like, Okay, maybe

1065
00:59:28,160 --> 00:59:32,360
Speaker 1: she thinks, like she's a nun, she shouldn't have these,

1066
00:59:32,440 --> 00:59:37,520
Speaker 1: like sure, like this shame romantic feelings for a mortal man.

1067
00:59:38,120 --> 00:59:41,520
Speaker 1: And she probably does actually have those feelings in the

1068
00:59:41,560 --> 00:59:45,440
Speaker 1: context of this movie because she has watched Von Trapp,

1069
00:59:45,800 --> 00:59:48,960
Speaker 1: you know, lighten up and be more affectionate toward his children,

1070
00:59:48,960 --> 00:59:51,880
Speaker 1: and he's also appreciating her for her efforts, like he

1071
00:59:51,920 --> 00:59:55,840
Speaker 1: doesn't at first, but he then realizes like, wow, she

1072
00:59:56,360 --> 00:59:58,760
Speaker 1: has done a lot for my family and my children,

1073
00:59:58,880 --> 01:00:03,200
Speaker 1: like and he expressed his gratitude about that. He apologizes

1074
01:00:03,240 --> 01:00:06,200
Speaker 1: for being shitty earlier, and so I can kind of

1075
01:00:06,240 --> 01:00:10,120
Speaker 1: see why she would maybe develop feelings for him. And

1076
01:00:10,160 --> 01:00:12,960
Speaker 1: then when someone points this out and she realizes like damn,

1077
01:00:12,960 --> 01:00:15,320
Speaker 1: maybe she's right. But because she has all of this,

1078
01:00:15,560 --> 01:00:18,680
Speaker 1: like none guilt, she's like, oh my god, it is

1079
01:00:18,680 --> 01:00:21,240
Speaker 1: so inappropriate. If I'm here falling in love with this man,

1080
01:00:21,400 --> 01:00:24,080
Speaker 1: I should leave. So I don't know if that you know,

1081
01:00:24,120 --> 01:00:26,880
Speaker 1: I'm sort of projecting maybe I'm on board.

1082
01:00:27,200 --> 01:00:29,400
Speaker 4: I'm on board. I grew up a Catholic, and so

1083
01:00:30,040 --> 01:00:31,400
Speaker 4: I can speak from cath.

1084
01:00:31,840 --> 01:00:33,080
Speaker 1: You can speak better than I can.

1085
01:00:33,120 --> 01:00:36,600
Speaker 4: Then, yes, no, that makes sense. I've never thought about

1086
01:00:36,640 --> 01:00:36,920
Speaker 4: it like that.

1087
01:00:37,000 --> 01:00:38,880
Speaker 5: But as soon as he said I was like, oh,

1088
01:00:38,920 --> 01:00:43,280
Speaker 5: it totally makes sense, because like both nuns and also

1089
01:00:43,400 --> 01:00:46,200
Speaker 5: extremely religious Catholics who like, maybe I've never had a

1090
01:00:46,200 --> 01:00:47,960
Speaker 5: partner in their life because they're saying that their partner

1091
01:00:48,000 --> 01:00:49,840
Speaker 5: is God, Like I know some of them and my

1092
01:00:49,880 --> 01:00:51,880
Speaker 5: family that were just like I'm never gonna.

1093
01:00:51,760 --> 01:00:55,240
Speaker 4: My only partner I need is jod you know. And so.

1094
01:00:56,640 --> 01:00:58,760
Speaker 5: I do think that that's a real that is a

1095
01:00:58,800 --> 01:01:01,919
Speaker 5: real thing, especially at the time period where you don't

1096
01:01:01,960 --> 01:01:05,959
Speaker 5: second guess another woman saying, you know, saying that.

1097
01:01:05,880 --> 01:01:07,920
Speaker 4: To you as well. But I also think that like,

1098
01:01:08,480 --> 01:01:09,880
Speaker 4: is that just like the duped part.

1099
01:01:10,000 --> 01:01:14,160
Speaker 5: I think part of it is that, like she doesn't

1100
01:01:14,240 --> 01:01:16,680
Speaker 5: want to be in the way of what is best

1101
01:01:16,720 --> 01:01:19,920
Speaker 5: for the children, and she probably just thinks that if

1102
01:01:19,920 --> 01:01:22,800
Speaker 5: there's some mother figure there and Bareness is not it's

1103
01:01:22,800 --> 01:01:24,200
Speaker 5: not Meredith from parent trap.

1104
01:01:24,440 --> 01:01:26,280
Speaker 4: If there's some mother figure there is, there's.

1105
01:01:26,080 --> 01:01:28,920
Speaker 5: Somebody who can take Captain von Trapp out of his

1106
01:01:29,160 --> 01:01:32,840
Speaker 5: like grief, then they're fine and she's done her job.

1107
01:01:33,000 --> 01:01:34,680
Speaker 5: So that could also be a part of it too,

1108
01:01:34,720 --> 01:01:36,400
Speaker 5: like plus the guilt being like, you know what.

1109
01:01:37,000 --> 01:01:38,760
Speaker 4: All I want to make sure the children are good.

1110
01:01:39,160 --> 01:01:43,760
Speaker 4: She's not evil to them, she's not mean to them.

1111
01:01:42,840 --> 01:01:46,200
Speaker 5: She's not as badass as I am, but maybe they'll

1112
01:01:46,240 --> 01:01:48,400
Speaker 5: be straight right, And so I think that's also a

1113
01:01:48,400 --> 01:01:50,320
Speaker 5: part of it, where it's like, oh yeah, wait a second,

1114
01:01:50,480 --> 01:01:53,200
Speaker 5: maybe I will make this more complicated, you know what,

1115
01:01:53,280 --> 01:01:56,760
Speaker 5: Like a situation's already messy and you're like I'm gonna

1116
01:01:57,200 --> 01:01:59,520
Speaker 5: do the Homer Simpson meme and.

1117
01:02:01,040 --> 01:02:02,760
Speaker 4: So yeah, that could be a part of it too.

1118
01:02:03,280 --> 01:02:06,800
Speaker 2: That makes total sense. Okay, Wow, I'm glad we're doing

1119
01:02:06,840 --> 01:02:09,880
Speaker 2: this right well.

1120
01:02:10,160 --> 01:02:12,880
Speaker 1: Especially because I think it's the scene of her like

1121
01:02:13,000 --> 01:02:16,440
Speaker 1: first night in the house and she's praying, and that's

1122
01:02:16,480 --> 01:02:18,800
Speaker 1: when she's like, God, bless what's his name? Which is

1123
01:02:19,000 --> 01:02:22,000
Speaker 1: so funny, but she's kind of praying and she's like

1124
01:02:22,200 --> 01:02:26,120
Speaker 1: vocalizing that she realizes her like divine purpose for at

1125
01:02:26,200 --> 01:02:30,040
Speaker 1: least this chunk of time is to prepare the family

1126
01:02:30,200 --> 01:02:33,160
Speaker 1: for their new mother, because she already knows that the

1127
01:02:33,200 --> 01:02:38,840
Speaker 1: Baroness and von Trapp are like betrothed. So she's like, Okay,

1128
01:02:38,920 --> 01:02:42,520
Speaker 1: I'll just like be the governess until this like mother

1129
01:02:43,000 --> 01:02:45,640
Speaker 1: comes in marries into the family and kind of like

1130
01:02:45,840 --> 01:02:48,880
Speaker 1: replaces my role as mother figures right.

1131
01:02:48,880 --> 01:02:52,439
Speaker 2: She sees herself as like a stop gap kind of Yeah. Yeah,

1132
01:02:52,600 --> 01:02:56,160
Speaker 2: she doesn't expect to fall in love. I gotta say

1133
01:02:56,320 --> 01:03:00,520
Speaker 2: I like their relationship. It's a relationship that girl and

1134
01:03:01,040 --> 01:03:04,280
Speaker 2: is based on mutual respect. It's not perfect, there is, certainly,

1135
01:03:04,400 --> 01:03:08,200
Speaker 2: and I do think that the expectation that he has

1136
01:03:08,280 --> 01:03:11,240
Speaker 2: to be ushered through his own grief. There's a gendered

1137
01:03:11,240 --> 01:03:12,880
Speaker 2: way to view that, and I also think that that's

1138
01:03:12,960 --> 01:03:15,680
Speaker 2: what a good partner does too, So I don't know.

1139
01:03:15,920 --> 01:03:18,680
Speaker 2: I'm like, it is so hard to get me on

1140
01:03:18,760 --> 01:03:22,400
Speaker 2: board with like a romantic relationship in an older movie,

1141
01:03:22,480 --> 01:03:25,440
Speaker 2: but this is like way better than I expected. The

1142
01:03:26,040 --> 01:03:29,920
Speaker 2: exchange with them, where she, I think, is coming from

1143
01:03:29,960 --> 01:03:32,520
Speaker 2: like she's just been let go. She's coming from that

1144
01:03:32,600 --> 01:03:34,840
Speaker 2: shame based place where she's like, I'm far too outspoken,

1145
01:03:34,880 --> 01:03:39,600
Speaker 2: It's one of my worst faults. And he's like, no, wrong,

1146
01:03:39,960 --> 01:03:44,880
Speaker 2: I'm sorry, you were doing the right thing. I feel like,

1147
01:03:44,960 --> 01:03:49,400
Speaker 2: within the context of the movie, like she is challenging

1148
01:03:50,080 --> 01:03:52,960
Speaker 2: his views on like what a woman can do and

1149
01:03:53,000 --> 01:03:56,080
Speaker 2: what someone with less resources with him can do, and

1150
01:03:56,240 --> 01:04:00,680
Speaker 2: like he's actually taking the note and being like I'm wrong,

1151
01:04:00,880 --> 01:04:06,240
Speaker 2: and like Maria is demonstrably like changing my kid's life.

1152
01:04:06,680 --> 01:04:08,880
Speaker 2: Let's get on board. I like it.

1153
01:04:09,160 --> 01:04:11,520
Speaker 5: What I'll say about Captain ron Chapp is like, there

1154
01:04:11,640 --> 01:04:13,520
Speaker 5: is this I know a lot of folks talk about

1155
01:04:13,840 --> 01:04:16,160
Speaker 5: or how I talked about it being very gendered and stuff,

1156
01:04:16,160 --> 01:04:18,000
Speaker 5: and I kind of look at it, especially because he's

1157
01:04:18,000 --> 01:04:21,360
Speaker 5: in the military, is like he needs something to fight for,

1158
01:04:21,680 --> 01:04:23,600
Speaker 5: he needs something to stay alive for and a lot

1159
01:04:24,000 --> 01:04:27,640
Speaker 5: like a live personality and soul wise, and he not

1160
01:04:27,800 --> 01:04:31,280
Speaker 5: only gets it in the sense of seeing his children

1161
01:04:31,440 --> 01:04:34,320
Speaker 5: alive and seeing them not also acting on in some

1162
01:04:34,360 --> 01:04:36,560
Speaker 5: ways with Maria, but he also gets it because he's

1163
01:04:36,600 --> 01:04:39,200
Speaker 5: fighting against something that he doesn't believe in, which is

1164
01:04:39,240 --> 01:04:42,840
Speaker 5: like NAZII and fascism in that way, right, Like there

1165
01:04:42,840 --> 01:04:45,080
Speaker 5: are subtle hints throughout it, and I think that part

1166
01:04:45,120 --> 01:04:48,120
Speaker 5: of like I don't think that that was just Maria

1167
01:04:48,160 --> 01:04:51,080
Speaker 5: that did that for him, right, or Maria's responsibility. It's

1168
01:04:51,160 --> 01:04:53,439
Speaker 5: like what the movie shows. It's just like the way

1169
01:04:53,480 --> 01:04:54,960
Speaker 5: the music in the movie are written. It's just like

1170
01:04:55,080 --> 01:04:56,720
Speaker 5: he did need something to fight for. And that's why

1171
01:04:56,760 --> 01:04:58,560
Speaker 5: when he sings in a vice at the end, it's

1172
01:04:58,600 --> 01:05:00,680
Speaker 5: just like one of the like I never or not cry,

1173
01:05:00,960 --> 01:05:05,200
Speaker 5: Like there's just like I never ever ever not cry.

1174
01:05:05,240 --> 01:05:08,160
Speaker 5: I'm even like now I'm like, no, no, you're not

1175
01:05:08,200 --> 01:05:12,080
Speaker 5: gonna cry.

1176
01:05:13,000 --> 01:05:14,320
Speaker 2: I cry every episode.

1177
01:05:15,800 --> 01:05:18,600
Speaker 4: But it's just like like the journey for him.

1178
01:05:18,880 --> 01:05:22,720
Speaker 5: As when you think also about soldiers at that time,

1179
01:05:23,320 --> 01:05:26,360
Speaker 5: the historical context of like a lot of these nation

1180
01:05:26,520 --> 01:05:29,520
Speaker 5: states being fairly new because they were like you know,

1181
01:05:29,520 --> 01:05:32,640
Speaker 5: there's the Austrio, Hungarian umpire, like also all these folks

1182
01:05:32,720 --> 01:05:34,640
Speaker 5: being like I have a country to believe in, I

1183
01:05:34,680 --> 01:05:36,600
Speaker 5: have a family to believe in. I have all this

1184
01:05:36,640 --> 01:05:38,960
Speaker 5: stuff to believe in. And you know, your wife dies

1185
01:05:39,200 --> 01:05:41,120
Speaker 5: and then you're seeing the rise of the Nazi Party,

1186
01:05:41,160 --> 01:05:43,320
Speaker 5: which you're trying to ignore it. So I just feel

1187
01:05:43,360 --> 01:05:46,240
Speaker 5: like all of that overwhelming stuff, she was able to

1188
01:05:46,320 --> 01:05:49,360
Speaker 5: kind of be like wake up because the world was

1189
01:05:49,400 --> 01:05:51,760
Speaker 5: also happening around her. And I think he saw that

1190
01:05:51,800 --> 01:05:54,280
Speaker 5: as example, not as like it's your job to do this,

1191
01:05:54,440 --> 01:05:57,120
Speaker 5: but like, oh, if she can do this, if she

1192
01:05:57,200 --> 01:05:59,200
Speaker 5: can live in this world and look at the bright

1193
01:05:59,280 --> 01:06:02,160
Speaker 5: side regardless of what's happening, and like, yeah, that's why.

1194
01:06:02,200 --> 01:06:04,560
Speaker 5: At the end, it's just like you know what, Like

1195
01:06:05,120 --> 01:06:06,280
Speaker 5: that's where it gets to me.

1196
01:06:06,280 --> 01:06:07,120
Speaker 4: A lot of the times.

1197
01:06:07,360 --> 01:06:07,760
Speaker 1: Mm hmm.

1198
01:06:08,240 --> 01:06:12,640
Speaker 2: It's really nice. I do feel like in Act too.

1199
01:06:13,360 --> 01:06:16,680
Speaker 2: I feel this way about Active every musical. The ending

1200
01:06:16,920 --> 01:06:20,720
Speaker 2: is tremendous and like amazing. I do feel like Maria's

1201
01:06:20,880 --> 01:06:24,040
Speaker 2: role in the movie is pulled back a little bit

1202
01:06:24,160 --> 01:06:28,440
Speaker 2: after she's married, which I think we see and with

1203
01:06:28,800 --> 01:06:31,880
Speaker 2: some frequency this is like not the worst offender. It's

1204
01:06:31,920 --> 01:06:34,680
Speaker 2: not like she disappears from the plot, but she is

1205
01:06:34,840 --> 01:06:38,720
Speaker 2: less active because the focus. Once they're together, the focus

1206
01:06:38,760 --> 01:06:42,840
Speaker 2: shifts to their escape, which is more driven at least

1207
01:06:42,840 --> 01:06:46,320
Speaker 2: in this story by Captain von Trapp, So we sort

1208
01:06:46,360 --> 01:06:49,960
Speaker 2: of shifts focused towards the end, which I don't know.

1209
01:06:50,040 --> 01:06:52,439
Speaker 2: I mean, I don't really have a suggestion for how

1210
01:06:52,480 --> 01:06:55,520
Speaker 2: that could have been rectified, but I did. I'd never

1211
01:06:55,840 --> 01:06:59,280
Speaker 2: noticed that in previous viewings. Not the worst offender, but

1212
01:06:59,320 --> 01:07:00,680
Speaker 2: it was something I picked that by.

1213
01:07:01,360 --> 01:07:03,000
Speaker 1: I feel like you could just make a few quick

1214
01:07:03,280 --> 01:07:07,000
Speaker 1: writing slash dialogue changes to make some of the things

1215
01:07:07,520 --> 01:07:08,760
Speaker 1: her idea.

1216
01:07:08,600 --> 01:07:11,160
Speaker 2: Yes right, which was like historically true, It's like it

1217
01:07:11,240 --> 01:07:13,960
Speaker 2: was more of a collective decision, right right, Like when

1218
01:07:14,000 --> 01:07:17,520
Speaker 2: he gets the telegram and he's like to refuse this

1219
01:07:17,560 --> 01:07:18,400
Speaker 2: would be bad.

1220
01:07:18,480 --> 01:07:22,160
Speaker 1: But also under no circumstances would I ever return to

1221
01:07:22,240 --> 01:07:27,000
Speaker 1: Germany and be complicit in this Nazi movement. If she's like, okay,

1222
01:07:27,000 --> 01:07:29,760
Speaker 1: well let's pack up and leave tonight, like if it's

1223
01:07:29,800 --> 01:07:33,320
Speaker 1: her proposing that, and then if it's her, yeah, there's

1224
01:07:33,360 --> 01:07:36,000
Speaker 1: different things like she does jump in when they get

1225
01:07:36,040 --> 01:07:39,160
Speaker 1: caught by the Nazis outside as they're like pushing the

1226
01:07:39,160 --> 01:07:42,480
Speaker 1: car out of the driveway, and she chimes in a

1227
01:07:42,480 --> 01:07:44,080
Speaker 1: little bit, but if she was a little bit more

1228
01:07:44,120 --> 01:07:47,520
Speaker 1: active in that conversation, different things like that could have

1229
01:07:47,640 --> 01:07:51,280
Speaker 1: made her more active and just shown that like, oh,

1230
01:07:51,360 --> 01:07:55,160
Speaker 1: she fully understands what's happening, and she's going to be

1231
01:07:55,160 --> 01:07:58,560
Speaker 1: a very active participant in this escape. But yeah, the

1232
01:07:58,600 --> 01:08:02,800
Speaker 1: movie definitely does scale back on her active participation in

1233
01:08:02,800 --> 01:08:04,920
Speaker 1: a way that doesn't make sense because she's the protagonist

1234
01:08:04,960 --> 01:08:07,520
Speaker 1: of the movie, so like, yeah, you need to keep

1235
01:08:07,560 --> 01:08:08,760
Speaker 1: her active throughout.

1236
01:08:08,960 --> 01:08:10,240
Speaker 2: Yeah, yeah, I wish there.

1237
01:08:10,120 --> 01:08:12,400
Speaker 5: Would have been some plotting a little bit also, Like

1238
01:08:12,760 --> 01:08:14,800
Speaker 5: you could have had some plotting with like the nuns,

1239
01:08:14,840 --> 01:08:17,439
Speaker 5: like how they I mean, they went back to the abbey,

1240
01:08:17,520 --> 01:08:20,360
Speaker 5: but that could have even been explored more too, because

1241
01:08:20,400 --> 01:08:22,400
Speaker 5: they came back and a bunch of scenes in Act one,

1242
01:08:22,400 --> 01:08:24,479
Speaker 5: but then they're really just left at the very end

1243
01:08:25,200 --> 01:08:27,240
Speaker 5: of both the movie and the musical, and it's like

1244
01:08:27,360 --> 01:08:29,360
Speaker 5: the movie is really just like a pinch in the air.

1245
01:08:29,600 --> 01:08:31,599
Speaker 5: The musical has it a little bit tossed out more

1246
01:08:31,640 --> 01:08:33,080
Speaker 5: because musicals.

1247
01:08:32,640 --> 01:08:33,200
Speaker 4: Often do that.

1248
01:08:33,520 --> 01:08:35,160
Speaker 5: But I think that they could have even had like

1249
01:08:35,240 --> 01:08:38,320
Speaker 5: Maria plotting with the nuns, yeah, to do that stuff, right,

1250
01:08:38,360 --> 01:08:40,639
Speaker 5: like even if that was so completely fictional, that still

1251
01:08:40,640 --> 01:08:43,000
Speaker 5: would have made it her character stronger, and then the

1252
01:08:43,400 --> 01:08:47,160
Speaker 5: bond as well of sisterhood. Literally, like the nuns do

1253
01:08:47,200 --> 01:08:50,040
Speaker 5: a badass thing and it's amazing, and it's also kind

1254
01:08:50,040 --> 01:08:52,600
Speaker 5: of like people forget that they did that because it

1255
01:08:52,720 --> 01:08:56,439
Speaker 5: wasn't a big thing in the movie, right, like yeah,

1256
01:08:56,479 --> 01:08:58,760
Speaker 5: and so it could have just been more explored so

1257
01:08:58,800 --> 01:09:01,439
Speaker 5: that that scene had more of an act, I think totally.

1258
01:09:01,800 --> 01:09:05,920
Speaker 2: And the fact that, like the nuns politics are revealed

1259
01:09:06,040 --> 01:09:09,320
Speaker 2: to us, but up until that point we're not really

1260
01:09:09,320 --> 01:09:11,360
Speaker 2: given a lot of information of like how do they

1261
01:09:11,400 --> 01:09:15,160
Speaker 2: feel about the changing landscape around them? That would be

1262
01:09:15,360 --> 01:09:18,479
Speaker 2: like a really that I'm sure the primary you know,

1263
01:09:18,560 --> 01:09:21,880
Speaker 2: resources exist for that would have been a really fascinating

1264
01:09:22,120 --> 01:09:24,360
Speaker 2: thing to view as well as I think that, Yeah,

1265
01:09:24,400 --> 01:09:26,920
Speaker 2: like the movie gets a little bit myopic with like

1266
01:09:27,680 --> 01:09:32,439
Speaker 2: Captain von Trapp's journey towards the end, especially now having

1267
01:09:32,479 --> 01:09:35,519
Speaker 2: read that like the children were actually mostly adults and

1268
01:09:36,000 --> 01:09:39,920
Speaker 2: were extremely anti Nazi, like it would have been. I

1269
01:09:40,000 --> 01:09:44,120
Speaker 2: think that Lisel is really kind of our only significant

1270
01:09:44,160 --> 01:09:48,080
Speaker 2: in and like, holy shit, what is going on around me?

1271
01:09:48,240 --> 01:09:52,960
Speaker 2: I refuse to participate, which is done through a romantic relationship.

1272
01:09:53,080 --> 01:09:56,720
Speaker 2: I don't know that feels very smaltzy and hm. But

1273
01:09:57,000 --> 01:10:00,800
Speaker 2: at least you have one of the kids interaction with it.

1274
01:10:00,880 --> 01:10:04,160
Speaker 2: But yeah, for the most part, that whole arc is

1275
01:10:04,200 --> 01:10:08,080
Speaker 2: reserved strictly for von Trapp, where I think it would

1276
01:10:08,080 --> 01:10:11,320
Speaker 2: have been interesting to see. Yeah, I guess which you

1277
01:10:11,360 --> 01:10:18,160
Speaker 2: see more of in Cabaret of like, how are individuals processing, ignoring,

1278
01:10:19,120 --> 01:10:23,439
Speaker 2: challenging this fiscistic movement that they're surrounded by, you know,

1279
01:10:23,800 --> 01:10:28,960
Speaker 2: can't relate, But yeah, I mean I think that, like

1280
01:10:29,080 --> 01:10:31,400
Speaker 2: it would have been interesting. Liesel is our only end

1281
01:10:31,439 --> 01:10:35,160
Speaker 2: and it's not. I don't love that in for us

1282
01:10:35,320 --> 01:10:38,479
Speaker 2: is like, oh no, my boyfriend is a Nazi. No.

1283
01:10:39,120 --> 01:10:42,720
Speaker 2: I feel like there's a better way to make that

1284
01:10:42,800 --> 01:10:45,799
Speaker 2: same point. And I think it's instructive to watch Lisel.

1285
01:10:45,960 --> 01:10:49,560
Speaker 2: You know, have to have a political awakening as a teenager.

1286
01:10:49,640 --> 01:10:53,599
Speaker 2: That's a very relatable thing. I just didn't love the

1287
01:10:53,640 --> 01:10:58,000
Speaker 2: way that it was done. It felt very written by

1288
01:10:58,080 --> 01:11:01,479
Speaker 2: a man way of showing that political awakening.

1289
01:11:02,080 --> 01:11:05,559
Speaker 1: Yes. What I did love though, is when not that

1290
01:11:05,600 --> 01:11:08,680
Speaker 1: I love her kissing a Nazi boy, but after she

1291
01:11:08,720 --> 01:11:16,479
Speaker 1: does kiss Wealth toward the beginning, she goes wee, that

1292
01:11:16,760 --> 01:11:19,280
Speaker 1: was kind of fun, And that is how I react

1293
01:11:19,400 --> 01:11:21,519
Speaker 1: every time I kiss a man.

1294
01:11:21,880 --> 01:11:26,800
Speaker 2: Also, I like, I mean, I like Lisla and Maria's

1295
01:11:27,040 --> 01:11:31,840
Speaker 2: relationship too. I think it's very sweet. I like all

1296
01:11:31,840 --> 01:11:33,400
Speaker 2: the kids. I mean the kids, Yeah, some of them

1297
01:11:33,479 --> 01:11:36,519
Speaker 2: kind of blend into each other. Yeah, but I like

1298
01:11:36,560 --> 01:11:38,760
Speaker 2: the family. Yeah, Lisel. I wish that there could have

1299
01:11:38,760 --> 01:11:41,679
Speaker 2: been more, not even more real estate and the story

1300
01:11:41,680 --> 01:11:44,919
Speaker 2: dedicated to her, but just like a little more detail

1301
01:11:45,080 --> 01:11:47,679
Speaker 2: and like less focus on the romantic relationship and more

1302
01:11:47,800 --> 01:11:50,240
Speaker 2: like what do they say outside the house? What are

1303
01:11:50,240 --> 01:11:51,240
Speaker 2: they being shielded?

1304
01:11:51,560 --> 01:11:51,640
Speaker 4: Like?

1305
01:11:52,120 --> 01:11:55,880
Speaker 2: I'd be really curious to know what various drafts this

1306
01:11:55,920 --> 01:11:58,600
Speaker 2: went through, because obviously it's been significantly changed from the

1307
01:11:58,640 --> 01:12:02,280
Speaker 2: source material because none of it happened that way. But

1308
01:12:02,439 --> 01:12:05,960
Speaker 2: the fact that Rogers and Hammersigin are two Jewish composers

1309
01:12:06,439 --> 01:12:09,880
Speaker 2: that are adapting, you know, this anti Nazi story. The

1310
01:12:10,000 --> 01:12:13,599
Speaker 2: screenwriter of this movie was also a Jewish writer, Ernest Lehman,

1311
01:12:14,080 --> 01:12:19,000
Speaker 2: who wrote so many famous movies. He also wrote west

1312
01:12:19,000 --> 01:12:21,439
Speaker 2: Side's Story. He was like really good at adapting. He

1313
01:12:21,479 --> 01:12:23,679
Speaker 2: did west Side Story, he did this, He did Who's

1314
01:12:23,680 --> 01:12:27,600
Speaker 2: Afraid of Virginia Woolf one of my favorite its. So

1315
01:12:27,640 --> 01:12:30,559
Speaker 2: you have like a lot of Jewish voices involved in

1316
01:12:30,640 --> 01:12:34,600
Speaker 2: this production, but not Jewish women, which I think you

1317
01:12:34,640 --> 01:12:38,479
Speaker 2: can sort of feel and like stuff like the loose

1318
01:12:38,520 --> 01:12:40,600
Speaker 2: threads like the Lesal story were like what is the

1319
01:12:40,640 --> 01:12:45,080
Speaker 2: teenage girl gonna do date a teenage boy? Done? Like

1320
01:12:45,600 --> 01:12:49,000
Speaker 2: du where teenage girls are doing so many nefarious things

1321
01:12:49,240 --> 01:12:52,479
Speaker 2: and you don't know unless you've done it.

1322
01:12:52,479 --> 01:12:55,000
Speaker 5: It's wild because for who they are, it's like on

1323
01:12:55,040 --> 01:12:57,519
Speaker 5: the spectrum of like who was writing musicals in the

1324
01:12:57,600 --> 01:13:01,000
Speaker 5: nineteen fifties and sixties, like Rogers and hammerscign definitely had.

1325
01:13:01,560 --> 01:13:03,160
Speaker 4: For how popular they were.

1326
01:13:03,760 --> 01:13:06,320
Speaker 5: Also for Oscar you know, he was on I think

1327
01:13:06,400 --> 01:13:10,680
Speaker 5: McCarthy's lists because he was associated with communists and socialists

1328
01:13:10,720 --> 01:13:12,479
Speaker 5: back in the United States back in the days, and

1329
01:13:12,479 --> 01:13:14,720
Speaker 5: then he had to, like many people be like, oh,

1330
01:13:14,760 --> 01:13:16,640
Speaker 5: I'm not really with them and figure out ways to

1331
01:13:16,680 --> 01:13:20,080
Speaker 5: support the movements here in different ways. But for those folks,

1332
01:13:20,120 --> 01:13:23,639
Speaker 5: like they're always to me, I'm always like, oh.

1333
01:13:23,520 --> 01:13:24,240
Speaker 4: I love it, I love it.

1334
01:13:24,840 --> 01:13:26,360
Speaker 5: Like there's you know what I mean where they're like

1335
01:13:26,439 --> 01:13:28,880
Speaker 5: almost there, like Anna and the King and I really

1336
01:13:28,920 --> 01:13:31,760
Speaker 5: interesting story also a true story, you know, or like

1337
01:13:32,200 --> 01:13:35,160
Speaker 5: Anna was a real person, right and she like landed

1338
01:13:35,160 --> 01:13:36,280
Speaker 5: in Staten Island at some point.

1339
01:13:36,360 --> 01:13:38,760
Speaker 4: All these Stetn Island intersections are just my.

1340
01:13:38,720 --> 01:13:42,120
Speaker 1: Favorite Madam's webs and connects them all madams webs.

1341
01:13:42,200 --> 01:13:46,080
Speaker 5: Yes, and so like all of these things like South Pacific,

1342
01:13:46,200 --> 01:13:50,680
Speaker 5: Like there are these women in these really interesting historical

1343
01:13:50,760 --> 01:13:55,160
Speaker 5: moments that before that time are never really talked about

1344
01:13:55,240 --> 01:13:57,640
Speaker 5: at all, right, like women were just there to be

1345
01:13:57,920 --> 01:14:00,519
Speaker 5: the wives, and so they are a little bit more complex.

1346
01:14:00,560 --> 01:14:02,240
Speaker 4: And then also you like it's.

1347
01:14:02,120 --> 01:14:03,679
Speaker 5: Like one of the things where you're run running, runing,

1348
01:14:03,680 --> 01:14:06,320
Speaker 5: You're like, yeah, keep going, and it's like slows down

1349
01:14:06,920 --> 01:14:09,240
Speaker 5: halfway through because they can't go the full way, and

1350
01:14:09,280 --> 01:14:11,280
Speaker 5: it's it sucks. But I'm also like it was the

1351
01:14:11,320 --> 01:14:12,519
Speaker 5: time period. Oh but it sucks.

1352
01:14:12,800 --> 01:14:15,400
Speaker 4: I'm like, do we make modern versions of this or

1353
01:14:15,400 --> 01:14:16,680
Speaker 4: we just leave it alone? I don't know.

1354
01:14:16,760 --> 01:14:18,680
Speaker 5: I just think about that all the time when I

1355
01:14:18,720 --> 01:14:21,919
Speaker 5: think about the works of Rogers and Hammerstein totally.

1356
01:14:22,600 --> 01:14:25,200
Speaker 2: And then there's certain I mean, while this is a

1357
01:14:25,240 --> 01:14:29,800
Speaker 2: terrific adaptation, Brandy Cinderella is still undefeated best Rogers and

1358
01:14:29,840 --> 01:14:33,960
Speaker 2: Hammerstein adaptation, and we're not taking alternate opinions all that,

1359
01:14:34,080 --> 01:14:34,840
Speaker 2: but yeah, I mean.

1360
01:14:36,479 --> 01:14:39,519
Speaker 4: There is no alternate opinion some of.

1361
01:14:39,479 --> 01:14:44,519
Speaker 2: Their work has aged great, but like a huge chunk

1362
01:14:44,560 --> 01:14:47,439
Speaker 2: of their catalog absolutely hasn't. I mean, they're still doing

1363
01:14:47,479 --> 01:14:52,560
Speaker 2: revivals of these shows. And I know that it's not impossible.

1364
01:14:53,240 --> 01:14:55,679
Speaker 2: I didn't see it because I don't live in New York,

1365
01:14:55,680 --> 01:14:59,080
Speaker 2: but I know that Oklahoma recently had a makeover. It

1366
01:14:59,360 --> 01:15:01,880
Speaker 2: was so good, right, so it's like it is possible.

1367
01:15:01,880 --> 01:15:03,760
Speaker 2: But yeah, like I don't know the answer to your

1368
01:15:03,840 --> 01:15:06,400
Speaker 2: question of like is it worth it? I don't know.

1369
01:15:06,920 --> 01:15:09,040
Speaker 2: It seemed like in the case of Oklahoma it was.

1370
01:15:09,120 --> 01:15:11,519
Speaker 2: But you know, there's certain things. It's just so in

1371
01:15:11,560 --> 01:15:14,680
Speaker 2: the dna of the musical that you're like, lovely songs.

1372
01:15:14,320 --> 01:15:17,840
Speaker 4: But flower drum song, Like no, no, no, there's you.

1373
01:15:17,720 --> 01:15:19,920
Speaker 5: Can't just change like half of the songs being like

1374
01:15:20,080 --> 01:15:23,000
Speaker 5: literally having the words oriental in it and like being

1375
01:15:23,040 --> 01:15:26,519
Speaker 5: about orient and you're just like, no, there's no.

1376
01:15:26,000 --> 01:15:27,240
Speaker 2: There's no coming back from that.

1377
01:15:27,400 --> 01:15:28,799
Speaker 4: Also, they never even.

1378
01:15:28,600 --> 01:15:31,040
Speaker 5: Lived in San Francisco, so I'm just like, why are

1379
01:15:31,080 --> 01:15:33,840
Speaker 5: you writing in San Francisco?

1380
01:15:34,760 --> 01:15:38,400
Speaker 2: Yeah, yeah, And there's never really been an attempt to

1381
01:15:38,520 --> 01:15:40,960
Speaker 2: make the sound of music again is that was this

1382
01:15:41,000 --> 01:15:41,800
Speaker 2: adapted again?

1383
01:15:42,080 --> 01:15:43,960
Speaker 1: Unless you count School of Rock.

1384
01:15:44,000 --> 01:15:48,680
Speaker 2: I mean, which I am realizing that the Nazis of

1385
01:15:48,760 --> 01:15:50,680
Speaker 2: School of Rock are the rich parents.

1386
01:15:50,880 --> 01:15:56,160
Speaker 1: Oh well, there you go. I mean, where's the lie.

1387
01:15:56,960 --> 01:15:59,599
Speaker 2: I know, I know, I think it's perfect.

1388
01:15:59,720 --> 01:16:03,360
Speaker 1: It's one. We should just call it there.

1389
01:16:03,560 --> 01:16:06,639
Speaker 4: That's it. Then the remake of the Sound of Music

1390
01:16:06,720 --> 01:16:08,880
Speaker 4: was the school. I don't think that they could do

1391
01:16:08,960 --> 01:16:10,000
Speaker 4: it though, I feel.

1392
01:16:09,800 --> 01:16:11,640
Speaker 5: Like it would be too I mean they you know,

1393
01:16:11,680 --> 01:16:14,840
Speaker 5: they tried the stage adaptation with Carrie Underwood for the

1394
01:16:14,960 --> 01:16:15,720
Speaker 5: live right.

1395
01:16:16,320 --> 01:16:22,559
Speaker 4: Oh god, tragic. I was feeling tragic, but there's like,

1396
01:16:22,600 --> 01:16:23,960
Speaker 4: there's no I don't.

1397
01:16:23,760 --> 01:16:27,680
Speaker 5: Think there's ways to do it because it's also so specific.

1398
01:16:27,720 --> 01:16:31,160
Speaker 5: I think Oklahoma is like it is specific, but also

1399
01:16:31,320 --> 01:16:33,640
Speaker 5: like it's just like Oklahoma's being a new state is

1400
01:16:33,720 --> 01:16:36,880
Speaker 5: kind of in the background right when you could remake it,

1401
01:16:36,920 --> 01:16:40,320
Speaker 5: as opposed to like you can't you know, the Nazi

1402
01:16:40,320 --> 01:16:43,679
Speaker 5: thing is essential to the story. But also this film

1403
01:16:43,760 --> 01:16:48,639
Speaker 5: is getting banned in schools, like being played in school district,

1404
01:16:48,680 --> 01:16:51,360
Speaker 5: which is absurd. I don't know if you Also, the

1405
01:16:51,400 --> 01:16:54,679
Speaker 5: Texas thing is just like people were like, we can't

1406
01:16:54,720 --> 01:16:58,800
Speaker 5: show that because they're like, we can't talk about Nazism

1407
01:16:58,840 --> 01:17:02,920
Speaker 5: in schools. But it was like the right wing from

1408
01:17:02,920 --> 01:17:05,599
Speaker 5: a right wing perspective where they basically didn't want people

1409
01:17:05,680 --> 01:17:08,280
Speaker 5: to think that Nazism was inherently a bad thing, but

1410
01:17:08,280 --> 01:17:09,960
Speaker 5: they knew they couldn't say that. And I was just

1411
01:17:10,000 --> 01:17:14,519
Speaker 5: like watching these parents testimony being like, what they won't

1412
01:17:14,520 --> 01:17:16,519
Speaker 5: show it and they won't do it as a school play.

1413
01:17:16,760 --> 01:17:20,760
Speaker 2: That's fucking terrifying, Like for all of the like nitpicking

1414
01:17:20,920 --> 01:17:24,200
Speaker 2: that is valid to do for this movie, like its

1415
01:17:24,240 --> 01:17:27,760
Speaker 2: core message is I don't know, it's so scary to think,

1416
01:17:27,800 --> 01:17:30,720
Speaker 2: like when I know for sure that like a substitute

1417
01:17:30,720 --> 01:17:33,120
Speaker 2: teacher threw this on for us at some point, and

1418
01:17:33,160 --> 01:17:36,320
Speaker 2: it was just like the message of it is so indisputable.

1419
01:17:36,520 --> 01:17:39,599
Speaker 2: The fact that it's discussed that way now is like, well,

1420
01:17:40,520 --> 01:17:43,639
Speaker 2: you know it's an older movie. Maybe their anti Nazi

1421
01:17:43,720 --> 01:17:45,519
Speaker 2: stance wasn't totally spot on.

1422
01:17:45,720 --> 01:17:50,479
Speaker 1: It's like terrifying, No, it's there. Yeah, it's clear in

1423
01:17:50,520 --> 01:17:56,640
Speaker 1: its present they actually nailed that. Yeah, I mean, and

1424
01:17:56,680 --> 01:18:02,120
Speaker 1: I thought like having the Max be the way that

1425
01:18:02,280 --> 01:18:06,320
Speaker 1: he was and that he was like not unsympathetic to

1426
01:18:07,120 --> 01:18:09,639
Speaker 1: the Nazi party, and then every time he said something

1427
01:18:09,720 --> 01:18:13,960
Speaker 1: like that, Captain von Trapp would like explode in anger

1428
01:18:14,080 --> 01:18:16,479
Speaker 1: to be like don't say that shit, Like you need

1429
01:18:16,520 --> 01:18:19,120
Speaker 1: to get on the right side of history, Yes, sir, Like,

1430
01:18:19,200 --> 01:18:21,920
Speaker 1: what the fuck are you talking about? Yeah, because I

1431
01:18:21,960 --> 01:18:25,799
Speaker 1: mean Max represents the type of person who was just

1432
01:18:26,080 --> 01:18:29,360
Speaker 1: super like, Well, it doesn't affect me, so I don't

1433
01:18:29,439 --> 01:18:32,320
Speaker 1: really care. And I'm, you know, like just people who

1434
01:18:32,320 --> 01:18:36,840
Speaker 1: were complicit when awful things are happening. And I appreciated

1435
01:18:36,840 --> 01:18:40,400
Speaker 1: that he was presented that way and that you had

1436
01:18:40,920 --> 01:18:45,240
Speaker 1: Von Trapp openly challenging him on a pretty regular basis

1437
01:18:45,280 --> 01:18:45,960
Speaker 1: throughout the movie.

1438
01:18:46,200 --> 01:18:49,360
Speaker 2: Yeah, covering this really makes me want to an episode

1439
01:18:49,400 --> 01:18:52,840
Speaker 2: on Cabaret would be unbelievably messy, because it is a

1440
01:18:53,080 --> 01:18:57,479
Speaker 2: very messy movie. But I feel like this movie shows

1441
01:18:58,400 --> 01:19:01,000
Speaker 2: most characters reacting in the best case scenario and they

1442
01:19:01,080 --> 01:19:04,920
Speaker 2: found the right story of like a family that extracts

1443
01:19:04,920 --> 01:19:09,200
Speaker 2: itself from complicity and something awful. And also like this

1444
01:19:09,280 --> 01:19:13,440
Speaker 2: family is privileged and you know, it has the resources

1445
01:19:13,439 --> 01:19:16,960
Speaker 2: and ability to escape with relative ease in comparison to

1446
01:19:17,720 --> 01:19:20,240
Speaker 2: other people faced with the same circumstances. And that's sort

1447
01:19:20,240 --> 01:19:22,120
Speaker 2: of more what Cabaret is doing of like, well, what

1448
01:19:22,840 --> 01:19:27,040
Speaker 2: does a poor person and like working class people caught

1449
01:19:27,080 --> 01:19:29,960
Speaker 2: in this minor that don't have the resources of the

1450
01:19:30,000 --> 01:19:33,439
Speaker 2: von Trapps to extract themselves. How do you resist? And

1451
01:19:33,680 --> 01:19:37,320
Speaker 2: like how do you navigate that? And there's like a

1452
01:19:37,360 --> 01:19:43,000
Speaker 2: whole gradient in Cabaret of people reacting with complicity and

1453
01:19:43,120 --> 01:19:46,840
Speaker 2: what happens when you resist with less resources, which is

1454
01:19:46,920 --> 01:19:50,520
Speaker 2: just unfortunately like the kind of stories and like challenges

1455
01:19:50,560 --> 01:19:55,559
Speaker 2: that we should be revisiting right now. Like it's because

1456
01:19:55,600 --> 01:19:58,800
Speaker 2: of just what tremendous complicity you know, you can be

1457
01:19:58,880 --> 01:20:02,280
Speaker 2: asked to have on a daily basis, and when it

1458
01:20:02,320 --> 01:20:04,800
Speaker 2: happens on a long enough timeline, your brain starts to

1459
01:20:04,880 --> 01:20:07,320
Speaker 2: numb to it and you can't let that happen. I

1460
01:20:07,320 --> 01:20:09,280
Speaker 2: don't know, I just yeah, it would be a very

1461
01:20:09,320 --> 01:20:14,960
Speaker 2: long double feature and actually quite depressing. But it is

1462
01:20:15,080 --> 01:20:18,479
Speaker 2: interesting to see these musicals kind of in conversation with

1463
01:20:18,520 --> 01:20:24,240
Speaker 2: each other, however intentionally about just like watching the slow

1464
01:20:24,439 --> 01:20:29,320
Speaker 2: encroaching fascistic movement and having to make the choice of

1465
01:20:29,360 --> 01:20:30,479
Speaker 2: like what are you going to do?

1466
01:20:31,080 --> 01:20:31,439
Speaker 4: Yeah?

1467
01:20:31,560 --> 01:20:36,640
Speaker 1: Yeah, And then you can have watched the producers for Dessert.

1468
01:20:38,800 --> 01:20:39,719
Speaker 4: Spring Time.

1469
01:20:43,479 --> 01:20:47,599
Speaker 1: I man, The last thing I wanted to talk about

1470
01:20:47,640 --> 01:20:50,720
Speaker 1: is something we briefly touched on. But Maria when she

1471
01:20:50,920 --> 01:20:55,120
Speaker 1: says something like I'm too outspoken and it's one of

1472
01:20:55,120 --> 01:20:59,519
Speaker 1: my worst qualities. I appreciate that that is framed in

1473
01:20:59,560 --> 01:21:02,000
Speaker 1: such a way where like we realize that she's wrong,

1474
01:21:02,080 --> 01:21:06,240
Speaker 1: because every time she is outspoken, we're like rooting for

1475
01:21:06,280 --> 01:21:09,160
Speaker 1: her and we agree with her, and she's correct every

1476
01:21:09,160 --> 01:21:13,880
Speaker 1: time she's challenging Daddy von Trapp. But you understand why

1477
01:21:13,920 --> 01:21:17,000
Speaker 1: she thinks that's a bad quality because women were conditioned,

1478
01:21:17,000 --> 01:21:19,439
Speaker 1: and I'll have always been conditioned to think that if

1479
01:21:19,439 --> 01:21:22,439
Speaker 1: they are outspoken, if they are headstrong, if they do

1480
01:21:22,640 --> 01:21:26,720
Speaker 1: challenge authority or challenge anything that's the status quo, that

1481
01:21:27,200 --> 01:21:29,800
Speaker 1: they shouldn't be doing. That they should keep their mouths

1482
01:21:29,800 --> 01:21:32,320
Speaker 1: shut and you know, stay in their place, stay in

1483
01:21:32,320 --> 01:21:34,920
Speaker 1: their lane, blah blah blah. So I appreciate that she

1484
01:21:35,000 --> 01:21:38,800
Speaker 1: would have felt that was a bad quality, to be outspoken,

1485
01:21:39,360 --> 01:21:43,559
Speaker 1: but that the movie frames her being outspoken as a

1486
01:21:43,600 --> 01:21:49,000
Speaker 1: positive trait. That I think is the reason that von

1487
01:21:49,040 --> 01:21:52,960
Speaker 1: Trapp's arc manifests the way that it does, because if

1488
01:21:53,000 --> 01:21:55,960
Speaker 1: she hadn't been outspoken, based on all of the other

1489
01:21:56,200 --> 01:22:00,000
Speaker 1: governesses that we understood to have been there and clearly

1490
01:22:00,080 --> 01:22:03,200
Speaker 1: didn't do anything to challenge his like parenting and his

1491
01:22:03,280 --> 01:22:08,120
Speaker 1: inability to process his grief and be affectionate towards his

1492
01:22:08,200 --> 01:22:11,240
Speaker 1: children and stuff like that. You would imagine that that

1493
01:22:11,280 --> 01:22:13,920
Speaker 1: family would have just stayed that way, that he would

1494
01:22:13,960 --> 01:22:18,120
Speaker 1: have been this weird discipline daddy and that the children

1495
01:22:18,200 --> 01:22:22,719
Speaker 1: would be miserable because of it. Disciplined dad. I feel

1496
01:22:22,720 --> 01:22:24,439
Speaker 1: like that's a quote from Arrested Development.

1497
01:22:26,360 --> 01:22:28,559
Speaker 2: Feel very arrested Development, just.

1498
01:22:28,479 --> 01:22:31,240
Speaker 1: Like a throwaway joke. But I pulled it from somewhere,

1499
01:22:31,560 --> 01:22:33,240
Speaker 1: and I think it was that. But or I pulled

1500
01:22:33,280 --> 01:22:41,479
Speaker 1: it from my brain. Who've been saying, who me? Oh,

1501
01:22:41,520 --> 01:22:43,200
Speaker 1: I'm just disciplined daddies?

1502
01:22:45,439 --> 01:22:48,120
Speaker 2: Sungeon talk talk.

1503
01:22:48,200 --> 01:22:49,080
Speaker 4: Definitely dogeon talk.

1504
01:22:50,400 --> 01:22:53,719
Speaker 1: So Maria being a part of this family and being

1505
01:22:53,760 --> 01:22:58,720
Speaker 1: so outspoken and challenging his authority and his bad parenting

1506
01:22:59,520 --> 01:23:03,719
Speaker 1: is obviously like what changes the dynamic of the family.

1507
01:23:03,880 --> 01:23:08,320
Speaker 1: So I just appreciate that about the movie the end.

1508
01:23:08,720 --> 01:23:12,840
Speaker 2: Yeahni, is there anything else you wanted to touch on?

1509
01:23:13,200 --> 01:23:16,599
Speaker 5: I mean, I feel like, no, My most unpopular opinion

1510
01:23:16,800 --> 01:23:20,120
Speaker 5: is probably about this is that, like I kind of

1511
01:23:20,160 --> 01:23:22,960
Speaker 5: love the youngest children, Brigita and Marta.

1512
01:23:22,560 --> 01:23:25,320
Speaker 4: And like those are my favorite of all the children.

1513
01:23:26,720 --> 01:23:29,759
Speaker 5: They're just adorable and they're kind of just like living

1514
01:23:29,760 --> 01:23:31,400
Speaker 5: in this world where they're like I feel like the

1515
01:23:31,439 --> 01:23:34,120
Speaker 5: youngest three are just like we actually don't know what's

1516
01:23:34,160 --> 01:23:38,080
Speaker 5: going on, but we're cute as like, and we're just

1517
01:23:38,120 --> 01:23:41,200
Speaker 5: gonna say the most cutest things, and then we're also

1518
01:23:41,280 --> 01:23:42,360
Speaker 5: gonna like, so long.

1519
01:23:42,240 --> 01:23:45,840
Speaker 4: Farewell the youngest once hit it at the park, come on,

1520
01:23:46,439 --> 01:23:47,000
Speaker 4: come on.

1521
01:23:47,439 --> 01:23:49,080
Speaker 5: So I just I'm like, not a big fan of

1522
01:23:49,120 --> 01:23:51,439
Speaker 5: liseel or. I don't even actually remember the oldest. I

1523
01:23:51,479 --> 01:23:56,120
Speaker 5: just remember the youngest names. I'm like, hell, yeah, mart Yeah,

1524
01:23:56,200 --> 01:23:57,880
Speaker 5: so that's my that's my hot take.

1525
01:23:58,520 --> 01:24:02,479
Speaker 2: Yeah, I'm on board, come on board. This movie does

1526
01:24:02,520 --> 01:24:05,559
Speaker 2: pass the Bechdel test way more than you would guess. Yeah,

1527
01:24:05,600 --> 01:24:07,840
Speaker 2: the whole song, how do you solve a problem? Like

1528
01:24:07,880 --> 01:24:11,840
Speaker 2: Maria passes the Bechdel test, it's just nuns being like,

1529
01:24:11,960 --> 01:24:15,679
Speaker 2: why is our coworkers so awesome? But hard to pend down?

1530
01:24:16,560 --> 01:24:20,240
Speaker 4: We let her like cloud.

1531
01:24:21,479 --> 01:24:26,960
Speaker 2: Gorgeous genderless compliments. Yes, Von Trapp is very often the

1532
01:24:26,960 --> 01:24:32,040
Speaker 2: subject of discussion. However, there's conversations between Maria and the Baroness,

1533
01:24:32,240 --> 01:24:35,479
Speaker 2: Maria and Lisel like Maria and other kids that passes

1534
01:24:35,560 --> 01:24:38,080
Speaker 2: between the sisters. I mean, there's a whole and also,

1535
01:24:38,240 --> 01:24:41,680
Speaker 2: oh uh, character we haven't shouted out yet. The housekeeper

1536
01:24:41,840 --> 01:24:43,000
Speaker 2: for the von Trapps.

1537
01:24:42,840 --> 01:24:47,160
Speaker 1: Rol Schmidt, who I was fantasizing that at one point

1538
01:24:47,200 --> 01:24:50,120
Speaker 1: she'd be like, please call me Schmitty. I think it's

1539
01:24:50,160 --> 01:24:53,560
Speaker 1: hilarious if a if a housekeeper was like, I'm Schmitty,

1540
01:24:53,439 --> 01:24:55,639
Speaker 1: my friends call me Schmitty.

1541
01:24:55,760 --> 01:24:58,560
Speaker 2: I like Froshmitt because she ultimately at the end of

1542
01:24:58,600 --> 01:25:01,479
Speaker 2: the day, she just wants to talk shit. Like she

1543
01:25:01,840 --> 01:25:03,559
Speaker 2: was a gossip is. She has to talk shit. And

1544
01:25:03,640 --> 01:25:06,600
Speaker 2: I was like, that is like that's what you do

1545
01:25:06,680 --> 01:25:10,080
Speaker 2: at work, where she's like, oh you girl, here, here's

1546
01:25:10,160 --> 01:25:13,120
Speaker 2: why everyone fucking sucks. I was like, yeah, that's what

1547
01:25:13,160 --> 01:25:17,920
Speaker 2: I do at a new job. Yea, So they talk shit.

1548
01:25:18,040 --> 01:25:21,800
Speaker 2: Sometimes it's about men, sometimes it's not. Yeah, this movie has,

1549
01:25:21,920 --> 01:25:24,639
Speaker 2: I think, for especially for its time, like a really

1550
01:25:24,840 --> 01:25:29,080
Speaker 2: impressive interest in what the women think.

1551
01:25:29,360 --> 01:25:30,559
Speaker 1: Yes, could have been more.

1552
01:25:30,680 --> 01:25:34,679
Speaker 2: I again would love to have seen more about the

1553
01:25:35,040 --> 01:25:39,360
Speaker 2: political journey outside of this very wealthy family. But given

1554
01:25:39,400 --> 01:25:41,880
Speaker 2: what we have, I mean, I still think it's very impressive.

1555
01:25:42,520 --> 01:25:46,760
Speaker 1: Yeah. Now to rate it on our nipple scale our

1556
01:25:46,840 --> 01:25:50,439
Speaker 1: skill where we rate the movie zero to five nipples

1557
01:25:51,120 --> 01:25:56,439
Speaker 1: based on examining the movie through an intersectional feminist lens,

1558
01:25:56,680 --> 01:26:01,840
Speaker 1: I don't know maybe like three and a half of nipples.

1559
01:26:01,920 --> 01:26:05,800
Speaker 1: I think the movie has a lot going for it.

1560
01:26:06,840 --> 01:26:09,960
Speaker 1: As we discussed, I wish it allowed Maria to be

1561
01:26:10,080 --> 01:26:13,720
Speaker 1: more active in that last thirty minutes or so when

1562
01:26:13,720 --> 01:26:18,160
Speaker 1: they're escaping. I mean, the movie completely rewriting the narrative

1563
01:26:18,200 --> 01:26:22,000
Speaker 1: of how that marriage when as far as like, no,

1564
01:26:22,120 --> 01:26:25,280
Speaker 1: it was a mutually loving thing where they fell in

1565
01:26:25,280 --> 01:26:28,040
Speaker 1: love with each other and not a man forcing a

1566
01:26:28,160 --> 01:26:31,600
Speaker 1: nun to marry him, right because she was she was

1567
01:26:31,600 --> 01:26:32,360
Speaker 1: a good mommy.

1568
01:26:32,840 --> 01:26:35,799
Speaker 2: Yeah, it wasn't even clear like if he had extremely

1569
01:26:35,920 --> 01:26:38,519
Speaker 2: romantic feelings for her, if he's like this makes sense.

1570
01:26:38,680 --> 01:26:40,519
Speaker 1: Right, if it was just like a practical like I

1571
01:26:40,560 --> 01:26:43,120
Speaker 1: need a woman to take care of my children because

1572
01:26:43,280 --> 01:26:45,479
Speaker 1: I don't know how to do that hard to say.

1573
01:26:45,600 --> 01:26:48,200
Speaker 2: But also he was a good dad. It's weird, oh.

1574
01:26:48,120 --> 01:26:51,519
Speaker 5: Yeah, right, but he raised children to be doctors too,

1575
01:26:51,680 --> 01:26:54,439
Speaker 5: like you know, good conscience.

1576
01:26:54,160 --> 01:26:57,200
Speaker 1: Right, he raised anti Nazi doctors.

1577
01:26:56,760 --> 01:26:58,800
Speaker 4: And that's it's pretty good.

1578
01:26:59,040 --> 01:26:59,800
Speaker 2: That's pretty so.

1579
01:27:01,479 --> 01:27:02,120
Speaker 1: I will.

1580
01:27:03,400 --> 01:27:08,559
Speaker 2: But yeah, definitely an oversimplification. Yeah, whatever that relationship dynamic was.

1581
01:27:08,840 --> 01:27:11,240
Speaker 1: So actually, now that I think about it, I might

1582
01:27:11,280 --> 01:27:13,920
Speaker 1: bring it down to like three or maybe even two

1583
01:27:14,000 --> 01:27:16,679
Speaker 1: and a half nipples based on that, like because that's

1584
01:27:16,720 --> 01:27:20,960
Speaker 1: such a movie like way, because movies are obsessed with

1585
01:27:21,040 --> 01:27:25,320
Speaker 1: like let's throw in a love story that it usually

1586
01:27:25,360 --> 01:27:27,960
Speaker 1: doesn't need to be there or is a complete rewriting

1587
01:27:28,040 --> 01:27:29,560
Speaker 1: of history.

1588
01:27:29,200 --> 01:27:31,120
Speaker 4: And musicals are worse than it.

1589
01:27:31,200 --> 01:27:33,080
Speaker 1: Yeah, right, So the more I think about it, the

1590
01:27:33,080 --> 01:27:35,760
Speaker 1: more it ly grosses me out. But the character of

1591
01:27:35,800 --> 01:27:40,320
Speaker 1: Maria herself is like very enjoyable, and I like the

1592
01:27:40,320 --> 01:27:42,719
Speaker 1: way that she's characterized. I do wish there was more

1593
01:27:43,479 --> 01:27:47,760
Speaker 1: of her, maybe just bonding with the children, and we

1594
01:27:48,160 --> 01:27:50,680
Speaker 1: like some of those children, because I kept mixing up,

1595
01:27:51,000 --> 01:27:54,360
Speaker 1: like who is Luisa? Even what does she do? Like

1596
01:27:54,400 --> 01:27:56,479
Speaker 1: I guess she's like kind of the she's like a

1597
01:27:56,520 --> 01:27:58,200
Speaker 1: little stinker, but a lot of the kids are a

1598
01:27:58,200 --> 01:28:02,200
Speaker 1: little stinkers, so like I couldn't differentiate her from some

1599
01:28:02,240 --> 01:28:05,200
Speaker 1: of those other kids. Brigida, I was struggling with. The

1600
01:28:05,240 --> 01:28:07,839
Speaker 1: young one was easy because she's like visibly the smallest

1601
01:28:07,840 --> 01:28:10,240
Speaker 1: and the youngest, and they give her some cute things

1602
01:28:10,240 --> 01:28:12,080
Speaker 1: to do. But I don't know, maybe I just wish

1603
01:28:12,120 --> 01:28:13,920
Speaker 1: that some of the some of the girls were a

1604
01:28:13,960 --> 01:28:20,800
Speaker 1: little bit more characterized. But overall, I like Julie Andrews.

1605
01:28:21,360 --> 01:28:24,479
Speaker 1: So the day. At the end of the day, team

1606
01:28:24,960 --> 01:28:28,200
Speaker 1: and team, I think I'll give the movie three nipples.

1607
01:28:28,240 --> 01:28:30,400
Speaker 1: I'm not sure if that's being generous or not or

1608
01:28:30,600 --> 01:28:33,240
Speaker 1: not generous enough. Who's to say. My brain doesn't really

1609
01:28:33,280 --> 01:28:36,080
Speaker 1: work anymore, But I'll give the movie three nipples. One

1610
01:28:36,080 --> 01:28:39,559
Speaker 1: will go to Julie Andrews and once again just shout

1611
01:28:39,600 --> 01:28:43,599
Speaker 1: out to Shrek two and her monumental role in.

1612
01:28:43,520 --> 01:28:45,560
Speaker 2: That her most iconic performance.

1613
01:28:45,920 --> 01:28:48,760
Speaker 1: And that of course leads to a little plug for

1614
01:28:48,880 --> 01:28:52,400
Speaker 1: our Shrek Tannic tour that's happening in May. So go

1615
01:28:52,439 --> 01:28:55,599
Speaker 1: to our link tree for the tickets to Shrek Tannic.

1616
01:28:56,360 --> 01:29:02,400
Speaker 1: I'll give one nipple to Lisil saying after a kiss,

1617
01:29:03,280 --> 01:29:07,599
Speaker 1: and I'll give a final nipple to the nuns who

1618
01:29:07,640 --> 01:29:09,639
Speaker 1: broke the Nazis cars.

1619
01:29:09,840 --> 01:29:13,839
Speaker 2: Oh, unbelievable. Yeah, I'm gonna go three and a half.

1620
01:29:14,120 --> 01:29:16,360
Speaker 2: I think I've ted to go a little higher. I mean,

1621
01:29:16,479 --> 01:29:20,120
Speaker 2: I feel like, for its time, this is an anti

1622
01:29:20,240 --> 01:29:24,759
Speaker 2: Nazi story that was a gigantic kit that was helmed

1623
01:29:24,800 --> 01:29:28,640
Speaker 2: mainly by Jewish writers and composers. I feel like the

1624
01:29:28,680 --> 01:29:33,240
Speaker 2: political elements of this story have aged very well. Like

1625
01:29:33,280 --> 01:29:37,439
Speaker 2: we were talking about before, there's a ton of encroaching

1626
01:29:37,479 --> 01:29:42,719
Speaker 2: fascistic political movements to resist, preferably while singing beautiful music,

1627
01:29:43,040 --> 01:29:49,719
Speaker 2: so that the core message of the movie is still unfortunate.

1628
01:29:49,680 --> 01:29:51,880
Speaker 2: I mean, still very very fresh. Maria. I feel like, yeah,

1629
01:29:51,880 --> 01:29:53,400
Speaker 2: we do have like a little bit of a situation

1630
01:29:53,400 --> 01:29:55,760
Speaker 2: where there's a lot of women in this movie. We

1631
01:29:55,880 --> 01:29:58,519
Speaker 2: know a little bit about all of them. Maria is

1632
01:29:58,560 --> 01:30:01,320
Speaker 2: it's the Maria Show, but we kind of pulled back

1633
01:30:01,320 --> 01:30:03,280
Speaker 2: from her a little bit at the end. I just

1634
01:30:03,360 --> 01:30:07,240
Speaker 2: wish we knew more about the other women in this world.

1635
01:30:07,320 --> 01:30:10,600
Speaker 2: Everyone has moments, everyone has distinct personalities, except for some

1636
01:30:10,640 --> 01:30:12,880
Speaker 2: of the kids, which is like I'm more kind of

1637
01:30:12,880 --> 01:30:16,000
Speaker 2: fine with. But I could have used a shift on

1638
01:30:16,040 --> 01:30:20,800
Speaker 2: the Leasel story. I also think would be curious, like

1639
01:30:21,000 --> 01:30:24,719
Speaker 2: we see Captain von Trapp navigating grief and we don't

1640
01:30:24,720 --> 01:30:28,479
Speaker 2: really get the same perspective with the kids. And true, yeah,

1641
01:30:28,840 --> 01:30:30,960
Speaker 2: I don't know. I just think that there is an

1642
01:30:31,120 --> 01:30:36,880
Speaker 2: unusual amount of space given to women acting independently. It's

1643
01:30:36,960 --> 01:30:39,559
Speaker 2: like there's whole songs about it and it's celebrated, and

1644
01:30:40,400 --> 01:30:43,160
Speaker 2: I think it's great. I'm going to give it three

1645
01:30:43,160 --> 01:30:45,960
Speaker 2: and a half nipples. I could give one to Julie Andrews.

1646
01:30:46,120 --> 01:30:49,439
Speaker 2: I'm going to give one to Julie Andrews as the

1647
01:30:49,479 --> 01:30:53,479
Speaker 2: Queen of Genovia I like to give and the queen

1648
01:30:53,520 --> 01:30:55,000
Speaker 2: of far far away there.

1649
01:30:55,479 --> 01:30:59,120
Speaker 1: Hasn't she been a queen or a caretaker of children?

1650
01:30:59,680 --> 01:31:02,240
Speaker 2: Yes, And of course I'm getting the rest of my

1651
01:31:02,320 --> 01:31:04,120
Speaker 2: nipples to the nuns that cut the brakes of the

1652
01:31:04,200 --> 01:31:06,080
Speaker 2: Nazis Nalini.

1653
01:31:06,760 --> 01:31:10,080
Speaker 5: I would probably read it it probably a four nipples,

1654
01:31:10,200 --> 01:31:13,040
Speaker 5: mostly because I mean, you said a lot of it

1655
01:31:13,080 --> 01:31:15,400
Speaker 5: where it's like just like the film of its time.

1656
01:31:15,479 --> 01:31:19,040
Speaker 5: And also I feel like the song like songs are

1657
01:31:19,360 --> 01:31:23,120
Speaker 5: also a musical, so like evolving around a man or

1658
01:31:23,120 --> 01:31:25,160
Speaker 5: a woman being in love or not, and like she

1659
01:31:25,240 --> 01:31:27,320
Speaker 5: doesn't actually sing that much about being in love.

1660
01:31:27,479 --> 01:31:30,559
Speaker 1: No, that's true, kind of not at all, Like I

1661
01:31:30,600 --> 01:31:31,920
Speaker 1: don't think at all.

1662
01:31:31,800 --> 01:31:34,959
Speaker 2: I'm going up to fourtune only hard.

1663
01:31:35,479 --> 01:31:40,880
Speaker 5: Like she's thinking about goats before goat heard hers before

1664
01:31:40,880 --> 01:31:44,200
Speaker 5: she's thinking about love, and like that's unprecedented for like

1665
01:31:44,240 --> 01:31:46,800
Speaker 5: a musical of its time, right, like with the love

1666
01:31:46,840 --> 01:31:48,960
Speaker 5: story that they have, they could.

1667
01:31:48,800 --> 01:31:50,360
Speaker 4: Have berated us with.

1668
01:31:50,840 --> 01:31:51,599
Speaker 2: It's true, I.

1669
01:31:51,520 --> 01:31:52,880
Speaker 4: Don't even want to think about it, Like I don't

1670
01:31:52,880 --> 01:31:53,639
Speaker 4: want to even think.

1671
01:31:53,520 --> 01:31:56,599
Speaker 2: About Okay, I'm going up to four you can.

1672
01:31:58,439 --> 01:32:01,360
Speaker 4: And obviously to Julie Andrews the Queena.

1673
01:32:01,080 --> 01:32:05,920
Speaker 5: Genovia, and I'm going to give one nipple to Bita too.

1674
01:32:06,760 --> 01:32:08,400
Speaker 4: Hell yeah, I have a soft spot in my heart

1675
01:32:08,400 --> 01:32:09,000
Speaker 4: for the little ones.

1676
01:32:10,520 --> 01:32:12,760
Speaker 2: Ali, Thank you so much for joining us today. This

1677
01:32:12,880 --> 01:32:17,080
Speaker 2: was such a fun conversation. Yea, thank you for your

1678
01:32:17,400 --> 01:32:21,439
Speaker 2: service in the sound of music itself. Yes, I wish

1679
01:32:21,520 --> 01:32:22,280
Speaker 2: we could have seen it.

1680
01:32:23,160 --> 01:32:26,479
Speaker 4: Thank you. It was a sight to see me in

1681
01:32:26,479 --> 01:32:30,439
Speaker 4: a habit. I'll say that. A lot of people though,

1682
01:32:30,479 --> 01:32:31,320
Speaker 4: when I was walking.

1683
01:32:31,120 --> 01:32:33,040
Speaker 5: Down the hallways of this high school were like, oh

1684
01:32:33,120 --> 01:32:34,760
Speaker 5: are you and sister act just because I was black,

1685
01:32:34,800 --> 01:32:35,320
Speaker 5: and I was like, oh.

1686
01:32:35,200 --> 01:32:39,960
Speaker 4: Here we go. Money it was. It was still amazing

1687
01:32:40,080 --> 01:32:41,160
Speaker 4: and thanks you all for having me.

1688
01:32:41,200 --> 01:32:43,320
Speaker 2: Of course, where can we find you online? Where can

1689
01:32:43,360 --> 01:32:44,160
Speaker 2: we find your work?

1690
01:32:44,840 --> 01:32:49,679
Speaker 5: Yes, you can find me on Instagram at nell Stamp

1691
01:32:50,120 --> 01:32:54,120
Speaker 5: as well as you can find Working Families Party at

1692
01:32:54,160 --> 01:32:57,479
Speaker 5: Working Families on all social media, or you can text

1693
01:32:57,640 --> 01:33:00,360
Speaker 5: to get involved and find out more. You can text

1694
01:33:00,960 --> 01:33:04,000
Speaker 5: WFP the Letters to three zero four zero three if

1695
01:33:04,000 --> 01:33:06,080
Speaker 5: you want to get involved with our work in China

1696
01:33:06,120 --> 01:33:07,599
Speaker 5: fight modern flashism.

1697
01:33:08,720 --> 01:33:08,960
Speaker 1: Yeah.

1698
01:33:09,080 --> 01:33:17,839
Speaker 6: Yeah, you can find us on all the regular places Instagram, Twitter,

1699
01:33:18,120 --> 01:33:22,840
Speaker 6: increasingly rarely, you can sign up for our Patreon aka Matreon,

1700
01:33:23,160 --> 01:33:26,200
Speaker 6: where for five dollars a month you can get two

1701
01:33:26,280 --> 01:33:29,240
Speaker 6: bonus episodes and access to the full one hundred and

1702
01:33:29,240 --> 01:33:32,760
Speaker 6: fifty plus back catalog episodes.

1703
01:33:33,160 --> 01:33:36,360
Speaker 1: WOWI Wow. You can also get our merch which is

1704
01:33:36,479 --> 01:33:40,760
Speaker 1: all designed by a one Jamie Loftus that's at teapublic

1705
01:33:40,800 --> 01:33:45,200
Speaker 1: dot com. Slash the Bechdel Cast, and you can go

1706
01:33:45,280 --> 01:33:48,200
Speaker 1: to our link tree where there are the tickets to

1707
01:33:48,280 --> 01:33:54,000
Speaker 1: our Shrek Tannic Tour. There is our letterboxed, there is

1708
01:33:54,560 --> 01:33:58,360
Speaker 1: our Patreon link, all that good stuff. And with that,

1709
01:33:59,040 --> 01:34:02,680
Speaker 1: should we go to the hills which are alive with

1710
01:34:03,280 --> 01:34:04,200
Speaker 1: the sound of music.

1711
01:34:04,560 --> 01:34:05,120
Speaker 2: Let's do it.

1712
01:34:05,920 --> 01:34:13,640
Speaker 1: Bye bye. The Bechdel Cast is a production of iHeartMedia,

1713
01:34:13,800 --> 01:34:17,599
Speaker 1: hosted by Caitlin Derante and Jamie Loftis, produced by Sophie Lichterman,

1714
01:34:17,920 --> 01:34:21,280
Speaker 1: edited by Mola Boord. Our theme song was composed by

1715
01:34:21,320 --> 01:34:25,600
Speaker 1: Mike Kaplan with vocals by Katherine Voskressensky. Our logo in

1716
01:34:25,720 --> 01:34:29,040
Speaker 1: Merch is designed by Jamie Loftis and a special thanks

1717
01:34:29,040 --> 01:34:33,240
Speaker 1: to Aristotle Acevedo. For more information about the podcast, please

1718
01:34:33,320 --> 01:34:35,640
Speaker 1: visit linktree slash Bechdel Cast