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Speaker 1: Happy holidays, virgins. Yes this is not a glitch. As

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Speaker 1: a gift just for you, we are back in your

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Speaker 1: RSS feeds as a one time holiday special. Now, in

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Speaker 1: case you didn't get the memo, Rose and I brought

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Speaker 1: the pod back this summer, but not on your usual

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Speaker 1: podcasting platform. We are releasing weekly episodes exclusively on Patreon.

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Speaker 1: That's patreon dot com slash like a virgin. So if

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Speaker 1: you miss us, we wanted to give you a little

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Speaker 1: taste of what we're doing over there with that's right,

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Speaker 1: our Wicked movie review episode. This is an hour and

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Speaker 1: forty five minute episode where we discuss the amazing John M.

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Speaker 1: Chew adaptation as super fans of the original musical, plus

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Speaker 1: a little bonus conversation on Cole Escola's Broadway show Oh Mary,

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Speaker 1: which Rose finally saw, and some nuanced critique one might

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Speaker 1: say about the transsexual true crime Amelia Perez. Now, we're

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Speaker 1: only doing this once. Okay, We're only dropping a podcast

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Speaker 1: here once, So if you miss us, you can get

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Speaker 1: our weekly episodes, plus bonus episodes sometimes exclusively on Patreon

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Speaker 1: at a sliding scale. We have Agatha all Along recaps.

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Speaker 1: We have our Joker Fogle Ya do breakdown or maybe takedown.

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Speaker 1: You might say some musings on why people didn't understand

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Speaker 1: one of our favorite movies of the year, The Substance.

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Speaker 1: All of that on patreon dot com slash like a Virgin.

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Speaker 1: This is a platform that supports creators directly. Rose and

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Speaker 1: I get the amazing support directly from you, which is

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Speaker 1: why we do it just for you version. So if

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Speaker 1: you want to support us, please go on over to

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Speaker 1: patreon dot com slash like a Virgin. That's patreon dot

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Speaker 1: com slash like a Virgin. We miss you and we

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Speaker 1: hope you enjoy what is our gargantuan Wicked episode sneak

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Speaker 1: preview directly from our Patreon patreon enjoy. She's Sheen, I'm.

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Speaker 2: Me none, no name?

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Speaker 1: What is your childhood? I am a cook?

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Speaker 2: Shook girls, you.

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Speaker 1: Know what's going down before us?

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Speaker 3: So round Wicked Part one, Part two. Let us be glad. Okay,

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Speaker 3: let us be glad. Let us be grateful that this

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Speaker 3: time both MIC's are recording Amma's divas. We already recorded

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Speaker 3: an hour and a half long Wicked recap episode yesterday

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Speaker 3: yes only to discover that one of the mics had

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Speaker 3: not been connected, so we had to fully scrap that

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Speaker 3: episode and we are re recording today. But you know what,

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Speaker 3: it's good. We our thoughts were kind of sprawled all

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Speaker 3: over the place yesterday.

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Speaker 1: Also very excitable, like we were kind of like the

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Speaker 1: you know, I mean, I know a lot of times

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Speaker 1: we record this podcast, we don't really like think about

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Speaker 1: the audience, but we really were just kind of fanning out.

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Speaker 3: You're like to triple checking me audio. I'm just making

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Speaker 3: sure that yours is actually working.

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Speaker 1: It is, But yeah, I feel like we have only

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Speaker 1: uh more context and insight to gain by going for

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Speaker 1: a round two of this discussions.

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Speaker 3: And I even pulled out my Wicked mug. Oh I

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Speaker 3: love it. I love So before we get in to Wicked,

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Speaker 3: we're going to cover a few lingering things that two

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Speaker 3: things specific yeah, two things specifically, two different sides of

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Speaker 3: a queer theatrical spectrum. They're all they're all related somehow,

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Speaker 3: And this time Fran is not going to spill any tea.

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Speaker 3: It's not supposed to be said on the mic. Don't

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Speaker 3: even don't even don't even have cover your mouth like

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Speaker 3: when Kristen China with covered ari on his mouth and Wicked.

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Speaker 3: Sorry spoilers, just what Yeah, we're talking about O. Mary.

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Speaker 1: First, I did accidentally say something that I wasn't supposed

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Speaker 1: to say, because you know, we're insiders, we're insider girlies.

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Speaker 1: And uh, but yeah, Rose finally saw O Mary finally saw.

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Speaker 1: I saw it like earlier this year. When you think about.

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Speaker 3: Probably the last person in New York to see oh my,

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Speaker 3: and I loved it. It's so brilliant. Cole Scola, who,

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Speaker 3: if you don't know, wrote, directed, wrote, and stars in

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Speaker 3: it as Mary Todd Lincoln. Mary Todd Lincoln, who is

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Speaker 3: a Mary Todd Lincoln who is a drunk former cabaret

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Speaker 3: star who's married to gay Abraham Lincoln and just wants

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Speaker 3: to get back on the stage. It's just it's so

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Speaker 3: fucking brilliant. I was so blown away by how like

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Speaker 3: relentlessly funny. It was the fact that it never lets

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Speaker 3: up for the entirety of its hour and a half

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Speaker 3: runtime and only like escalates throughout, and the way that

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Speaker 3: it captivated this theater full of people who like probably

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Speaker 3: otherwise would have been seeing like The Lion King or whatever,

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Speaker 3: you know, like a mainstream Broadway audience, and they were

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Speaker 3: fucking living.

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Speaker 1: Can I I want to ask, because like there are

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Speaker 1: probably a lot of versions that like might.

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Speaker 3: Never see the show but have heard all about it.

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Speaker 1: You would be been hearing so much about the show

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Speaker 1: when the curtain came up and you saw like the

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Speaker 1: first scene or two. Was there anything about like the

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Speaker 1: texture of the show that you were like, this was

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Speaker 1: really surprising. I wasn't expecting this, not not really that

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Speaker 1: it was surprising, because you know, I know Cole.

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Speaker 3: I've known them for a long time at this point, so.

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Speaker 1: You understand the comedic dissibility is very specific.

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Speaker 3: Yeah, I know, I know Cole's you know, vibe and aesthetic,

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Speaker 3: and I've seen them do so many different things, so

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Speaker 3: that everything that is in A Mary makes so much

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Speaker 3: sense because it's all pulling from Cole's long career, as

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Speaker 3: you know, like an erstwhile New York Cabaret, Muse and Diva.

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Speaker 1: Cole is very like a if you know, you know,

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Speaker 1: kind of comedy girl and now every comedy many more people. No.

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Speaker 3: Yeah, so I wasn't surprised that I wasn't surprised necessarily

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Speaker 3: by the content of it. I was just surprised, and

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Speaker 3: I wasn't even surprised by how good it was. I

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Speaker 3: was just so delighted to see what they've been doing

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Speaker 3: for so long on this massive scale and get so

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Speaker 3: much buy in from the audience. Well they wrote it

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Speaker 3: like ten years ago.

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Speaker 1: Yeah, you know, and it's it's I want to know

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Speaker 1: what the fuck it took to get Broadway to buy

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Speaker 1: into a really fucking crazy idea.

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Speaker 3: I don't know if it's like, well had a really

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Speaker 3: successful off Broadway, right, were right?

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Speaker 1: Like, I think my one of the things that I

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Speaker 1: was most enthralled about from the show is that it

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Speaker 1: is as successful as it is because there's so many

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Speaker 1: people that my look at what the show is made

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Speaker 1: up of and be like, oh, that's so niche. It's

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Speaker 1: like absurdist, it's very faggoty, very non bindary, you know whatever,

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Speaker 1: like and I kind of loved that. It's a it

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Speaker 1: is the best thing on Broadway. It will the most

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Speaker 1: expensive thing. Yeah, it will sweep the Tony. It deserves,

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Speaker 1: you know, the recognition it gets. And I just hope

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Speaker 1: that like Broadway continues to like take risks like this.

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Speaker 3: Yeah, and you watching the show, it's not in any

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Speaker 3: way pandering to the mainstream Broadway audience. It's being exactly

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Speaker 3: what it is. In this really like transgressive, hilarious way,

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Speaker 3: and the fact that it has been so successful is

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Speaker 3: by design of its humor, not by design of its pandering.

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Speaker 1: Right, It's like it's like transgressive, but it's like also

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Speaker 1: so stupid. It's like not interested in like it has

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Speaker 1: no commentary whatsoever, like which I love. No serious there's

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Speaker 1: no serious moment where you know, Mary Mary realizes yeah,

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Speaker 1: like deals with her trauma, her addiction, Like.

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Speaker 3: Oh, there's there's thing like that.

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Speaker 1: And I, I mean the other another reason why I

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Speaker 1: mean I I I think I said when we in

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Speaker 1: our last record like that, it reminded me a little

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Speaker 1: bit of like slave play, which is kind of like

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Speaker 1: that's a silly that's like a really bizarre comparison, but

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Speaker 1: like because they have nothing to do with each other.

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Speaker 1: But I think what I was kind of thinking about

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Speaker 1: is like how Jeremy O. Harris and Cola Scola are

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Speaker 1: now both like it girls, and when has there ever

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Speaker 1: been a play? Right girl?

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Speaker 3: You know what I mean? Arthur Arthur Miller married married

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Speaker 3: Marilyn Monroe. Right, yeah, yeah, I was, Yeah, That's what

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Speaker 3: I'm saying.

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Speaker 1: Though that's a long time ago, and it's kind of

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Speaker 1: like I it makes me hopeful for the theater, especially

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Speaker 1: since Hollywood is on the deep down decline, you know

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Speaker 1: what I mean, like they're making so much less less shit.

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Speaker 1: I just I hope that people can I hope that

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Speaker 1: Broadway producers can see novelty instead of things that are

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Speaker 1: just like adapted existing ip I mean.

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Speaker 3: Obviously linked Abraham link, it's like an existing i PA.

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Speaker 3: But also I mean, I think you said yesterday that

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Speaker 3: you know, Cole didn't do any research on Mary Todd

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Speaker 3: Lincoln going into this, which I love. It really is

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Speaker 3: just as if Countess Luanne was the first lady during

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Speaker 3: at the end of the Civil War.

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Speaker 1: Yeah, she she honestly she she would be she would

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Speaker 1: have a great run as O Mary.

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Speaker 3: Yeah, I I if you're not aware.

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Speaker 1: Also, like there are snippets of of of Mary Todd

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Speaker 1: Lincoln in this show that are like taken from Cole

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Speaker 1: as a persona because Cole used to do cabaret. Cole

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Speaker 1: is like sober, they're like just they're just funny ways

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Speaker 1: that just Cole really bodied this performance. And oh my god,

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Speaker 1: the finale.

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Speaker 3: Finale is amazing for okay, spoilers for a Mary spoilers.

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Speaker 2: Mary.

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Speaker 3: The show ends with so Mary Todd Lincoln's gay huh been.

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Speaker 3: Abraham Lincoln has tried to distract her with acting classes

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Speaker 3: from John Wilkes Booth, who it turns out is his

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Speaker 3: secret lover. And when Mary finds all this out, she

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Speaker 3: is the one who shoots Abraham Lincoln and blames it

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Speaker 3: on John Wilkes Booth. And then the show ends with

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Speaker 3: this sort of like fever dream of a cabaret number

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Speaker 3: with Mary Todd Lincoln doing She'll be coming around the

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Speaker 3: Mountain when she comes low lo La. She was a

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Speaker 3: show girl, and it's like very like Carol Channing. It

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Speaker 3: is just like it's such a like a victory lap

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Speaker 3: because the whole show, Mary Todd Lincoln has been talking

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Speaker 3: about being a cabaret star, but until then it has

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Speaker 3: resisted the impulse to have her actually do a musical number.

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Speaker 3: And if you don't have that final number, like, the

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Speaker 3: show is still incredible, Like it could have ended with

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Speaker 3: her shooting Abraham Lincoln and it would have been fine, Yeah,

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Speaker 3: But then Cole gets to come out and do this

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Speaker 3: like essentially Encore a mashup, Yeah, and it's just so incredible.

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Speaker 3: I love to see them getting their flowers. We will

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Speaker 3: be you know, campaigning during Tony season.

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Speaker 1: Did you ever did you ever google or like look

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Speaker 1: at the Wikipedia for the lyrics of Copa Cabana.

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Speaker 3: No, it was It's.

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Speaker 1: Literally like the Lola the Showgirl. It's like it actually

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Speaker 1: tells like a really we should look at it right now.

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Speaker 1: It actually tells like a really dark and like sad

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Speaker 1: story about like a show girl that is like, you know,

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Speaker 1: she's like past her prime and she like won't leave

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Speaker 1: the club, and she's like an alcohol It has like

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Speaker 1: bizarre similarities to like the oh Mary story. I had

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Speaker 1: never really listened to fucking Coba Cabana and thought, wow.

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Speaker 3: Show girls are a dark entity. Yes, that's true. I'm

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Speaker 3: excited for that, the Pamela Anderson movie, The Last show Girl. Oh,

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Speaker 3: but I also feel like it might not be good. Well,

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Speaker 3: which Copola.

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Speaker 1: Is doing it again, I'm not Sophia not so fac Cobla,

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Speaker 1: which I don't know. I've never seen any of her,

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Speaker 1: I've never heard of her before. I'm sure no offense.

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Speaker 1: I'm sure it will be bad.

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Speaker 3: But yeah, so this so this was a very good

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Speaker 3: theatrical experience. Let's talk about a very bad theatrical experience,

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Speaker 3: which was you finally watched the second half of Amelia.

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Speaker 1: Perez Amelia Perez, I feel like, I I mean, it's

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Speaker 1: funny that we're talking about these back to back because

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Speaker 1: something that like oh Mary is. Something that's really beautiful

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Speaker 1: about the reception of oh Mary is that because it's

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Speaker 1: just like a good motherfucking story. It like hasn't been

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Speaker 1: relegated to like the LGBT like pride representation space, Like

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Speaker 1: people aren't talking about it like in ways that are like, oh,

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Speaker 1: like inclusivity is so important.

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Speaker 3: It's like there's nothing tokenized about Cole or about no

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Speaker 3: Meal's identity is so secondary to them just being an

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Speaker 3: incredible creator. It doesn't show up like the text of

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Speaker 3: non binary Noess does not that doesn't show up in

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Speaker 3: the play at all. That's it's not like, I mean

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Speaker 3: other than outside of that performance itself, but like it's

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Speaker 3: not like a part of the narrative, and it hasn't

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Speaker 3: really been part of the narrative of the marketing of

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Speaker 3: the play, which is amazing.

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Speaker 1: Like I love that it just gets to be itself.

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Speaker 1: I think that that actually people that market things like

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Speaker 1: don't ever want to give things with queer people in

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Speaker 1: it a chance for it to actually just be a

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Speaker 1: good story.

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Speaker 3: I just find an audience based on its own.

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Speaker 1: Merits, and Amelia Perez like did exactly that, which is

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Speaker 1: like they they're just like, oh, trans trans trans trans

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Speaker 1: you love it, don't you? Can Film Festival and Can

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Speaker 1: Film Festival is.

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Speaker 2: Like three awards for every single actress in this movie.

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Speaker 2: Congratulations trends, Like I do think I think Zoe Saldana

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Speaker 2: is good with what she has to work with.

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Speaker 3: I think the actress who plays Amelia Perez is good

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Speaker 3: in a fucking awful role. I mean, this whole movie

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Speaker 3: and specifically Amelia Prez's story, which is the whole story

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Speaker 3: is huge megaflop due to Kaka.

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Speaker 1: Yeah, I mean, I have more to say about Carlo

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Speaker 1: Sevia Guescom, but let's for the virgins, Like, let's give

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Speaker 1: an overview of the plot.

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Speaker 3: It's about a cartel leader who enlists the help of

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Speaker 3: a lawyer to disappear from the world and transition in secret,

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Speaker 3: fake her own death, and she comes back and wants

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Speaker 3: to be with her family again, so she has them

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Speaker 3: move in with her, and then she also starts this

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Speaker 3: nonprofit organization to find the bodies of people all over

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Speaker 3: who have been, you know, disappeared by the cartels and

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Speaker 3: why is it a musical? And then she and at

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Speaker 3: the end she dies and literally becomes a saint. They

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Speaker 3: catch her, they carry a statue of her around, which

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Speaker 3: is kind of like the I mean, the biggest problem

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Speaker 3: of this movie for me is that it's just not good.

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Speaker 3: But then the secondary issue is that it is such

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Speaker 3: a dangerous depiction of transness because it shows why identity

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Speaker 3: politics are so bad, and that it takes this evil

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Speaker 3: person and says that by transitioning, transitioning is an inherently

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Speaker 3: good act that absolves her of all the evil she's done,

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Speaker 3: and it like totally plays into everything that people who

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Speaker 3: hate trans people think about trans It's it is Kaitlyn Jenneral,

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Speaker 3: it is Caitlin Jenner.

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Speaker 1: Yes, it's really, it's really and and the thing is, like,

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Speaker 1: all y'all, if you've read anything online about Amelia Press,

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Speaker 1: that's like negative. Almost all of it is about transrepresentation.

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Speaker 1: It's about the depiction of trans womanhood. It's about the

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Speaker 1: bizarreity of it. It's about all these different things that

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Speaker 1: they that are viewed as problematic. Let's just just you said,

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Speaker 1: let's set all of that aside. Let's pretend that none

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Speaker 1: of that criticism exists. Let's pretend the representation of transsness

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Speaker 1: is perfect in this film. It's still a bad fucking movie.

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Speaker 3: It's a bad movie. The music is bad, the music's terrible, nobody,

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Speaker 3: the choreography isn't good. It's not a good story. It

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Speaker 3: doesn't make sense why any of the characters are acting

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Speaker 3: the way they do their desires. It doesn't look good. No,

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Speaker 3: And so then on top of it, you add this

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Speaker 3: really just like fuck ass portrayal of transness that the

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Speaker 3: movie would not exist without the whole the movie only

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Speaker 3: works based on this idea of this woman transitioning, and

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Speaker 3: like the way it sensationalizes it, and you know what, honestly,

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Speaker 3: if it had leaned into that more, Like I know,

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Speaker 3: we've all probably seen the clip of the surgery number

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Speaker 3: on Twitter, and like, if the whole movie had that energy,

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Speaker 3: it might have been a better movie. Or if it

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Speaker 3: had let Amelia Prez be the villain she should have

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Speaker 3: been instead of making her a literal fucking martyr, yeah

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Speaker 3: and saying that she was perfect, then maybe it would

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Speaker 3: have been a better movie. But it's just not interested

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Speaker 3: in doing that. If you like haven't seen the clip.

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Speaker 3: It's like literally a song about vaginoplasty and they're singing like, uh,

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Speaker 3: penis to vagina, man to woman. It's like it's unhinged.

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Speaker 1: And for me, because I am who I am, I

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Speaker 1: saw that clip and I was like, I'm really excited

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Speaker 1: to see this movie. Like I was excited because I

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Speaker 1: was like, this is either gonna be so bad it's good,

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Speaker 1: or I'm gonna like find something.

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Speaker 3: To like about it, and it was neither. It was neither.

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Speaker 1: And like I and all that number specifically is totally

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Speaker 1: completely different from the rest of the film, which is

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Speaker 1: the rest of the film is really just like kind

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Speaker 1: of straight true crime and.

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Speaker 3: The true melodrama.

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Speaker 1: Yeah, and to the point of like it's a bad movie,

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Speaker 1: like the the crime. The plotting of the crime on

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Speaker 1: a quality level is like law in Order. It's like

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Speaker 1: it's not that good. It's it's not interesting. It's it's

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Speaker 1: really really like like just it's you know, I don't

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Speaker 1: even understand why I'm fucking Zoe's Heldonia is the protagonist

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Speaker 1: of this film, as you said, like none of their

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Speaker 1: stakes in the story makes sense. I don't understand why

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Speaker 1: she even like wants to like commit to like helping

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Speaker 1: this cartel leader transition.

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Speaker 3: I mean I get that, because I don't think she

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Speaker 3: does it for you know, like altruistic reasons. I think

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Speaker 3: she does it because she is a lawyer in this

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Speaker 3: really fucked up legal system and sees the people around her,

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Speaker 3: you know, working with bad people and becoming really rich

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Speaker 3: because of it, and so when the opportunity is presented

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Speaker 3: to her, she just decides to run with it. I

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Speaker 3: think what I have a bigger problem with is that

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Speaker 3: somehow she and Amelia Perez become best friends, which either

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Speaker 3: and because she is our point of view character, we're

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Speaker 3: supposed to have this buy into her idea that Amelia

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Speaker 3: Perez is this good, noble, self sacrificing woman, when in fact,

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Speaker 3: all we do is see her make terrible choices that

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Speaker 3: her people. And then I think, in my least favorite

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Speaker 3: scene in the entire movie, so her so Amelia Perez's

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Speaker 3: wife played by Selena Gomez, you know, moves into the

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Speaker 3: home with her. You know, she's told that she's a

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Speaker 3: cousin of her husband, and when she wants to leave

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Speaker 3: to be with her, the man that she cheated with,

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Speaker 3: Amelia like throws her down on the bed and gets

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Speaker 3: on top of her and threatens her in a voice

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Speaker 3: that is very clearly supposed to be masculine, and it's

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Speaker 3: supposed to be her former self. She switches coming back,

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Speaker 3: which is so disgusting because it is like trading on

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Speaker 3: this idea that trans women have that kind of masculine

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Speaker 3: violence in them and we're just shielding it with like

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Speaker 3: dresses and makeup. And this movie is really invested in

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Speaker 3: the idea that like Amelia pres and the cartel guy

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Speaker 3: are two different people, and that in transitioning, this woman

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Speaker 3: has been absolved of everything bad she's ever done, and

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Speaker 3: yet she can slip back into that very masculine coded violence.

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Speaker 3: It's just really weird. It's the you know, it's it's

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Speaker 3: it's bad. The worst thing about it is that it's

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Speaker 3: just a bad movie. And then everything else is just

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Speaker 3: like shit topping, and it's it's like, and what's hard

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Speaker 3: about that scene in particular, it's like you can tell

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Speaker 3: she was directed that way. You could tell that the

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Speaker 3: director who had literally no interest in like trans womanhood

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Speaker 3: at all, was womanhood at all.

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Speaker 1: Oh yeah, no, was not interested in women like period,

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Speaker 1: Like was fully just kind of like there there, this

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Speaker 1: woman did not know who she was. She had, in

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Speaker 1: my opinion, no redeeming qualities. And I think something that

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Speaker 1: I for some reason I'm not seeing anywhere on the internet,

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Speaker 1: but like I felt immediately is that she is like

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Speaker 1: missus doubt fired, and like the the like well.

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Speaker 3: She missus doubt fires herself.

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Speaker 1: Yes, yes, and the alignment yes, and the alignments between

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Speaker 1: these two plots kind of bizarre, like they have the

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Speaker 1: same problem where it's like Robin Williams when he becomes

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Speaker 1: Missus Doubtfire, You're like, oh my god, he's the protagonist.

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Speaker 1: He's good, Like he's like he's like absolved himself up

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Speaker 1: everything he's done in as a prior, as a parent,

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Speaker 1: prior to this moment, and in actuality he's the villain

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Speaker 1: and he's violating a custody agreement. He's tricking and gaslighting

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Speaker 1: his entire family. And Amelia Press is doing the same

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Speaker 1: thing and yet like she's like a saint for it.

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Speaker 1: She's a victim for some reason.

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Speaker 3: But also we're still not We're still letting her use

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Speaker 3: her new presentation as as deceit as a way to

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Speaker 3: hoodwink her family.

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Speaker 1: Yes, and also like it skips like over the entire

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Speaker 1: transition by like four years, and I was like, where

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Speaker 1: was the makeover montage again? Like come on, I like,

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Speaker 1: you know, I'm again. I'm stupid. I love misstu fhire.

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Speaker 1: We love misstau fires. So when I heard the log

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Speaker 1: line like Transcartel leader like trans like she she medically

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Speaker 1: transitions and secret fakes her own death, I was like,

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Speaker 1: love that, you know. I love ugly Betty. I love

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Speaker 1: like really bizarre depictions of trans womanhood. I love trans villainy.

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Speaker 1: I think that's interesting. I think that's the two point

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Speaker 1: h of like how queerness can show up on screen

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Speaker 1: instead of as like what we've always been, which is

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Speaker 1: like these weird fables or these weird like morality kind

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Speaker 1: of like lessons.

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Speaker 3: And this movie kind of is a morality tale. It

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Speaker 3: tries to be. It does have this element of being

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Speaker 3: like a fable or a fairy tale to it, but

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Speaker 3: it fails at it spectacularly. Yeah, but not but not interestingly.

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Speaker 3: It's not an interesting failure. It's just a huge megaflop

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Speaker 3: due to Kaka. Yeah.

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Speaker 1: Well, you know who was the dud doo cock of

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Speaker 1: this entire movie was Selena Gomez she I.

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Speaker 3: Kept an eye out for Selena and I wish I

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Speaker 3: had her.

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Speaker 1: Her acting is so bad and her Spanish is so bad,

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Speaker 1: and like she she I don't know why. I don't

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Speaker 1: know why she was cast in this movie. It feels

410
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Speaker 1: like star power first star power. I guess she knew

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Speaker 1: that she could like buy her way into the Can,

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Speaker 1: like I don't know if like I don't know anything

413
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Speaker 1: about Can, I probably shouldn't allege that, but anyways, I

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Speaker 1: I just I was constantly like having a hard time

415
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Speaker 1: figuring out what the intent of the film was because

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Speaker 1: I was hoping it would be like a good plot,

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Speaker 1: and it really wasn't. It was meandering, It was there

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Speaker 1: were so many different points of focus that were like

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Speaker 1: I thought, the fact that she opens a charity is

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Speaker 1: so confusing.

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Speaker 3: It didn't. I didn't really.

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Speaker 1: Get how it folded into the like the narrative as

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Speaker 1: a whole, and why.

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Speaker 3: I just I.

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Speaker 1: Think what something that you had said prior when we

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Speaker 1: talked about it was like that they should have just

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Speaker 1: let her be a villain, like if they had just

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Speaker 1: let her be evil, and post transition, she kept being evil,

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Speaker 1: like she kept killing people.

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Speaker 3: She kept being a Cartellian yes, like that would have

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Speaker 3: been sickening.

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Speaker 1: Yes, I mean and something else you also said was

433
00:25:22,600 --> 00:25:24,840
Speaker 1: that it wanted to be Banano.

434
00:25:24,800 --> 00:25:28,600
Speaker 3: It wanted, which is the perfect depiction of trans villainy.

435
00:25:28,720 --> 00:25:32,280
Speaker 1: Next to Gea Gunn and the All Stars season of Drag.

436
00:25:32,119 --> 00:25:35,280
Speaker 3: Race, those are the two.

437
00:25:36,480 --> 00:25:39,640
Speaker 1: Like and Alexis Mead and oh of god, fuck yeah

438
00:25:39,680 --> 00:25:41,520
Speaker 1: alexis Mead and ugly Betty.

439
00:25:41,240 --> 00:25:43,000
Speaker 3: Amelia Press should have been Alexis Mead.

440
00:25:43,160 --> 00:25:45,919
Speaker 1: That literally, I mean, yeah, that's why part of why

441
00:25:45,960 --> 00:25:48,560
Speaker 1: I was so excited. But no, it was it didn't

442
00:25:48,640 --> 00:25:51,800
Speaker 1: want to do that. It was it was an unfun movie,

443
00:25:52,080 --> 00:25:54,359
Speaker 1: and it was a bad musical and you yes, and

444
00:25:54,400 --> 00:25:57,240
Speaker 1: they were all bad singers. And and to to make

445
00:25:57,320 --> 00:26:01,320
Speaker 1: a trans woman sing outside of her vocal register when

446
00:26:01,359 --> 00:26:04,480
Speaker 1: the whole movie is supposed to be about transnis is transphobic,

447
00:26:05,000 --> 00:26:07,320
Speaker 1: Like that's that was That's an awful thing to.

448
00:26:07,280 --> 00:26:10,960
Speaker 3: Do to like Carlos Sophia. So you know what was

449
00:26:10,960 --> 00:26:15,560
Speaker 3: a good musical. We have now reached the wicked portion

450
00:26:15,680 --> 00:26:18,200
Speaker 3: of the recording. We love the transition there.

451
00:26:19,160 --> 00:26:22,639
Speaker 1: Sorry, we're just making sure that we're gooding and we

452
00:26:22,760 --> 00:26:24,800
Speaker 1: are love the audios working.

453
00:26:25,000 --> 00:26:27,800
Speaker 3: Okay, Well, first of all, we were originally going to

454
00:26:27,840 --> 00:26:30,840
Speaker 3: do a Glicked episode, but all of us mutually were like,

455
00:26:30,920 --> 00:26:34,120
Speaker 3: we have no interest in seeing Gladiator two this weekend.

456
00:26:34,320 --> 00:26:35,640
Speaker 3: It was. It was mutual.

457
00:26:35,760 --> 00:26:39,280
Speaker 1: However, Rose very bravely initiated it by calling me a

458
00:26:39,320 --> 00:26:41,120
Speaker 1: few hours before we were supposed.

459
00:26:40,760 --> 00:26:41,320
Speaker 3: To get up.

460
00:26:41,400 --> 00:26:44,600
Speaker 1: I'm not feeling it, and I was like, I'm so

461
00:26:44,680 --> 00:26:47,600
Speaker 1: glad you said that, because I just watched Gladiator one

462
00:26:47,880 --> 00:26:50,240
Speaker 1: and you know, it was it was really the movie

463
00:26:50,320 --> 00:26:52,919
Speaker 1: was fine, and Wicked is enough for us to fill

464
00:26:53,200 --> 00:26:54,320
Speaker 1: a whole episode with.

465
00:26:54,720 --> 00:26:58,800
Speaker 3: Yeah, so spoiler warning, you have been warned. We will

466
00:26:58,800 --> 00:27:02,600
Speaker 3: be going in depth talking about Wicked part one.

467
00:27:03,000 --> 00:27:06,439
Speaker 1: Yeah, we will be responding to I think that a

468
00:27:06,440 --> 00:27:08,760
Speaker 1: lot of y'all left things in the Patreon chat that

469
00:27:08,800 --> 00:27:09,520
Speaker 1: you wanted us.

470
00:27:09,400 --> 00:27:10,320
Speaker 3: To like talk about.

471
00:27:10,840 --> 00:27:12,560
Speaker 1: We will be talking about all of that and more.

472
00:27:12,760 --> 00:27:15,600
Speaker 3: We're gonna go through essentially like the movie kind of

473
00:27:15,800 --> 00:27:18,880
Speaker 3: seen by seeing musical number my musical number. Yeah, yeah, number,

474
00:27:18,880 --> 00:27:21,200
Speaker 3: my number are takes. But before we get there, I

475
00:27:21,240 --> 00:27:24,639
Speaker 3: will say my my logline. You know, the lead of

476
00:27:24,680 --> 00:27:27,800
Speaker 3: the story is I loved it. I loved it. I

477
00:27:27,840 --> 00:27:30,919
Speaker 3: loved it so much. I think it I think it

478
00:27:30,960 --> 00:27:37,200
Speaker 3: is as good a blockbuster version of the first act

479
00:27:37,200 --> 00:27:41,119
Speaker 3: of Wicked the Musical could be, and I think it

480
00:27:41,520 --> 00:27:43,520
Speaker 3: justified being split into two.

481
00:27:43,359 --> 00:27:46,960
Speaker 1: Movies, which is crazy you would never think like, Yeah,

482
00:27:47,080 --> 00:27:52,760
Speaker 1: I totally agree. I think my I said, I feel

483
00:27:52,760 --> 00:27:57,400
Speaker 1: like everybody making the Disney plus like live action remakes

484
00:27:57,480 --> 00:28:00,439
Speaker 1: need to take notes from John and Chew as to

485
00:28:00,480 --> 00:28:03,000
Speaker 1: how to do a mother how to do a motherfucking adaptation.

486
00:28:03,480 --> 00:28:08,720
Speaker 1: I think my kind of thesis walking out of this movie,

487
00:28:09,200 --> 00:28:14,720
Speaker 1: which we'll get into more later, is that John M.

488
00:28:14,800 --> 00:28:17,280
Speaker 3: Chew took on the truly.

489
00:28:17,119 --> 00:28:22,760
Speaker 1: Impossible task of adapting this show, which is in itself

490
00:28:22,960 --> 00:28:26,520
Speaker 1: an adaptation of, outside of the Bible and religious texts,

491
00:28:26,880 --> 00:28:28,920
Speaker 1: the most famous story ever told.

492
00:28:29,640 --> 00:28:33,119
Speaker 3: Yes, like actually two different versions of it, because because

493
00:28:33,119 --> 00:28:37,000
Speaker 3: Wicked the Musical is, Yes, it's an adaptation of the

494
00:28:37,040 --> 00:28:39,040
Speaker 3: novel Wicked, The Life and Times of the Wicked Witch

495
00:28:39,040 --> 00:28:42,240
Speaker 3: in the West by Gregory Maguire, but it's also and

496
00:28:42,320 --> 00:28:44,880
Speaker 3: it's also an adaptation of the Wizard of Oz. But

497
00:28:45,000 --> 00:28:47,480
Speaker 3: it's also really an adaptation of the Wizard of Oz

498
00:28:47,520 --> 00:28:51,040
Speaker 3: the movie. And so this movie had to be all

499
00:28:51,120 --> 00:28:55,800
Speaker 3: of those things and somehow manages to do them all

500
00:28:56,840 --> 00:29:01,080
Speaker 3: extremely well, insanely well. And I'll say I went into

501
00:29:01,120 --> 00:29:06,640
Speaker 3: this movie essentially with no expectations because I was so

502
00:29:06,680 --> 00:29:10,640
Speaker 3: sure that this movie could never be what I have

503
00:29:10,760 --> 00:29:13,280
Speaker 3: hoped it would be since I was fifteen.

504
00:29:13,320 --> 00:29:14,880
Speaker 1: You were like, this is going to disappoint me. You

505
00:29:15,000 --> 00:29:17,200
Speaker 1: said it many times on the podcast, like for years

506
00:29:17,520 --> 00:29:17,960
Speaker 1: on Twitter.

507
00:29:18,000 --> 00:29:21,800
Speaker 3: I was in essentially like an expectation deficit. And then

508
00:29:21,840 --> 00:29:25,160
Speaker 3: this movie came in and so far exceeded what I

509
00:29:25,200 --> 00:29:29,320
Speaker 3: could have even hoped it would be. Yeah, and like

510
00:29:29,360 --> 00:29:32,440
Speaker 3: I was, really I was really blown away by it.

511
00:29:32,600 --> 00:29:36,080
Speaker 1: Yeah, and like again, we'll like keep talking about this,

512
00:29:36,160 --> 00:29:40,680
Speaker 1: but it's like the impossible task of adapting this in

513
00:29:40,720 --> 00:29:43,400
Speaker 1: a perfect world. What you are doing is you're taking

514
00:29:45,000 --> 00:29:49,640
Speaker 1: references and at times like kind of direct duplications of

515
00:29:49,720 --> 00:29:53,120
Speaker 1: things we already really loved about the original stories of

516
00:29:53,160 --> 00:29:57,560
Speaker 1: The Wizard of Oz and Wicked, sprinkling them into the

517
00:29:57,680 --> 00:30:03,040
Speaker 1: narrative will then embellishing them for the updatedness of twenty

518
00:30:03,080 --> 00:30:04,320
Speaker 1: twenty four cinema and.

519
00:30:04,240 --> 00:30:08,400
Speaker 3: For and for a different medium, yes, than the source material,

520
00:30:08,680 --> 00:30:11,400
Speaker 3: and then creating novelty.

521
00:30:11,640 --> 00:30:15,120
Speaker 1: I like actually creating like new parts of the world,

522
00:30:15,400 --> 00:30:19,520
Speaker 1: which a lot of times are blasphemous, like if you

523
00:30:19,600 --> 00:30:22,040
Speaker 1: do it the wrong way, right, but he I feel like,

524
00:30:22,120 --> 00:30:24,240
Speaker 1: did it the right way every time. And I actually

525
00:30:24,280 --> 00:30:30,120
Speaker 1: think that this was really really well illustrated in the

526
00:30:30,160 --> 00:30:32,120
Speaker 1: overture because.

527
00:30:32,000 --> 00:30:36,960
Speaker 3: When I'm holding my breast, because from the moment the

528
00:30:37,040 --> 00:30:40,400
Speaker 3: overture started, I like I had this moment of like

529
00:30:40,960 --> 00:30:44,600
Speaker 3: a computer glitching of realizing as I was hearing the

530
00:30:44,680 --> 00:30:48,480
Speaker 3: score seeing the flying monkeys, I was like, oh, fuck,

531
00:30:49,120 --> 00:30:53,240
Speaker 3: I'm watching the Wicked movie, right, I mean, it's real

532
00:30:53,400 --> 00:30:57,320
Speaker 3: before you even see the monkeys girl, the original Wizard

533
00:30:57,360 --> 00:31:01,800
Speaker 3: of Oz font yes, in the winning credits is so

534
00:31:02,200 --> 00:31:06,520
Speaker 3: my look at my nipples, they're rock cards. And the

535
00:31:06,560 --> 00:31:08,360
Speaker 3: overture of Wicket is already so incredible.

536
00:31:08,400 --> 00:31:12,360
Speaker 1: But then you know, you see Dorothy holding the broom,

537
00:31:12,480 --> 00:31:15,000
Speaker 1: and as the Munchkins like running through the field and

538
00:31:15,040 --> 00:31:20,640
Speaker 1: the overture is playing, you hear like like a fraction

539
00:31:20,920 --> 00:31:24,000
Speaker 1: of a melody from the original Wizard of Oz from

540
00:31:24,000 --> 00:31:25,520
Speaker 1: like the Munchkin where it's like.

541
00:31:25,680 --> 00:31:30,800
Speaker 3: It's like the witches, Yeah, yeah, is there. There are

542
00:31:30,960 --> 00:31:37,720
Speaker 3: many melodic moments from the original movie that were woven

543
00:31:37,880 --> 00:31:41,120
Speaker 3: into the score by Stephen Schwartz when he first wrote it,

544
00:31:41,200 --> 00:31:44,760
Speaker 3: Like Defying Gravity kind of cribs a little bit from

545
00:31:44,760 --> 00:31:47,960
Speaker 3: somewhere over the Rainbow. Yeah, there's so many There's so

546
00:31:48,000 --> 00:31:50,280
Speaker 3: many references. And the thing that I loved about this

547
00:31:50,320 --> 00:31:53,400
Speaker 3: movie is the people who made it are so clearly

548
00:31:54,120 --> 00:31:58,400
Speaker 3: students of every piece of the source material and have

549
00:31:58,560 --> 00:32:02,080
Speaker 3: paid this loving homage to it while making something that

550
00:32:02,160 --> 00:32:05,720
Speaker 3: does really stand on its own. Yeah, while still giving

551
00:32:05,760 --> 00:32:09,400
Speaker 3: the fans endless numbers of Easter eggs. You know, So

552
00:32:09,560 --> 00:32:12,800
Speaker 3: No one mourns the Wicked. One of my favorite, one

553
00:32:12,840 --> 00:32:14,560
Speaker 3: of my favorite moments on the whole movie.

554
00:32:14,680 --> 00:32:16,840
Speaker 1: It was probably my favorite song. I think it was

555
00:32:17,320 --> 00:32:19,920
Speaker 1: in the movie. I think it was my favorite song.

556
00:32:20,080 --> 00:32:24,840
Speaker 3: Arianna Grande but Terra, as she was credited in the movie,

557
00:32:25,560 --> 00:32:30,920
Speaker 3: is yeah, the woman, the actress that you are. You

558
00:32:30,960 --> 00:32:34,480
Speaker 3: know what what Arianna has to do in this opening

559
00:32:34,560 --> 00:32:38,800
Speaker 3: number is so difficult on the acting level, on the

560
00:32:38,840 --> 00:32:43,520
Speaker 3: acting level because she has to come out as you know,

561
00:32:43,760 --> 00:32:46,400
Speaker 3: this Glinda that we remember from the movie that we

562
00:32:46,440 --> 00:32:49,200
Speaker 3: grew up watching and fulfill that part of it. But

563
00:32:49,360 --> 00:32:54,360
Speaker 3: she also has to seed that she is a woman

564
00:32:54,400 --> 00:32:59,200
Speaker 3: who is mourning her best friend and is putting the

565
00:32:59,240 --> 00:33:02,120
Speaker 3: final nail in the coffin of her best friend's legacy

566
00:33:02,240 --> 00:33:06,240
Speaker 3: and ensuring that she will forever be remembered as a villain,

567
00:33:06,800 --> 00:33:12,680
Speaker 3: and that tension is on Arianna's face for the whole song,

568
00:33:12,840 --> 00:33:15,840
Speaker 3: and she only lets it out in little moments, like

569
00:33:16,040 --> 00:33:19,560
Speaker 3: I like a line in the song that I've never

570
00:33:19,600 --> 00:33:22,520
Speaker 3: really paid attention to before, is like towards the end

571
00:33:22,560 --> 00:33:25,440
Speaker 3: of No One Warns the Wicked, when Ariana sings she

572
00:33:25,640 --> 00:33:30,600
Speaker 3: died alone, died, and then she throws the torch onto

573
00:33:30,640 --> 00:33:32,440
Speaker 3: the effigy of the Wicked Witch of the West, and

574
00:33:33,400 --> 00:33:35,840
Speaker 3: I was I was blown away. I couldn't I couldn't

575
00:33:35,880 --> 00:33:40,120
Speaker 3: believe what I was seeing. And she manages to reference

576
00:33:40,840 --> 00:33:43,520
Speaker 3: specifically Kristen China with and a lot of the other

577
00:33:44,040 --> 00:33:48,520
Speaker 3: Glinda's who have come before, while still making it clear

578
00:33:48,600 --> 00:33:51,600
Speaker 3: that this is her version of the character, like bringing

579
00:33:51,720 --> 00:33:55,840
Speaker 3: her sensibility to it. I loved like when she's about

580
00:33:55,880 --> 00:33:57,920
Speaker 3: to leave in her bubble and she like kicks the

581
00:33:58,000 --> 00:34:00,720
Speaker 3: thing and she goes, well, I'm gonna go, oh I go.

582
00:34:01,240 --> 00:34:04,200
Speaker 1: It's like sassy, It's like a little like well, it's

583
00:34:04,200 --> 00:34:06,200
Speaker 1: a little like Kristen Weggs, Eliza Manelli.

584
00:34:06,280 --> 00:34:07,400
Speaker 3: It's a little like whoa.

585
00:34:07,600 --> 00:34:10,560
Speaker 1: But but you know, on the acting level, Like that's

586
00:34:10,640 --> 00:34:12,920
Speaker 1: part of why this was my favorite song is like

587
00:34:12,960 --> 00:34:16,320
Speaker 1: the complexity of how this character feels in this moment

588
00:34:16,360 --> 00:34:21,080
Speaker 1: in time is so much deeper than what I saw

589
00:34:21,160 --> 00:34:24,200
Speaker 1: in the stage adaptation growing up as a kid. I

590
00:34:24,680 --> 00:34:26,239
Speaker 1: want to know if you disagree with this, but like

591
00:34:26,800 --> 00:34:30,839
Speaker 1: it in this first number, it immediately justifies itself as

592
00:34:31,920 --> 00:34:35,400
Speaker 1: as a film because when you, in my opinion, when

593
00:34:35,440 --> 00:34:38,640
Speaker 1: you watch the original musical, you know the ending is

594
00:34:38,640 --> 00:34:40,720
Speaker 1: supposed to be a gag. It's supposed to be a reveal.

595
00:34:40,920 --> 00:34:45,919
Speaker 1: So so Glinda's like Glinda is actually is like her

596
00:34:46,040 --> 00:34:49,000
Speaker 1: facade is completely up, Like you don't, Actually I didn't

597
00:34:49,000 --> 00:34:52,480
Speaker 1: see the cracks in the facade in that moment because

598
00:34:52,560 --> 00:34:56,320
Speaker 1: it's supposed to be kind of hidden from the audience

599
00:34:56,320 --> 00:34:58,320
Speaker 1: so that you get the satisfaction of the reveal.

600
00:34:58,360 --> 00:35:01,359
Speaker 3: But because I think, I think it say in the music, Yeah,

601
00:35:01,600 --> 00:35:03,120
Speaker 3: it is in the music. That's true. That's true. It's

602
00:35:03,120 --> 00:35:03,640
Speaker 3: in the music.

603
00:35:04,239 --> 00:35:08,399
Speaker 1: But but regardless, like the fact that Ari, the fact

604
00:35:08,440 --> 00:35:12,640
Speaker 1: that Aria has to be like a politic on the outside,

605
00:35:12,760 --> 00:35:19,719
Speaker 1: like a politician in this world, basically making streamlining propaganda

606
00:35:19,800 --> 00:35:24,400
Speaker 1: from Oz to make sure that everyone knows that Alphaba

607
00:35:24,440 --> 00:35:27,560
Speaker 1: was the ould timate evil while inside having all of

608
00:35:27,560 --> 00:35:31,319
Speaker 1: these complicated feelings about the fate of her friend and

609
00:35:31,440 --> 00:35:34,719
Speaker 1: her part to play in that. And and I just

610
00:35:34,800 --> 00:35:41,440
Speaker 1: did not really expect so much emotional complexity, so much

611
00:35:41,480 --> 00:35:47,719
Speaker 1: from from jump, like so immediately, I I love, love

612
00:35:47,800 --> 00:35:50,760
Speaker 1: love that she's like you could see on her face

613
00:35:51,040 --> 00:35:53,040
Speaker 1: that she's the only one in the room that has

614
00:35:53,080 --> 00:35:54,080
Speaker 1: the whole story.

615
00:35:55,200 --> 00:35:57,440
Speaker 3: And and she'll never be able to tell it to anyone, no,

616
00:35:57,560 --> 00:36:01,560
Speaker 3: because Alphabet in Act two of the musical specifically asks

617
00:36:01,600 --> 00:36:07,239
Speaker 3: her not to clear her name because she understands the

618
00:36:07,840 --> 00:36:11,880
Speaker 3: that that will just continue to cause this unrest in Oz.

619
00:36:12,320 --> 00:36:14,960
Speaker 3: And I think that what this movie does really well

620
00:36:15,600 --> 00:36:20,440
Speaker 3: is investigate the idea of not only what is it

621
00:36:20,480 --> 00:36:23,120
Speaker 3: to be wicked, but what is it to be good?

622
00:36:23,560 --> 00:36:28,320
Speaker 3: And we see Ariana wrestling with that from the very

623
00:36:28,400 --> 00:36:29,560
Speaker 3: first moment of the film.

624
00:36:29,840 --> 00:36:32,719
Speaker 1: I we have to come back to that. I could

625
00:36:32,719 --> 00:36:37,000
Speaker 1: talk about that for thirty minutes, like because like the original,

626
00:36:37,440 --> 00:36:40,080
Speaker 1: sorry I'm already going, But like the original, Wizard of

627
00:36:40,120 --> 00:36:44,720
Speaker 1: Oz is this crystal clear depiction of good and evil.

628
00:36:44,719 --> 00:36:48,839
Speaker 1: It's a very it's rudimentary Hollywood storytelling. One oh one.

629
00:36:49,280 --> 00:36:51,520
Speaker 1: There are good people and there are evil people, and

630
00:36:51,560 --> 00:36:56,080
Speaker 1: it's there's nothing more complicated than that, And what Wicked

631
00:36:56,320 --> 00:37:00,160
Speaker 1: does in the book and then in the musical is say, oh,

632
00:37:00,200 --> 00:37:02,680
Speaker 1: it's way more complicated than that, and the people that

633
00:37:02,760 --> 00:37:04,560
Speaker 1: you thought were good are bad, and people you thought

634
00:37:04,600 --> 00:37:07,319
Speaker 1: were bad might be good or maybe they're all this

635
00:37:07,480 --> 00:37:11,040
Speaker 1: kind of you know, middle this this this nuanced thing

636
00:37:11,480 --> 00:37:12,959
Speaker 1: and nobody's right.

637
00:37:13,719 --> 00:37:15,320
Speaker 3: I thought that there was just.

638
00:37:15,239 --> 00:37:18,480
Speaker 1: So much in that in that first moment, and when

639
00:37:18,520 --> 00:37:23,160
Speaker 1: they I also love that when they told the backstory

640
00:37:23,320 --> 00:37:25,879
Speaker 1: to Alphaba. I was talking to our friend Cherry James

641
00:37:25,880 --> 00:37:28,799
Speaker 1: about this, who pointed this out to me that the

642
00:37:28,880 --> 00:37:32,719
Speaker 1: fact that Alphaba was raised by a bear comes from

643
00:37:32,760 --> 00:37:36,120
Speaker 1: the book, so like right away they're bringing things from

644
00:37:36,200 --> 00:37:39,600
Speaker 1: the book in that had skipped the musical into the

645
00:37:39,600 --> 00:37:40,520
Speaker 1: movie adaptation.

646
00:37:40,800 --> 00:37:43,400
Speaker 3: And it's so important because I think you can you

647
00:37:43,400 --> 00:37:45,600
Speaker 3: can listen to the Wicked soundtrack or have only seen

648
00:37:45,600 --> 00:37:48,799
Speaker 3: the show once and forget that the whole reason that

649
00:37:48,840 --> 00:37:52,200
Speaker 3: Alphaba becomes the Wicked Witch of the West is because

650
00:37:52,280 --> 00:37:56,040
Speaker 3: she is an animal rights activist and an eco terrorist.

651
00:37:57,320 --> 00:38:00,800
Speaker 3: From the very beginning of the movie, they are showing

652
00:38:01,120 --> 00:38:05,440
Speaker 3: why she becomes such a staunch defender of the animals

653
00:38:05,480 --> 00:38:09,399
Speaker 3: because when she was totally, you know, abandoned by her

654
00:38:09,440 --> 00:38:13,080
Speaker 3: father because she was born green. The only people who

655
00:38:13,120 --> 00:38:15,879
Speaker 3: showed her any sort of love and care were these

656
00:38:15,920 --> 00:38:19,640
Speaker 3: animals and sort of her sister nessa Rose and I

657
00:38:19,680 --> 00:38:22,759
Speaker 3: have beef with Yeah, I want to talk to her. Yeah,

658
00:38:22,800 --> 00:38:23,720
Speaker 3: it's interesting.

659
00:38:23,760 --> 00:38:26,800
Speaker 1: Also, it's like this is plant like the bear raising

660
00:38:26,840 --> 00:38:29,799
Speaker 1: Alphaba is I'm gonna be I'm going to be like

661
00:38:29,840 --> 00:38:34,319
Speaker 1: annoyingly like analytical about like this in general. So if

662
00:38:34,320 --> 00:38:36,080
Speaker 1: you're not into that, this is not the place for you.

663
00:38:36,400 --> 00:38:40,120
Speaker 1: But like something that's I think I think will be

664
00:38:40,160 --> 00:38:44,839
Speaker 1: even deepened by the Part two of this story is

665
00:38:44,960 --> 00:38:51,560
Speaker 1: like a narrative on class and how animals exist in

666
00:38:52,480 --> 00:38:56,160
Speaker 1: class within this society, and thinking about the bear as

667
00:38:56,200 --> 00:38:59,239
Speaker 1: like a kind of like, you know, a caretaker for

668
00:38:59,480 --> 00:39:01,000
Speaker 1: a wealthy governess.

669
00:39:01,320 --> 00:39:03,480
Speaker 3: You know, from the very beginning, the only animals we

670
00:39:03,520 --> 00:39:08,360
Speaker 3: see are you know, in domestic position, yes, serving humans, yes.

671
00:39:08,400 --> 00:39:11,120
Speaker 1: And yet when Alphabe is raised in this world, like,

672
00:39:11,480 --> 00:39:13,560
Speaker 1: animals are still a part of society, and that becomes

673
00:39:13,680 --> 00:39:15,279
Speaker 1: less and less true by the time we get to

674
00:39:15,440 --> 00:39:19,880
Speaker 1: like the meat of the story where they're grown up. Yeah,

675
00:39:20,000 --> 00:39:23,040
Speaker 1: it's just I'm so excited for more parts of the

676
00:39:23,040 --> 00:39:24,960
Speaker 1: book to be put into the story.

677
00:39:25,200 --> 00:39:26,839
Speaker 3: But we will. We will give our thoughts on what

678
00:39:26,840 --> 00:39:29,799
Speaker 3: we think might be coming in part two. Yes, but

679
00:39:29,880 --> 00:39:33,319
Speaker 3: for now, let's move on to Shizz Chizz, which I

680
00:39:33,360 --> 00:39:37,640
Speaker 3: think we I think essentially like I didn't get why

681
00:39:37,719 --> 00:39:39,440
Speaker 3: they had to enter on a boat, but then I

682
00:39:39,520 --> 00:39:41,600
Speaker 3: was like, Okay, so this is clearly going to be

683
00:39:41,640 --> 00:39:45,839
Speaker 3: a theme park ride and I will be there opening day.

684
00:39:46,040 --> 00:39:50,560
Speaker 3: Oh yeah, that's going to be stunning. And at Shiz

685
00:39:50,600 --> 00:39:54,760
Speaker 3: we see one of my first problems with this movie,

686
00:39:54,840 --> 00:39:57,200
Speaker 3: because I do have I have a couple. This is

687
00:39:57,239 --> 00:40:00,319
Speaker 3: not this is a great movie I loved. I have

688
00:40:00,400 --> 00:40:02,520
Speaker 3: a few things that I didn't like. One of them

689
00:40:03,040 --> 00:40:11,400
Speaker 3: is the over exposed backlit lighting that is carried on

690
00:40:11,680 --> 00:40:15,080
Speaker 3: throughout the movie and that everyone has been kind of

691
00:40:15,080 --> 00:40:19,280
Speaker 3: complaining about on Twitter since we first saw the images

692
00:40:19,320 --> 00:40:20,960
Speaker 3: and first teaser for this movie.

693
00:40:21,080 --> 00:40:23,120
Speaker 1: And this is also something that the Virgins really wanted

694
00:40:23,200 --> 00:40:23,760
Speaker 1: us to discuss.

695
00:40:23,920 --> 00:40:27,520
Speaker 3: Yeah, and it's really exemplified, I think in the Shizz scenes,

696
00:40:27,600 --> 00:40:32,000
Speaker 3: which are so kind of washed out and backlit. And

697
00:40:32,040 --> 00:40:34,000
Speaker 3: it also I just don't know why so much of

698
00:40:34,040 --> 00:40:37,520
Speaker 3: this movie takes place during the daytime and like really

699
00:40:37,680 --> 00:40:41,239
Speaker 3: bright daytime, like it's it's it's the wizard and I

700
00:40:41,440 --> 00:40:44,600
Speaker 3: it's popular, it's even defying gravity takes place during the day.

701
00:40:44,840 --> 00:40:47,680
Speaker 1: I you know, I'm not like a good I don't

702
00:40:47,719 --> 00:40:51,680
Speaker 1: think I have a great trust with worthiness on this topic,

703
00:40:51,719 --> 00:40:55,320
Speaker 1: specifically because I am colorblind, but I think I could

704
00:40:55,800 --> 00:40:58,799
Speaker 1: personally see things off with like the grading and like

705
00:40:58,840 --> 00:41:03,840
Speaker 1: the contrast of the light. I like am perfectly happy

706
00:41:03,920 --> 00:41:06,880
Speaker 1: that I'm fine with the fact that things are happening

707
00:41:06,920 --> 00:41:09,640
Speaker 1: in the daytime, because to be honest, when things happen

708
00:41:09,680 --> 00:41:11,360
Speaker 1: at night and movies, I'm like squinting.

709
00:41:11,400 --> 00:41:13,600
Speaker 3: I'm like, what the fuck is happening in there? Like,

710
00:41:13,800 --> 00:41:16,000
Speaker 3: you know, like it's like we can't find a happy

711
00:41:16,040 --> 00:41:21,920
Speaker 3: medium between this overexposed like really like gray scale color

712
00:41:21,960 --> 00:41:25,080
Speaker 3: grading and then like the final season of Game of

713
00:41:25,160 --> 00:41:27,520
Speaker 3: Thrones where you can't see anything on screen and you

714
00:41:27,560 --> 00:41:29,400
Speaker 3: have to turn the brightness on your TV up all

715
00:41:29,400 --> 00:41:29,680
Speaker 3: the way.

716
00:41:29,719 --> 00:41:32,279
Speaker 1: And a big reason that people online were mad about

717
00:41:32,280 --> 00:41:35,920
Speaker 1: it is because when the first images of the Munchkin

718
00:41:36,040 --> 00:41:40,000
Speaker 1: Land were like leaked online or whatever, you see the

719
00:41:40,120 --> 00:41:43,239
Speaker 1: technic color, and then that technic color is kind of

720
00:41:43,360 --> 00:41:46,680
Speaker 1: like washed a little bit muted in the movie, Yeah,

721
00:41:46,719 --> 00:41:49,480
Speaker 1: and it's kind of like the whole like the the

722
00:41:50,320 --> 00:41:52,840
Speaker 1: one of the most novel, if not the most novel,

723
00:41:52,880 --> 00:41:55,840
Speaker 1: thing about the original Wizard of Oz. And why it's

724
00:41:56,000 --> 00:41:57,680
Speaker 1: one of the most famous, why it's the most famous

725
00:41:57,680 --> 00:42:02,520
Speaker 1: story over ever told, is because it represented this crossroads

726
00:42:02,520 --> 00:42:05,919
Speaker 1: in Hollywood from black and white into technicolor.

727
00:42:06,080 --> 00:42:08,160
Speaker 3: I mean the moment where I you know, I was

728
00:42:08,200 --> 00:42:11,320
Speaker 3: watching the Original Wizard of Oz movie earlier this week

729
00:42:11,600 --> 00:42:14,520
Speaker 3: and it still gags me every time when Dorothy opens

730
00:42:14,560 --> 00:42:20,000
Speaker 3: the door into muncheon Land and it suddenly is in technicolor,

731
00:42:20,400 --> 00:42:24,000
Speaker 3: and the color is beautiful. It's so beautiful to this.

732
00:42:24,080 --> 00:42:26,879
Speaker 1: Day, and like and like the thing is, those were

733
00:42:26,960 --> 00:42:29,640
Speaker 1: old cameras. Those are old ass cameras.

734
00:42:30,160 --> 00:42:32,560
Speaker 3: We have the technology, yes, but.

735
00:42:32,560 --> 00:42:34,960
Speaker 1: And so so part I was like a little back

736
00:42:35,000 --> 00:42:37,399
Speaker 1: and forth on this because I personally.

737
00:42:37,320 --> 00:42:40,080
Speaker 3: Am not I would. I would, This is.

738
00:42:40,200 --> 00:42:42,879
Speaker 1: Very twenty four of me, But I actually would rather

739
00:42:43,000 --> 00:42:46,719
Speaker 1: something have a kind of point of view in the

740
00:42:47,239 --> 00:42:51,400
Speaker 1: in the enema, in the editing of the cinema and

741
00:42:51,440 --> 00:42:58,239
Speaker 1: the enema, then to watch something that is like garishly colorful.

742
00:42:59,160 --> 00:43:01,520
Speaker 1: I think a lot. This is an insane thing to

743
00:43:01,560 --> 00:43:04,759
Speaker 1: bring up, but I think a lot about when I

744
00:43:05,000 --> 00:43:09,960
Speaker 1: first watched Tim Burton's Alice in Wonderland and how a

745
00:43:10,000 --> 00:43:13,200
Speaker 1: disgusting movie. A disgusting movie. And I thought the color

746
00:43:13,400 --> 00:43:16,240
Speaker 1: and the animation is so it's disgusting.

747
00:43:16,400 --> 00:43:19,160
Speaker 3: It's a huge CGI slop. It's like that meme of

748
00:43:20,040 --> 00:43:23,400
Speaker 3: name one thing in this photo. Yeah, that is what those.

749
00:43:23,200 --> 00:43:25,360
Speaker 1: Movies are so like, I don't know, Like part of

750
00:43:25,400 --> 00:43:28,440
Speaker 1: me feels like if they had gone full out color

751
00:43:28,520 --> 00:43:32,160
Speaker 1: with the maximum extent of technology that they had, maybe

752
00:43:32,200 --> 00:43:34,560
Speaker 1: I would have felt like this was too as you

753
00:43:34,640 --> 00:43:39,000
Speaker 1: might say, Marvel, you know, to CGI to updated.

754
00:43:39,160 --> 00:43:42,320
Speaker 3: I do appreciate that so much of this was practically

755
00:43:42,360 --> 00:43:47,239
Speaker 3: built that the CGI is I wouldn't say it's used sparingly,

756
00:43:47,560 --> 00:43:50,160
Speaker 3: but it's used as much as it needs to be used. Yes,

757
00:43:50,680 --> 00:43:53,680
Speaker 3: and no more. But the overexposure is one of my

758
00:43:53,719 --> 00:43:56,200
Speaker 3: few problems with the movie, but it really did not

759
00:43:56,480 --> 00:44:02,800
Speaker 3: disrupt my enjoyment of it. Another easter egg that you spotted.

760
00:44:03,080 --> 00:44:06,040
Speaker 3: Oh so in this opening scene, you know, Elphaba's coming in.

761
00:44:06,360 --> 00:44:09,120
Speaker 3: Her sister gets like taken away from her. Also, nessa

762
00:44:09,200 --> 00:44:14,120
Speaker 3: Rose has huge tips, huge go her and then Alpaba

763
00:44:14,560 --> 00:44:18,040
Speaker 3: uses her powers in this sort of uncontrollable way and

764
00:44:18,440 --> 00:44:22,000
Speaker 3: a carving of the wizard is knocked off and you

765
00:44:22,080 --> 00:44:25,279
Speaker 3: see underneath it that there is an older carving of

766
00:44:25,360 --> 00:44:28,920
Speaker 3: a bunch of sentient animals, which is showing that animals

767
00:44:28,960 --> 00:44:33,400
Speaker 3: have always been these, you know, like really important members

768
00:44:33,560 --> 00:44:37,480
Speaker 3: of Ozzie and society, but in the era of the Wizard,

769
00:44:37,719 --> 00:44:39,919
Speaker 3: they have been pushed to the margin.

770
00:44:39,600 --> 00:44:45,759
Speaker 1: And cast it over erased. Yeah, there's there's I like,

771
00:44:45,920 --> 00:44:48,560
Speaker 1: I'm so excited to rewatch it because I feel like

772
00:44:49,120 --> 00:44:51,240
Speaker 1: the John im Chew of it all and the world building.

773
00:44:51,280 --> 00:44:54,600
Speaker 1: It's like every single frame has so much in it,

774
00:44:54,640 --> 00:44:56,320
Speaker 1: and that's just like one of those moments.

775
00:44:56,480 --> 00:44:59,880
Speaker 3: Yeah. Then we get to my other one of my

776
00:45:00,120 --> 00:45:06,200
Speaker 3: other ripes with this film, which is Michelle Yoh wow, wow,

777
00:45:06,400 --> 00:45:09,680
Speaker 3: look wow. Michelle Yo is an amazing actress, and I

778
00:45:09,680 --> 00:45:14,480
Speaker 3: will say that some of her choices I don't necessarily

779
00:45:15,000 --> 00:45:21,080
Speaker 3: disagree with. I think that she really sells how sinister

780
00:45:21,200 --> 00:45:24,920
Speaker 3: Madam Morble is, and she does that by really taking

781
00:45:24,960 --> 00:45:28,839
Speaker 3: the character down, making her slower and more menacing. And

782
00:45:28,880 --> 00:45:32,280
Speaker 3: that's really good except for the fact that Madam Morble

783
00:45:32,320 --> 00:45:36,200
Speaker 3: is supposed to be this county diva character she supposed

784
00:45:36,239 --> 00:45:39,360
Speaker 3: we can't she supposed to be can't be. She is

785
00:45:39,360 --> 00:45:42,000
Speaker 3: a character that is performing for the people in the

786
00:45:42,040 --> 00:45:44,800
Speaker 3: back of the house, and that was not what Michelle

787
00:45:44,920 --> 00:45:46,960
Speaker 3: Yo was doing. And I just think it was a

788
00:45:47,000 --> 00:45:52,520
Speaker 3: real missed opportunity to cast someone sickening like Cherrilee Ralph

789
00:45:52,560 --> 00:45:55,839
Speaker 3: who played Madam Morble on Broadway. I think it would

790
00:45:55,880 --> 00:45:59,680
Speaker 3: have been so fun to have a different kind of

791
00:45:59,800 --> 00:46:04,359
Speaker 3: deva in that role, because her moments that she really

792
00:46:04,360 --> 00:46:06,320
Speaker 3: needs to hit, like her speech to Elfha about the

793
00:46:06,360 --> 00:46:08,880
Speaker 3: beginning of the wizard and I, or her you know,

794
00:46:08,960 --> 00:46:12,720
Speaker 3: delivery of you know, this wicked Witch, like those moments

795
00:46:12,719 --> 00:46:14,279
Speaker 3: were very lackluster for me.

796
00:46:15,080 --> 00:46:19,200
Speaker 1: Yeah, so so I did. I did I personally, and

797
00:46:19,239 --> 00:46:21,360
Speaker 1: this is honestly one of the few things we disagree

798
00:46:21,360 --> 00:46:23,040
Speaker 1: on when it comes to a wicked But like I

799
00:46:23,080 --> 00:46:25,799
Speaker 1: did not come out of the film with that take

800
00:46:25,840 --> 00:46:30,000
Speaker 1: on Michelle Yo. Like I I'm I'm a little bit

801
00:46:30,040 --> 00:46:31,640
Speaker 1: of a stand I kind of think Michelle Yo can

802
00:46:31,680 --> 00:46:32,719
Speaker 1: be in anything, and I.

803
00:46:32,640 --> 00:46:33,319
Speaker 3: Would like it.

804
00:46:34,160 --> 00:46:37,759
Speaker 1: I also personally feel like Madam Morble I was I

805
00:46:37,800 --> 00:46:40,800
Speaker 1: didn't have never cared about this character before. And because

806
00:46:42,200 --> 00:46:46,360
Speaker 1: Michelle Michelle Yo is like an Academy Award winning actress,

807
00:46:46,440 --> 00:46:50,400
Speaker 1: like she lends a flesh to Madam Morble that in

808
00:46:50,440 --> 00:46:52,040
Speaker 1: my opinion wasn't there before.

809
00:46:52,840 --> 00:46:53,920
Speaker 3: And I enjoyed that.

810
00:46:54,040 --> 00:46:58,400
Speaker 1: And I also personally like, I'm not gonna complain about

811
00:46:58,480 --> 00:47:01,240
Speaker 1: like non singer singing, like the kind of talk singing.

812
00:47:01,719 --> 00:47:04,640
Speaker 3: I'm gonna complain about it. It was like forty seconds,

813
00:47:04,680 --> 00:47:08,239
Speaker 3: like but you need those forty sec Yeah, yeah, but

814
00:47:08,280 --> 00:47:10,800
Speaker 3: like she was, she was singing as good as Jeff Goldbloom.

815
00:47:11,520 --> 00:47:15,120
Speaker 3: In my opinion, I think Jeff Goldbloom brings his innate

816
00:47:15,400 --> 00:47:19,000
Speaker 3: Jeff goldbloomness to the part, and I don't think. I

817
00:47:19,040 --> 00:47:22,360
Speaker 3: think Michelle Ye what she brought. Michelle Michelle Yo was

818
00:47:22,400 --> 00:47:25,680
Speaker 3: playing Madam Morble as like Marjorie Taylor Green, and I

819
00:47:25,719 --> 00:47:28,720
Speaker 3: wanted her to and I wanted her to be Sarah Palin.

820
00:47:28,840 --> 00:47:33,040
Speaker 1: That's well, no, that well, okay, Marjorie Taylor Green is

821
00:47:33,080 --> 00:47:36,680
Speaker 1: also a little campy. But but I see what you're saying.

822
00:47:36,800 --> 00:47:43,480
Speaker 1: I definitely feel, you know, John and Chuo like kind

823
00:47:43,560 --> 00:47:46,319
Speaker 1: of Michelle Yo kind of said no when when she

824
00:47:46,360 --> 00:47:47,440
Speaker 1: was first off of the part, she was like, I

825
00:47:47,440 --> 00:47:48,799
Speaker 1: don't know how to do this, I can't do this,

826
00:47:48,880 --> 00:47:51,960
Speaker 1: and John, she was right, she was like, no, no.

827
00:47:51,719 --> 00:47:53,440
Speaker 3: I know you can. I think it was wrong.

828
00:47:53,520 --> 00:47:57,680
Speaker 1: I think that she'll just be in like ever project

829
00:47:57,920 --> 00:48:02,000
Speaker 1: he ever does. Honestly, I I personally liked what she

830
00:48:02,040 --> 00:48:04,719
Speaker 1: gave the film, but I one hundred percent agree as

831
00:48:04,760 --> 00:48:08,719
Speaker 1: you've explained it, I personally am I'm inching toward your

832
00:48:08,800 --> 00:48:11,560
Speaker 1: slide in the fact that she definitely is in a

833
00:48:11,600 --> 00:48:15,759
Speaker 1: slightly different movie. She's she she gives more realism.

834
00:48:16,000 --> 00:48:19,280
Speaker 3: It's a very restrained performance. It's just a Morrible's supposed

835
00:48:19,320 --> 00:48:23,520
Speaker 3: to be over the top. She is. She is supposed

836
00:48:23,560 --> 00:48:26,480
Speaker 3: to be the wicked witch that she is making Alphabet

837
00:48:26,480 --> 00:48:28,120
Speaker 3: out to Lida.

838
00:48:28,280 --> 00:48:32,759
Speaker 1: Really, oh, that's really smart. Did you ever see like

839
00:48:32,800 --> 00:48:35,960
Speaker 1: the lists of people that like auditioned for every y

840
00:48:36,120 --> 00:48:37,600
Speaker 1: because Cherylie Ralph did audition.

841
00:48:37,960 --> 00:48:41,920
Speaker 3: J Loo was what, my god, I'm so sorry, Well.

842
00:48:43,840 --> 00:48:46,920
Speaker 1: Virgins, I hope they didn't like fry your ears right now,

843
00:48:47,000 --> 00:48:47,439
Speaker 1: But like.

844
00:48:47,640 --> 00:48:49,800
Speaker 3: Jlo, that was crazy.

845
00:48:50,040 --> 00:48:53,719
Speaker 1: That's crazy crazy, And also like, that's not a rule.

846
00:48:53,800 --> 00:48:56,560
Speaker 3: That doesn't seem like a role Jaylo would ever go for.

847
00:48:56,960 --> 00:48:58,879
Speaker 3: I kind of want to see it. She would have been.

848
00:48:59,000 --> 00:49:03,239
Speaker 3: I want to see her tape. Okay, we got to

849
00:49:03,320 --> 00:49:06,640
Speaker 3: keep this moving forward. So I mean, I'm in no rush.

850
00:49:06,719 --> 00:49:07,479
Speaker 3: Are you in a rush?

851
00:49:07,520 --> 00:49:07,560
Speaker 1: No?

852
00:49:07,640 --> 00:49:09,440
Speaker 3: But I just want to talk about the Wizard and

853
00:49:09,480 --> 00:49:12,160
Speaker 3: I right, which is a really it is?

854
00:49:12,200 --> 00:49:14,680
Speaker 1: This is so if no one warns the wicked is

855
00:49:14,680 --> 00:49:17,719
Speaker 1: when like Ari is here the Wizard and I is

856
00:49:17,719 --> 00:49:18,839
Speaker 1: when Cynthia is here.

857
00:49:18,880 --> 00:49:21,719
Speaker 3: And I have to say, you know, we've talked about

858
00:49:21,800 --> 00:49:24,319
Speaker 3: Cynthia over the past couple of months on this podcast.

859
00:49:24,680 --> 00:49:27,000
Speaker 3: She has been kind of annoying in the press. I know,

860
00:49:27,080 --> 00:49:30,440
Speaker 3: the whole my is your pussy green thing was really

861
00:49:31,480 --> 00:49:34,480
Speaker 3: you know, kind of it definitely soured me towards her.

862
00:49:34,800 --> 00:49:38,640
Speaker 3: But even though we should just for journalistic integrity, the

863
00:49:38,719 --> 00:49:41,319
Speaker 3: Virgins should know that. Cynthia has since walked back those

864
00:49:41,360 --> 00:49:43,520
Speaker 3: comments and said, I, you know, maybe I should have

865
00:49:43,600 --> 00:49:46,279
Speaker 3: talked to my group chat first, but I think what

866
00:49:46,360 --> 00:49:49,640
Speaker 3: I was, what I felt about Cynthia was like all

867
00:49:49,640 --> 00:49:53,440
Speaker 3: of that aside. I knew she had an amazing voice.

868
00:49:53,520 --> 00:49:56,120
Speaker 3: I love that performance of pursoning Alphie at the Kennedy

869
00:49:56,200 --> 00:49:59,000
Speaker 3: Center Honors from last year. I think top ten best

870
00:49:59,040 --> 00:50:03,840
Speaker 3: YouTube links. I think she's incredibly talented. I thought she

871
00:50:04,040 --> 00:50:07,040
Speaker 3: was going to be fine. I thought she was going

872
00:50:07,120 --> 00:50:11,600
Speaker 3: to come in be fully serviceable and really know more

873
00:50:11,640 --> 00:50:16,719
Speaker 3: than that, and she proved me so wrong. From her

874
00:50:16,800 --> 00:50:22,799
Speaker 3: first song. I was absolutely spellbound, pun intended, breath taking

875
00:50:22,800 --> 00:50:26,240
Speaker 3: by her and the Wizard and I and not even

876
00:50:26,520 --> 00:50:29,240
Speaker 3: just because of how good she sounded. It was actually

877
00:50:29,280 --> 00:50:33,440
Speaker 3: sometimes in spite of how good she sounded, because she

878
00:50:33,719 --> 00:50:39,880
Speaker 3: took every every chance to really show us Alphaba's like

879
00:50:40,080 --> 00:50:44,359
Speaker 3: deep insecurity and she but she also showed a side

880
00:50:44,360 --> 00:50:47,359
Speaker 3: of her that was really like playful and hopeful. And

881
00:50:47,680 --> 00:50:50,799
Speaker 3: we talked a bit about this yesterday that you sort

882
00:50:50,840 --> 00:50:54,440
Speaker 3: of had this feeling that she was almost too innocent

883
00:50:54,719 --> 00:50:57,720
Speaker 3: in this first movie. I think she kind of needs

884
00:50:57,760 --> 00:51:00,800
Speaker 3: to be so that we to really sell her journey

885
00:51:00,880 --> 00:51:03,680
Speaker 3: into who she will become. But she is at her

886
00:51:03,800 --> 00:51:07,880
Speaker 3: softest in this number when she's thinking about this potential

887
00:51:07,920 --> 00:51:11,000
Speaker 3: future in which she gets degraenified. And I love the

888
00:51:11,000 --> 00:51:13,720
Speaker 3: moment where she is like playing with the colored glass

889
00:51:13,719 --> 00:51:16,000
Speaker 3: and it spins and for a moment like the colors

890
00:51:16,040 --> 00:51:18,919
Speaker 3: like cancel out her skin and we see kind of

891
00:51:19,080 --> 00:51:24,160
Speaker 3: like what she wants. And it's so heartbreaking, because I mean,

892
00:51:24,200 --> 00:51:26,920
Speaker 3: this song has always been heartbreaking because there's I want,

893
00:51:26,840 --> 00:51:30,280
Speaker 3: It's the I Want song, and there's so many direct

894
00:51:30,280 --> 00:51:34,319
Speaker 3: allusions to who she will become. So happy, I'm so happy,

895
00:51:34,360 --> 00:51:36,399
Speaker 3: I can melt a celebration through it alls that's all

896
00:51:36,440 --> 00:51:39,160
Speaker 3: to do with me, and you know where this character

897
00:51:39,280 --> 00:51:42,839
Speaker 3: is going to end up, but it's she so powerfully

898
00:51:42,880 --> 00:51:47,040
Speaker 3: makes you root for her. And that moment, like I

899
00:51:47,120 --> 00:51:50,520
Speaker 3: love at the very end, when she's on that cliff

900
00:51:50,560 --> 00:51:54,160
Speaker 3: looking out over the desert and right before her final note,

901
00:51:54,200 --> 00:51:57,680
Speaker 3: the like music stops and it becomes very quiet, and

902
00:51:57,719 --> 00:52:01,919
Speaker 3: you really like sit with this character and feel her

903
00:52:02,000 --> 00:52:05,319
Speaker 3: desire so badly, and that is such a credit to

904
00:52:05,360 --> 00:52:06,920
Speaker 3: Cynthia's performance.

905
00:52:06,480 --> 00:52:11,520
Speaker 1: One hundred and ten percent. So I also walked into

906
00:52:11,520 --> 00:52:14,959
Speaker 1: the film with doubts about Cynthia for different reasons, though

907
00:52:15,040 --> 00:52:19,440
Speaker 1: that were solely based on the trailer, which I think

908
00:52:19,760 --> 00:52:25,879
Speaker 1: the clips of Cynthia's acting performance, her facial expressions were.

909
00:52:26,280 --> 00:52:29,960
Speaker 1: I just there were things about the fractions of what

910
00:52:30,000 --> 00:52:32,680
Speaker 1: we saw that felt hollow or they felt like they

911
00:52:32,719 --> 00:52:37,280
Speaker 1: were there, weren't choices, they weren't like bodied. I also

912
00:52:37,520 --> 00:52:39,920
Speaker 1: like walked into this film as an urenator, so like

913
00:52:40,000 --> 00:52:44,080
Speaker 1: the scales were kind of tipped and in my viewing,

914
00:52:44,480 --> 00:52:48,759
Speaker 1: in my preconception of like what the movie could be,

915
00:52:50,280 --> 00:52:52,960
Speaker 1: and just as you said, they were completely proven wrong.

916
00:52:53,080 --> 00:52:57,200
Speaker 1: I aside from the fact that Okay, did you notice

917
00:52:58,000 --> 00:53:03,760
Speaker 1: that Cynthia would not stop doing the fucking bear smile.

918
00:53:04,480 --> 00:53:07,600
Speaker 3: It was she kept doing the like like this, like

919
00:53:08,640 --> 00:53:10,680
Speaker 3: you were just kidding. But I like the corner of

920
00:53:10,680 --> 00:53:12,720
Speaker 3: her mouth going upwards, the Mona.

921
00:53:12,560 --> 00:53:17,400
Speaker 1: Lisa smile constantly constantly bringing up one corner of her mouth. Anyways,

922
00:53:17,400 --> 00:53:20,720
Speaker 1: that's a little silly thing what Cynthia.

923
00:53:20,440 --> 00:53:23,320
Speaker 3: Does well she does I think she kind of sings

924
00:53:23,400 --> 00:53:25,120
Speaker 3: out of the side of her mouth a little bit.

925
00:53:25,280 --> 00:53:28,120
Speaker 1: Yeah maybe, yeah, yeah, but yeah, that smart was so

926
00:53:28,239 --> 00:53:31,319
Speaker 1: it was constant throughout the film. You please watch out

927
00:53:31,320 --> 00:53:33,440
Speaker 1: for it if you go see it. But you know

928
00:53:34,000 --> 00:53:37,560
Speaker 1: something that I the way Cynthia proved it wrong to me,

929
00:53:37,960 --> 00:53:39,879
Speaker 1: just as you said, is like in this song. In

930
00:53:39,960 --> 00:53:44,120
Speaker 1: every song she sings in this movie, she shows off

931
00:53:44,680 --> 00:53:49,960
Speaker 1: her ability as an actorial singer, Like as a musical

932
00:53:50,239 --> 00:53:53,640
Speaker 1: a musical theater actress has a completely different task than

933
00:53:53,680 --> 00:53:57,680
Speaker 1: just someone who can fucking belt right. And Cynthia's acting

934
00:53:57,880 --> 00:54:02,560
Speaker 1: within the songs, the emotional actorial quality of her singing,

935
00:54:02,960 --> 00:54:05,560
Speaker 1: it was like better acting even than when she was

936
00:54:05,600 --> 00:54:07,000
Speaker 1: in dialogue.

937
00:54:06,440 --> 00:54:09,160
Speaker 3: A lot of the time, like and she looked sickening,

938
00:54:09,400 --> 00:54:13,160
Speaker 3: so Alphaba's look she like comes in wearing like head

939
00:54:13,160 --> 00:54:17,360
Speaker 3: to toe like Archival issimi Aki. Yes, the huntiest boots

940
00:54:17,400 --> 00:54:21,359
Speaker 3: I've ever seen, Yes, Kanti Kunty Hunty. I would wear

941
00:54:21,520 --> 00:54:24,399
Speaker 3: her nails when she the outfit that she wears when

942
00:54:24,400 --> 00:54:27,160
Speaker 3: she has like the long bray down down the middle

943
00:54:27,200 --> 00:54:29,320
Speaker 3: of her back like that, I would wear that outfit

944
00:54:29,480 --> 00:54:32,040
Speaker 3: head to toe. I would low key wear everything she

945
00:54:32,080 --> 00:54:34,200
Speaker 3: wore in this movie, everything she wants except her really

946
00:54:34,320 --> 00:54:35,200
Speaker 3: ugly nightgown.

947
00:54:35,400 --> 00:54:38,879
Speaker 1: Oh yeah, and the next song on the like innocence thing.

948
00:54:39,000 --> 00:54:43,200
Speaker 1: So I've like, just like I've been thinking a lot

949
00:54:43,239 --> 00:54:49,400
Speaker 1: about what what I've what I kind of wanted from

950
00:54:49,560 --> 00:54:53,319
Speaker 1: both of these characters walking into the film, And I think,

951
00:54:54,280 --> 00:54:58,200
Speaker 1: you know, I had said to you, like Cynthia's Alpha

952
00:54:58,200 --> 00:55:03,920
Speaker 1: Ba in this movie is very interior. It's very, in

953
00:55:03,960 --> 00:55:09,240
Speaker 1: my opinion, restrained at times. There's a purity to Alpha

954
00:55:09,280 --> 00:55:14,799
Speaker 1: Ba that is like it kind of sits in what

955
00:55:14,840 --> 00:55:18,920
Speaker 1: I would describe as victimhood, and there's this kind of

956
00:55:19,040 --> 00:55:25,200
Speaker 1: like there's this demurity honestly that that that that Cynthia

957
00:55:25,239 --> 00:55:27,960
Speaker 1: brings to Alpha Ba. And I think part of and

958
00:55:28,040 --> 00:55:30,600
Speaker 1: I feel like I had originally like that was kind

959
00:55:30,600 --> 00:55:32,400
Speaker 1: of a critique I had. It was a critique I

960
00:55:32,440 --> 00:55:35,080
Speaker 1: made against Cynthia's like portrayal of Alphaba. But like, honestly

961
00:55:35,120 --> 00:55:39,200
Speaker 1: in our conversations, I think what I'm really realizing is Ari.

962
00:55:39,640 --> 00:55:42,520
Speaker 1: And we'll talk about this more. But Ari built on

963
00:55:43,239 --> 00:55:47,000
Speaker 1: a Christian Chennai performance did a ton more than just that.

964
00:55:47,200 --> 00:55:50,680
Speaker 1: But like she kind of built on a foundation. Cynthia,

965
00:55:50,680 --> 00:55:53,480
Speaker 1: in my opinion, did not build on Idina didn't have to.

966
00:55:53,920 --> 00:55:59,319
Speaker 3: No, Adina's Alphaba is much more snarky, sarcastic, sarcastic. She's

967
00:55:59,520 --> 00:56:01,799
Speaker 3: very much like emo girl.

968
00:56:01,719 --> 00:56:04,120
Speaker 1: Yes, And I think I maybe I think that's what

969
00:56:04,160 --> 00:56:06,839
Speaker 1: it was, is I kind of wanted the emo well

970
00:56:07,560 --> 00:56:11,080
Speaker 1: emo girl in a hard edges kind of way, like

971
00:56:11,400 --> 00:56:15,560
Speaker 1: I almost wanted Elfha, but to have maybe not more

972
00:56:15,600 --> 00:56:18,240
Speaker 1: agency because that's not the point of this this act,

973
00:56:18,320 --> 00:56:21,920
Speaker 1: but like more assertion that she knows she's the smartest

974
00:56:21,920 --> 00:56:24,200
Speaker 1: person in the room and that society has not caught

975
00:56:24,280 --> 00:56:27,080
Speaker 1: up to that. But you, you, you really I think

976
00:56:27,120 --> 00:56:31,319
Speaker 1: pivoted me in understanding that you have to have this

977
00:56:31,520 --> 00:56:35,120
Speaker 1: arc in the character, you have to have the before

978
00:56:35,520 --> 00:56:36,200
Speaker 1: to get out.

979
00:56:36,120 --> 00:56:40,680
Speaker 3: To see her as this vulnerable, hopeful person who even

980
00:56:40,680 --> 00:56:44,440
Speaker 3: though she has been beaten down and subjugated her entire

981
00:56:44,480 --> 00:56:46,719
Speaker 3: life so far, by her family, by the people she

982
00:56:47,239 --> 00:56:51,399
Speaker 3: lived with. When she's presented with this opportunity, she does

983
00:56:51,520 --> 00:56:54,080
Speaker 3: let herself believe in it, yes and not, and it

984
00:56:54,160 --> 00:57:00,239
Speaker 3: makes her inevitable fall or rise, divine gravity like that

985
00:57:00,320 --> 00:57:03,600
Speaker 3: much more powerful and heartbreaking. And that's really shown off

986
00:57:03,719 --> 00:57:06,239
Speaker 3: in What Is This Feeling? Honey? You see their two

987
00:57:06,280 --> 00:57:09,839
Speaker 3: performances collide. I love one. Is This Feeling? Is one

988
00:57:09,840 --> 00:57:14,239
Speaker 3: of the standout numbers in this movie for me. I

989
00:57:14,280 --> 00:57:19,040
Speaker 3: love the The choreography was very stompy, stop the musical,

990
00:57:19,120 --> 00:57:21,360
Speaker 3: Stop the musicals which I've seen on Broadway. It's like

991
00:57:21,480 --> 00:57:24,200
Speaker 3: very like Matilda the Music Hall. It's like we are

992
00:57:24,280 --> 00:57:27,320
Speaker 3: revolting children. There lots of just like stomping on the

993
00:57:27,360 --> 00:57:30,400
Speaker 3: ground with your feet. I like that, honestly, I've always

994
00:57:30,440 --> 00:57:33,040
Speaker 3: it was a definite choice, so it gave it, gave

995
00:57:33,080 --> 00:57:35,760
Speaker 3: it a style. We also get to see Bowen eat

996
00:57:35,960 --> 00:57:39,480
Speaker 3: an eight count up in this number. We forgot to

997
00:57:39,560 --> 00:57:42,960
Speaker 3: mention Fanny and Fanny and Dooley, Fanny and COOCHI I

998
00:57:43,000 --> 00:57:46,000
Speaker 3: can't remember the other one's name. Fanny is yeah.

999
00:57:46,200 --> 00:57:49,240
Speaker 1: But the two best friends are characters taken from the

1000
00:57:49,280 --> 00:57:51,640
Speaker 1: book that weren't in the original musical, so the characters

1001
00:57:51,680 --> 00:57:55,720
Speaker 1: taken from the book as Glinda's kind of like bitchy sidekicks.

1002
00:57:56,320 --> 00:57:58,520
Speaker 1: Fanny was a girl in the book and they turned

1003
00:57:58,760 --> 00:58:03,560
Speaker 1: her into a gay man because duh. But yeah, no, this,

1004
00:58:03,560 --> 00:58:10,400
Speaker 1: this song is such a sleigh. I loved everything about it.

1005
00:58:10,440 --> 00:58:16,280
Speaker 3: And also this Glinda and Alphaba have never been gayer

1006
00:58:16,440 --> 00:58:20,560
Speaker 3: than they are in this movie. And from this number,

1007
00:58:20,920 --> 00:58:26,560
Speaker 3: like the chemistry and the repressed homosexual longing is so

1008
00:58:27,160 --> 00:58:34,600
Speaker 3: evident and it's so fun and I just love this number.

1009
00:58:34,960 --> 00:58:36,480
Speaker 3: I think I.

1010
00:58:36,400 --> 00:58:41,000
Speaker 1: Can't remember if we talked about this in our like

1011
00:58:41,040 --> 00:58:46,160
Speaker 1: a virgin like Wizard of Oz Wicked episode, But when

1012
00:58:46,200 --> 00:58:49,440
Speaker 1: I watched Wicked or when I even as an adult,

1013
00:58:50,160 --> 00:58:52,640
Speaker 1: I am stupid. I like literally never picked up on

1014
00:58:52,680 --> 00:58:54,240
Speaker 1: the lesbian subtext ever.

1015
00:58:54,560 --> 00:58:57,280
Speaker 3: That's crazy. Yeah, yeah, I'm pretty sure I was reading

1016
00:58:57,960 --> 00:59:01,040
Speaker 3: Glinda Alphabe fan fiction when I was, you know, fourteen.

1017
00:59:01,200 --> 00:59:03,760
Speaker 1: You were the first person to inform me of the

1018
00:59:03,840 --> 00:59:11,240
Speaker 1: Gelfy ship shipping fandom that I think, I feel personally

1019
00:59:11,360 --> 00:59:16,280
Speaker 1: like the film does such a better job of deepening

1020
00:59:16,440 --> 00:59:20,040
Speaker 1: the connection between these two characters in a way that

1021
00:59:20,280 --> 00:59:26,480
Speaker 1: is like sapphic, in a way that is like platonically romantic,

1022
00:59:27,040 --> 00:59:29,280
Speaker 1: but who knows how long it'll stay platonic.

1023
00:59:29,360 --> 00:59:32,560
Speaker 3: Yeah, because this movie is about many things. One of

1024
00:59:32,560 --> 00:59:37,000
Speaker 3: them is compet Yeah, about these these women like thinking

1025
00:59:37,000 --> 00:59:42,240
Speaker 3: they need to force themselves into you know, heterosexual desire.

1026
00:59:42,080 --> 00:59:44,720
Speaker 1: Right, yeah, right, yeah, compulsory head, I didn't realize what

1027
00:59:44,720 --> 00:59:47,760
Speaker 1: you're saying. Now I understand you're talking about compulsory heterosexuality,

1028
00:59:48,240 --> 00:59:52,360
Speaker 1: which I love because, like I I remember, like as

1029
00:59:52,400 --> 00:59:57,480
Speaker 1: a kid, like watching Wicked and being like like Fierro

1030
00:59:57,520 --> 01:00:00,840
Speaker 1: and Bach are like not interesting, like in my opinion, honestly,

1031
01:00:00,880 --> 01:00:03,919
Speaker 1: the way the musical is written, like the fact that

1032
01:00:04,040 --> 01:00:07,440
Speaker 1: you know, the the you know, whoever winds up with

1033
01:00:07,760 --> 01:00:09,880
Speaker 1: Fierro and whoever winds up with Bach, it's like such

1034
01:00:09,880 --> 01:00:12,560
Speaker 1: a throwaway, like it's you know, because these two women

1035
01:00:12,560 --> 01:00:13,280
Speaker 1: don't care about the men.

1036
01:00:13,320 --> 01:00:14,200
Speaker 3: They care about each other.

1037
01:00:14,320 --> 01:00:16,320
Speaker 1: They don't care about the men at Fierarro.

1038
01:00:16,600 --> 01:00:19,640
Speaker 3: Fierro is really just something for them to fight over.

1039
01:00:19,800 --> 01:00:24,640
Speaker 3: He is like an externalization of the tension between them. Yeah,

1040
01:00:24,680 --> 01:00:27,720
Speaker 3: because they are more important to each other than these

1041
01:00:27,800 --> 01:00:28,440
Speaker 3: men are.

1042
01:00:29,000 --> 01:00:33,200
Speaker 1: Yes, yes, and and in that also like they the

1043
01:00:33,600 --> 01:00:36,760
Speaker 1: men I think are more interesting and that this love

1044
01:00:36,880 --> 01:00:40,160
Speaker 1: triangle kind of there's like a cuckolding kind of thing.

1045
01:00:40,400 --> 01:00:44,560
Speaker 1: Like I saw someone on Twitter say that Fierro is

1046
01:00:44,600 --> 01:00:48,560
Speaker 1: like challengers ing like Glenda and Helpaba, which I think

1047
01:00:48,640 --> 01:00:49,680
Speaker 1: is really funny.

1048
01:00:50,960 --> 01:00:51,280
Speaker 3: Yeah.

1049
01:00:51,440 --> 01:00:54,680
Speaker 1: I also, well, we got to talk about Bach before

1050
01:00:54,720 --> 01:00:56,080
Speaker 1: we talk about Fiero.

1051
01:00:57,320 --> 01:01:01,680
Speaker 3: How did you feel about SpongeBob? I think he's so ugly.

1052
01:01:02,200 --> 01:01:05,280
Speaker 1: Cherry was also talking about how you know, you get

1053
01:01:05,480 --> 01:01:08,320
Speaker 1: just like a touch of SpongeBob in some of these vocals.

1054
01:01:08,360 --> 01:01:09,480
Speaker 3: You get a little bit of.

1055
01:01:09,520 --> 01:01:14,320
Speaker 1: Like Nasa, he's oh, Nasa, he's nasty.

1056
01:01:14,560 --> 01:01:17,120
Speaker 3: I think he's hot. You just think that because he

1057
01:01:17,160 --> 01:01:18,120
Speaker 3: looks trans massed.

1058
01:01:19,320 --> 01:01:22,440
Speaker 1: I'm not I'm not as sham. I'm I'm not proud

1059
01:01:22,600 --> 01:01:27,640
Speaker 1: to be saying this. I when Ari like home wrecked

1060
01:01:27,680 --> 01:01:28,240
Speaker 1: this man.

1061
01:01:28,320 --> 01:01:31,280
Speaker 3: She did not. That has we have moved on from

1062
01:01:31,280 --> 01:01:33,240
Speaker 3: that narrative, right right, Sorry, she did not a home

1063
01:01:33,240 --> 01:01:34,760
Speaker 3: wrecked Sorry sorry, what what did she do?

1064
01:01:34,840 --> 01:01:35,480
Speaker 1: Then? No?

1065
01:01:35,880 --> 01:01:39,000
Speaker 3: And that's not me challenging. I'm like, actually, this fell

1066
01:01:39,040 --> 01:01:42,160
Speaker 3: in love while he was already in the middle of

1067
01:01:42,360 --> 01:01:44,200
Speaker 3: leaving his wife, and he made the decision. I think

1068
01:01:44,240 --> 01:01:47,840
Speaker 3: the timing was bad, but she she did not home.

1069
01:01:47,680 --> 01:01:50,720
Speaker 1: Wreck Yeah, thank you for correcting, because I wasn't paying

1070
01:01:51,120 --> 01:01:54,439
Speaker 1: enough attention to the tabloid, the tabloid of it all

1071
01:01:54,880 --> 01:01:58,320
Speaker 1: enough to actually grasp the details. However, my point is

1072
01:01:58,360 --> 01:02:01,360
Speaker 1: like this man was meme to death, and I remember

1073
01:02:01,400 --> 01:02:04,000
Speaker 1: seeing all of these photos and being like, that's the

1074
01:02:04,080 --> 01:02:06,520
Speaker 1: ugliest man I've ever seen, And then when he showed

1075
01:02:06,560 --> 01:02:08,479
Speaker 1: up on screen, I was like, I want to sit

1076
01:02:08,640 --> 01:02:12,920
Speaker 1: on your face so bad. I thought he was so cute.

1077
01:02:13,520 --> 01:02:16,760
Speaker 1: I thought he was I would. I was more attracted

1078
01:02:16,800 --> 01:02:17,720
Speaker 1: to him than I was.

1079
01:02:18,280 --> 01:02:21,880
Speaker 3: You should be you should be in jail. Okay, you

1080
01:02:21,920 --> 01:02:24,480
Speaker 3: know who I was more attracted to than either of them.

1081
01:02:24,520 --> 01:02:29,960
Speaker 3: Doctor Dilman shot up. Something Bad was the moment that

1082
01:02:30,080 --> 01:02:32,280
Speaker 3: I had pre selected as when I was going to

1083
01:02:32,360 --> 01:02:35,320
Speaker 3: pee during this movie, and I'm so glad I didn't.

1084
01:02:35,400 --> 01:02:37,640
Speaker 3: I held my p and in fact I didn't really

1085
01:02:37,680 --> 01:02:41,640
Speaker 3: have to pee, and I'm glad I didn't because Something Bad,

1086
01:02:41,840 --> 01:02:43,640
Speaker 3: I think is so much better in this movie than

1087
01:02:43,680 --> 01:02:49,000
Speaker 3: it is in the show. Because by having the animals

1088
01:02:49,200 --> 01:02:52,880
Speaker 3: there meeting with doctor Dilmant and singing, elf, what's Alphabe's

1089
01:02:52,880 --> 01:02:57,560
Speaker 3: part in the musical? You understand the stakes of you know,

1090
01:02:57,640 --> 01:02:59,600
Speaker 3: the like kind of the a plot of this movie,

1091
01:02:59,640 --> 01:03:02,760
Speaker 3: which is you know the tension between the animals and

1092
01:03:02,760 --> 01:03:07,400
Speaker 3: the wizard and AUSI and society. And also doctor Diloman

1093
01:03:07,520 --> 01:03:10,960
Speaker 3: is fucking cute. Yeah, and his with his little spectacles

1094
01:03:10,960 --> 01:03:13,480
Speaker 3: and his sweater and like all the little gadgets that

1095
01:03:13,520 --> 01:03:15,800
Speaker 3: are like set up for him like to use, like

1096
01:03:16,040 --> 01:03:19,200
Speaker 3: how he pours his teapot with his hoos.

1097
01:03:19,520 --> 01:03:22,560
Speaker 1: Yeah like he yeah he, And I mean Peter Dinklage

1098
01:03:22,720 --> 01:03:25,760
Speaker 1: like as an actor, like lends such an astuteness, like

1099
01:03:25,800 --> 01:03:29,000
Speaker 1: a prestige to this character, and the stakes of this

1100
01:03:29,120 --> 01:03:32,960
Speaker 1: character are so important to Alphaba and like the engine

1101
01:03:33,000 --> 01:03:36,440
Speaker 1: of the rest of the film. So I just I

1102
01:03:36,560 --> 01:03:39,480
Speaker 1: love you know, how he was done. I would much

1103
01:03:39,560 --> 01:03:41,880
Speaker 1: rather this is crazy, but I would much rather watch

1104
01:03:41,920 --> 01:03:45,400
Speaker 1: a cgi animal than like an actor dressed up as

1105
01:03:45,440 --> 01:03:46,520
Speaker 1: a goat, you know what I mean?

1106
01:03:46,640 --> 01:03:48,960
Speaker 3: Like sorry, I do think it still could have been

1107
01:03:49,000 --> 01:03:51,720
Speaker 3: a Dina Manzell playing to doctor Dilman, but we will,

1108
01:03:52,040 --> 01:03:54,640
Speaker 3: we will get to her. Also love that just like

1109
01:03:54,760 --> 01:03:56,280
Speaker 3: in like the kind of like.

1110
01:03:56,480 --> 01:04:02,440
Speaker 1: Uh social hierarchy of this like school and Alphaba as

1111
01:04:02,480 --> 01:04:05,920
Speaker 1: like kind of the the underdog, the one that's like

1112
01:04:06,200 --> 01:04:08,360
Speaker 1: hated by everyone, like the loser.

1113
01:04:08,600 --> 01:04:10,600
Speaker 3: Yeah, And what is and what is a loser at

1114
01:04:10,680 --> 01:04:11,240
Speaker 3: school to.

1115
01:04:11,240 --> 01:04:13,080
Speaker 1: Do but like make friends with your history teacher.

1116
01:04:13,160 --> 01:04:13,680
Speaker 3: Exactly.

1117
01:04:13,760 --> 01:04:16,640
Speaker 1: That is exactly how this story goes.

1118
01:04:16,920 --> 01:04:21,000
Speaker 3: And then Alpha believes doctor Dilman's and runs into someone

1119
01:04:21,040 --> 01:04:23,280
Speaker 3: in the woods. A new bombshell has entered the villa,

1120
01:04:23,440 --> 01:04:26,720
Speaker 3: and that is Biero, played by Jonathan Bailey.

1121
01:04:27,480 --> 01:04:30,680
Speaker 1: And his first action on screen is jumping off a

1122
01:04:30,720 --> 01:04:34,120
Speaker 1: horse mounting a horse in the craziest way. He he

1123
01:04:34,120 --> 01:04:38,240
Speaker 1: he like put if you if He literally like plants

1124
01:04:38,240 --> 01:04:42,280
Speaker 1: his hands on the horse and launches off of it

1125
01:04:42,400 --> 01:04:45,600
Speaker 1: like a fucking rockhead, like like legs back.

1126
01:04:46,080 --> 01:04:48,200
Speaker 3: Nobody gets off of a horse like this. There's no

1127
01:04:48,280 --> 01:04:49,720
Speaker 3: reason for him to get off a horse of it.

1128
01:04:49,840 --> 01:04:51,720
Speaker 3: I like him to get off of me like that,

1129
01:04:52,960 --> 01:04:56,400
Speaker 3: or onto me like that. I have I have never

1130
01:04:56,520 --> 01:04:59,280
Speaker 3: needed to eat someone's ass more that I have needed

1131
01:04:59,280 --> 01:05:02,760
Speaker 3: to eat Jonathan Bailey, as Fiera's asked, I have always

1132
01:05:02,760 --> 01:05:05,240
Speaker 3: seen the vision with him. But there is just something

1133
01:05:05,240 --> 01:05:08,840
Speaker 3: about a gay guy playing romantically in a musical. It

1134
01:05:09,040 --> 01:05:10,680
Speaker 3: just it always hits right.

1135
01:05:10,840 --> 01:05:15,600
Speaker 1: Your your tweet really distilled the history very well from

1136
01:05:15,680 --> 01:05:21,600
Speaker 1: y Honestly, Rose said that this is this, this is

1137
01:05:21,640 --> 01:05:24,800
Speaker 1: a lineage, it's a legacy, it's a legacy for a

1138
01:05:24,880 --> 01:05:29,600
Speaker 1: gay man to play a sexy heterosexual romantically in a

1139
01:05:29,640 --> 01:05:33,600
Speaker 1: Broadway musical because there are virtually no straight men in

1140
01:05:34,080 --> 01:05:39,840
Speaker 1: musical theater. And of course that's like how he is sexy.

1141
01:05:39,880 --> 01:05:43,080
Speaker 1: He is sexy because he is attractive to all genders.

1142
01:05:43,120 --> 01:05:45,959
Speaker 1: And John m cho I don't know who made the choice,

1143
01:05:45,960 --> 01:05:48,520
Speaker 1: whether it was like Jonathan Bailey or John m Chow,

1144
01:05:48,600 --> 01:05:52,760
Speaker 1: but like they made this character distinctly bisexual, and I

1145
01:05:52,760 --> 01:05:57,560
Speaker 1: mean distinctly is maybe it's not explicit, but but he.

1146
01:05:57,440 --> 01:05:59,680
Speaker 3: Has so he flirts with all genders.

1147
01:05:59,680 --> 01:06:02,320
Speaker 1: He has vibes with multiple genders, even if it's just

1148
01:06:02,360 --> 01:06:03,440
Speaker 1: like a second on screen.

1149
01:06:03,480 --> 01:06:06,560
Speaker 3: And like in the press tour there was like Fierro's bisexual.

1150
01:06:06,600 --> 01:06:07,320
Speaker 3: Fierro's bisexual.

1151
01:06:07,400 --> 01:06:09,360
Speaker 1: I was like, shut the fuck up. Like I was like,

1152
01:06:09,400 --> 01:06:10,840
Speaker 1: I don't know. I was like, don't do that.

1153
01:06:11,040 --> 01:06:17,360
Speaker 3: Unless they're gonna show Fierro's sucking box clit in the movie.

1154
01:06:17,840 --> 01:06:20,560
Speaker 1: But the thing is like he but I like, after

1155
01:06:20,600 --> 01:06:22,960
Speaker 1: seeing the movie, I was like he was by and

1156
01:06:23,000 --> 01:06:27,440
Speaker 1: that made his character more interesting. Like he is like

1157
01:06:27,560 --> 01:06:32,000
Speaker 1: the the original, the original portrayal of Fierro, He's kind

1158
01:06:32,000 --> 01:06:35,640
Speaker 1: of just this like Jock. He's like a dumb yeah,

1159
01:06:35,680 --> 01:06:37,800
Speaker 1: and he's really with a heart of gold, and he's

1160
01:06:37,840 --> 01:06:40,720
Speaker 1: a cog in the in the machine of the plot.

1161
01:06:40,840 --> 01:06:44,960
Speaker 1: He's he's not, he's a little inconsequential and and and

1162
01:06:45,080 --> 01:06:48,919
Speaker 1: Jonathan Bailey's fierro like insists on something a little more

1163
01:06:49,840 --> 01:06:53,240
Speaker 1: his He does apparently all of his own stunts. Like

1164
01:06:53,440 --> 01:06:57,600
Speaker 1: there's a moment in Dancing Through Life where he literally

1165
01:06:57,640 --> 01:07:00,640
Speaker 1: like steps on two books and then slides the books together,

1166
01:07:00,680 --> 01:07:02,480
Speaker 1: and like he literally did that.

1167
01:07:02,720 --> 01:07:06,560
Speaker 3: Yeah, the way he uses his body was incredible. He

1168
01:07:06,720 --> 01:07:13,840
Speaker 3: was so commanding and sexy and like boyishly charming. His

1169
01:07:14,000 --> 01:07:16,440
Speaker 3: voice sounded great. I mean, the whole Dancing through Life

1170
01:07:16,520 --> 01:07:20,120
Speaker 3: number was so fun. Although again, like it was so backlit,

1171
01:07:20,520 --> 01:07:23,960
Speaker 3: and yeah, I wish it hadn't been. But I thought

1172
01:07:24,000 --> 01:07:25,640
Speaker 3: the parkore was really cool.

1173
01:07:25,960 --> 01:07:29,160
Speaker 1: The cylindrical like kind of there's we we get a

1174
01:07:29,160 --> 01:07:32,760
Speaker 1: lot of a lot more kind of steam the kind

1175
01:07:32,760 --> 01:07:36,920
Speaker 1: of steam punkification of Wicked in this.

1176
01:07:36,920 --> 01:07:40,240
Speaker 3: Scene, which I appreciated because it does give Oz a

1177
01:07:40,360 --> 01:07:43,520
Speaker 3: very distinct style and makes it feel like a very

1178
01:07:43,560 --> 01:07:48,240
Speaker 3: specific world that's different from other fantasy worlds like this,

1179
01:07:50,200 --> 01:07:56,800
Speaker 3: you know, integration of technology and fantasy elements, Like it

1180
01:07:57,600 --> 01:07:59,680
Speaker 3: has a very distinct visual style.

1181
01:07:59,520 --> 01:08:03,200
Speaker 1: And that visual style, the choice to make it like

1182
01:08:03,280 --> 01:08:07,640
Speaker 1: a little steampunk is like textual, Like like the original

1183
01:08:07,640 --> 01:08:12,440
Speaker 1: original Wizard of Oz has so many themes that that

1184
01:08:12,640 --> 01:08:18,040
Speaker 1: translate to America in the Industrial Revolution and the apex

1185
01:08:18,120 --> 01:08:23,120
Speaker 1: of technology and an industry that is kind of overtaking

1186
01:08:23,439 --> 01:08:26,559
Speaker 1: a munchkin land that is overtaking farmers that's overtaking like

1187
01:08:27,400 --> 01:08:31,600
Speaker 1: you know, people that live in rural areas. Yeah, that

1188
01:08:31,680 --> 01:08:36,920
Speaker 1: the machine like sets and props I think were just

1189
01:08:37,120 --> 01:08:40,000
Speaker 1: enough to give us something that was like true to

1190
01:08:40,040 --> 01:08:43,920
Speaker 1: the original story while still being completely new and twenty

1191
01:08:43,960 --> 01:08:44,439
Speaker 1: twenty four.

1192
01:08:45,439 --> 01:08:49,680
Speaker 3: The Ozdus ballroom sequence was like I think in some

1193
01:08:49,720 --> 01:08:56,240
Speaker 3: ways is the emotional core of the movie, you know,

1194
01:08:56,760 --> 01:08:59,080
Speaker 3: like putting aside how fun it is with like the

1195
01:08:59,120 --> 01:09:02,479
Speaker 3: animals playing the instruments and stuff. When Alphaba comes in,

1196
01:09:02,640 --> 01:09:05,960
Speaker 3: she has been tricked into coming by Glinda, and so

1197
01:09:06,040 --> 01:09:08,759
Speaker 3: she does this dance to sort of prove that she's

1198
01:09:08,880 --> 01:09:12,599
Speaker 3: like above it. But what Glinda realizes, what Glinda at

1199
01:09:12,600 --> 01:09:15,960
Speaker 3: this point, what she realizes is that she actually is

1200
01:09:16,439 --> 01:09:19,559
Speaker 3: not above it, and she really does care. And I

1201
01:09:19,600 --> 01:09:21,840
Speaker 3: think it's that more than the fact that Alphaba has

1202
01:09:21,840 --> 01:09:24,240
Speaker 3: like done this favor for her with getting her into

1203
01:09:24,840 --> 01:09:29,439
Speaker 3: Madam Morble's class that like finally bridges the divide between them.

1204
01:09:29,720 --> 01:09:34,600
Speaker 3: And the moment where they're dancing and Glinda wipes the

1205
01:09:34,680 --> 01:09:38,479
Speaker 3: tears off of Elviba's cheek is so beautiful, and you know,

1206
01:09:39,439 --> 01:09:44,000
Speaker 3: they sell this relationship so well, and I think it's

1207
01:09:44,280 --> 01:09:47,439
Speaker 3: I think it's really easy to watch the musical and

1208
01:09:47,520 --> 01:09:50,919
Speaker 3: like take for granted that you know where these characters

1209
01:09:50,960 --> 01:09:54,000
Speaker 3: are going to end up, and like you can, I

1210
01:09:54,040 --> 01:09:58,599
Speaker 3: think actors can fall into the trap of playing the

1211
01:09:58,640 --> 01:10:04,400
Speaker 3: future and not the present. But we really see their

1212
01:10:04,479 --> 01:10:10,519
Speaker 3: relationship changing and crystallizing in this moment and that is

1213
01:10:11,000 --> 01:10:14,000
Speaker 3: solely because of their talent as actresses.

1214
01:10:14,200 --> 01:10:17,840
Speaker 1: Yes, like they're full they're going full Meisner, Like the

1215
01:10:17,960 --> 01:10:22,720
Speaker 1: connection is crazy between them. You can you can see that,

1216
01:10:22,800 --> 01:10:26,439
Speaker 1: like when Cynthia cries in this in this moment and

1217
01:10:26,920 --> 01:10:29,320
Speaker 1: in a scene that is like sometimes a little if

1218
01:10:29,360 --> 01:10:31,240
Speaker 1: you like watch a musical, like it's a little silly,

1219
01:10:31,320 --> 01:10:33,439
Speaker 1: like the choreo is like a little silly, and they

1220
01:10:33,840 --> 01:10:36,600
Speaker 1: totally sell it to you. They sell what is like

1221
01:10:36,680 --> 01:10:40,360
Speaker 1: a really critical turn in their relationship when they kind

1222
01:10:40,400 --> 01:10:43,759
Speaker 1: of realize what if not what they have in common

1223
01:10:44,280 --> 01:10:46,280
Speaker 1: at least what they what they like about each other,

1224
01:10:46,280 --> 01:10:49,680
Speaker 1: what they empathispathize about each other. How they've like, how

1225
01:10:49,720 --> 01:10:53,320
Speaker 1: they kind of wordlessly bridge a divide.

1226
01:10:53,479 --> 01:10:55,880
Speaker 3: It's and they're they're so beautiful. They're each also making

1227
01:10:55,960 --> 01:10:59,960
Speaker 3: a concession, like Alphaba is conceding like she's making she's

1228
01:11:00,120 --> 01:11:04,679
Speaker 3: allowing herself to be vulnerable elf. Glinda is allowing herself

1229
01:11:04,760 --> 01:11:09,280
Speaker 3: to be silly or stupid or like lame, you know,

1230
01:11:09,360 --> 01:11:14,080
Speaker 3: in the eyes of their classmates. And they're really meeting

1231
01:11:14,120 --> 01:11:17,120
Speaker 3: in the middle in this moment where they're doing something that, like,

1232
01:11:17,479 --> 01:11:20,200
Speaker 3: on its face, is really hokey, this kind of goofy

1233
01:11:20,280 --> 01:11:23,320
Speaker 3: interpretive dance, but it's about so much more than that,

1234
01:11:23,360 --> 01:11:25,439
Speaker 3: and I think it's so beautiful when everyone around them

1235
01:11:25,520 --> 01:11:28,840
Speaker 3: starts like, oh, doing the dance with them, So you know,

1236
01:11:28,960 --> 01:11:32,200
Speaker 3: I love that analysis. It's just really lovely. And then

1237
01:11:32,240 --> 01:11:36,200
Speaker 3: it leads into you know, another high point of the film.

1238
01:11:36,720 --> 01:11:39,160
Speaker 1: Oh wait, wait, wait, I'm so sorry. I have to

1239
01:11:39,160 --> 01:11:42,680
Speaker 1: go back real quick, because I completely forgot that the

1240
01:11:42,800 --> 01:11:46,719
Speaker 1: animals like play the instruments in the Ozdesk ballroom service

1241
01:11:46,720 --> 01:11:50,000
Speaker 1: workers exactly, and also like the Ozdesk ballroom in this

1242
01:11:50,040 --> 01:11:52,080
Speaker 1: world is kind of like an underground club.

1243
01:11:52,320 --> 01:11:53,439
Speaker 3: So it's under the river.

1244
01:11:53,680 --> 01:11:58,960
Speaker 1: So of course in this underground like you know, DIY

1245
01:11:59,080 --> 01:12:03,479
Speaker 1: party venue, queer cafe. Yeah, we have animals who have

1246
01:12:03,560 --> 01:12:10,120
Speaker 1: been outcast from society as like the primary entertainment, the orchestration,

1247
01:12:10,280 --> 01:12:12,439
Speaker 1: and the reason that this space is fun is like

1248
01:12:12,520 --> 01:12:15,479
Speaker 1: because of the animals, which is so fucking cool.

1249
01:12:15,520 --> 01:12:17,759
Speaker 3: And you know they've got like a talking sloth sucking

1250
01:12:17,800 --> 01:12:18,559
Speaker 3: dick in the bathroom.

1251
01:12:18,640 --> 01:12:22,160
Speaker 1: Yeah, for like fifteen bucks of fifteen bucks a minute.

1252
01:12:23,040 --> 01:12:26,160
Speaker 1: No I I and I have to say, I have

1253
01:12:26,240 --> 01:12:31,479
Speaker 1: to call you in here because in this film there

1254
01:12:31,560 --> 01:12:35,400
Speaker 1: is the engine, the ethos of alpha. But and why

1255
01:12:35,479 --> 01:12:37,320
Speaker 1: she makes the choices she make have a lot to

1256
01:12:37,400 --> 01:12:43,040
Speaker 1: do with are up against a social construct of animals

1257
01:12:43,040 --> 01:12:47,200
Speaker 1: should be seen and not heard. And that is exactly

1258
01:12:47,400 --> 01:12:54,040
Speaker 1: the commentary in a movie called Catstone Dance. Girl, Can

1259
01:12:54,080 --> 01:12:57,200
Speaker 1: you help me understand why it's okay in this movie

1260
01:12:57,200 --> 01:12:59,559
Speaker 1: and it's not okay and that movie because both are

1261
01:12:59,560 --> 01:13:00,479
Speaker 1: about it's.

1262
01:13:00,360 --> 01:13:02,320
Speaker 3: A good movie and that is a bad movie. Both

1263
01:13:02,320 --> 01:13:08,679
Speaker 3: are about class doing this with you again, Catstone Dance

1264
01:13:08,880 --> 01:13:10,360
Speaker 3: is simply a bad movie.

1265
01:13:11,479 --> 01:13:14,160
Speaker 1: One of the things I'll say about or rather something

1266
01:13:14,160 --> 01:13:18,240
Speaker 1: that that I think the Ozdest Ballroom crystallized for me,

1267
01:13:18,320 --> 01:13:21,280
Speaker 1: at least talking about when you were talking about like,

1268
01:13:21,439 --> 01:13:26,640
Speaker 1: you know this movie totally just watching this justified you know,

1269
01:13:27,920 --> 01:13:33,040
Speaker 1: a two part film, like we get so many scenes,

1270
01:13:33,040 --> 01:13:34,800
Speaker 1: you get to take so much more time, and like

1271
01:13:35,160 --> 01:13:39,160
Speaker 1: the Ozdest Ballroom scene, like the choreo, it's so slow,

1272
01:13:39,600 --> 01:13:42,360
Speaker 1: and I don't think we would have gotten that like

1273
01:13:42,560 --> 01:13:47,000
Speaker 1: emotional Catharsis if we didn't have as much time as

1274
01:13:47,000 --> 01:13:48,200
Speaker 1: we had in that scene.

1275
01:13:48,479 --> 01:13:53,120
Speaker 3: Yes, and yes, And my other major problem with this

1276
01:13:53,160 --> 01:13:57,800
Speaker 3: film minor problem, minor problem, but maybe my biggest of

1277
01:13:57,840 --> 01:14:01,840
Speaker 3: the minor problems is that it uz drag on a bit,

1278
01:14:02,280 --> 01:14:06,880
Speaker 3: especially in this middle section. It kind of SAgs. And

1279
01:14:06,960 --> 01:14:11,840
Speaker 3: it's not that I would cut any scene specifically, it's

1280
01:14:11,960 --> 01:14:14,280
Speaker 3: just that I think it should have been tightened up

1281
01:14:14,400 --> 01:14:18,519
Speaker 3: so much more, because like at the end of every

1282
01:14:18,600 --> 01:14:21,400
Speaker 3: musical number, there's like a five to ten second pause

1283
01:14:21,560 --> 01:14:24,439
Speaker 3: for people in the theater to clap, and you don't

1284
01:14:24,439 --> 01:14:25,479
Speaker 3: need that in a movie.

1285
01:14:26,120 --> 01:14:28,640
Speaker 1: I didn't even realize that, but that's probably because I

1286
01:14:28,640 --> 01:14:29,280
Speaker 1: was clapping and.

1287
01:14:29,280 --> 01:14:32,320
Speaker 3: It just doesn't have the pace that a musical does,

1288
01:14:32,360 --> 01:14:35,680
Speaker 3: because in a musical you have to keep the audience

1289
01:14:36,280 --> 01:14:40,280
Speaker 3: engaged every second, otherwise they will lose their suspension of

1290
01:14:40,320 --> 01:14:44,240
Speaker 3: disbelief that they are buying into to be watching this

1291
01:14:44,320 --> 01:14:48,880
Speaker 3: happening on stage, and I think some of that energy

1292
01:14:48,920 --> 01:14:51,839
Speaker 3: should have been brought to the film. So the pacing

1293
01:14:52,040 --> 01:14:55,120
Speaker 3: was off for me. I really felt the two hour

1294
01:14:55,160 --> 01:14:59,439
Speaker 3: and forty minute runtime. But did you be I didn't,

1295
01:14:59,720 --> 01:15:02,519
Speaker 3: you did. But it's a it's a it's a minor gripe.

1296
01:15:02,760 --> 01:15:06,960
Speaker 3: And now we get to another high point of the film.

1297
01:15:07,000 --> 01:15:11,799
Speaker 3: This is Ariana Grande's magnum opis magnum obis her Oscar

1298
01:15:11,840 --> 01:15:15,160
Speaker 3: and submission clip. I will say it Golden Globe winner

1299
01:15:15,280 --> 01:15:20,200
Speaker 3: and Oscar nominee, not winner nominee, Ariana Grande.

1300
01:15:20,479 --> 01:15:26,679
Speaker 1: I popular h I actually think if we look at

1301
01:15:26,840 --> 01:15:29,840
Speaker 1: what happened to Chicago, if we look at what happened

1302
01:15:29,840 --> 01:15:33,960
Speaker 1: in Dream Girls, I actually really think she could win it.

1303
01:15:34,560 --> 01:15:37,640
Speaker 1: I think that both of their nominations for for the

1304
01:15:37,680 --> 01:15:42,840
Speaker 1: Oscars are secured a locked, but I do think ari

1305
01:15:42,960 --> 01:15:43,920
Speaker 1: could win that.

1306
01:15:44,120 --> 01:15:48,200
Speaker 3: She certainly has the campaign power because this is the

1307
01:15:48,240 --> 01:15:52,280
Speaker 3: biggest movie and they will put so much money into campaigning,

1308
01:15:52,400 --> 01:15:54,160
Speaker 3: and it's it is the it is the movie of

1309
01:15:54,160 --> 01:15:54,519
Speaker 3: the year.

1310
01:15:54,600 --> 01:15:57,360
Speaker 1: Like I think it's I think I personally feel like

1311
01:15:57,520 --> 01:16:02,760
Speaker 1: it will be bigger than Gladiator, like by by marginally,

1312
01:16:02,920 --> 01:16:04,600
Speaker 1: but like I think that people are going to be

1313
01:16:04,600 --> 01:16:07,040
Speaker 1: talking about Wicked a lot longer than they're going to

1314
01:16:07,080 --> 01:16:08,160
Speaker 1: be talking about Gladiator.

1315
01:16:08,400 --> 01:16:10,599
Speaker 3: I just I don't see her winning an Oscar for it.

1316
01:16:10,640 --> 01:16:17,519
Speaker 3: Maybe for part two, who knows. But Popular, Popular or

1317
01:16:17,800 --> 01:16:22,640
Speaker 3: was so perfect. It really was the moment when Ariana

1318
01:16:22,800 --> 01:16:26,720
Speaker 3: stopped referencing the Glinda's who had come before her and

1319
01:16:26,960 --> 01:16:30,760
Speaker 3: made the role her own. She in this movie. There's

1320
01:16:30,800 --> 01:16:33,640
Speaker 3: not a second that she's on screen that she's not

1321
01:16:34,640 --> 01:16:39,160
Speaker 3: using her time, that she is not fully invested in

1322
01:16:39,240 --> 01:16:42,640
Speaker 3: the character, that she's not making really intentional choices, that

1323
01:16:42,680 --> 01:16:48,720
Speaker 3: she's not active and activated, you know, like her comedy,

1324
01:16:49,160 --> 01:16:52,240
Speaker 3: like every little line read. I love the moment of

1325
01:16:53,920 --> 01:16:59,640
Speaker 3: when she like she delivers when Alphabet says popular and

1326
01:16:59,680 --> 01:17:03,280
Speaker 3: arian and that goes right right, yes, so good. Yeah,

1327
01:17:03,320 --> 01:17:05,920
Speaker 3: all of her movement, like her jumping onto the chandelier

1328
01:17:06,000 --> 01:17:10,560
Speaker 3: or jumping onto the balcony, Yes, her high kicks, Yes, incredible,

1329
01:17:10,600 --> 01:17:13,960
Speaker 3: Like she's like she's using every inch of her body

1330
01:17:14,000 --> 01:17:17,920
Speaker 3: of her you know, like magnetic charisma. And it really

1331
01:17:18,000 --> 01:17:20,840
Speaker 3: proves why it was so right to have a pop

1332
01:17:20,880 --> 01:17:22,240
Speaker 3: star play this character.

1333
01:17:22,479 --> 01:17:24,600
Speaker 1: Yes, there's even I can't remember what riff it is,

1334
01:17:24,640 --> 01:17:26,840
Speaker 1: but there's a there's a moment where she goes like

1335
01:17:26,880 --> 01:17:31,280
Speaker 1: a little like she does like a second long kind

1336
01:17:31,320 --> 01:17:33,519
Speaker 1: of Ari riff, or it's not even it's an Ari riff,

1337
01:17:33,560 --> 01:17:35,599
Speaker 1: but it's like a pop riff, you know what I mean?

1338
01:17:35,720 --> 01:17:37,800
Speaker 3: Like, Yeah, I don't mind the rifts so much in

1339
01:17:37,840 --> 01:17:40,040
Speaker 3: this song, but I think in the movie as a whole,

1340
01:17:40,080 --> 01:17:41,600
Speaker 3: there was a little too much riffing.

1341
01:17:41,560 --> 01:17:45,799
Speaker 1: Which I disagree with. I warmly welcomed all of the riffing.

1342
01:17:47,080 --> 01:17:54,280
Speaker 1: I not a novel thing to say. Ari was to

1343
01:17:54,400 --> 01:17:59,240
Speaker 1: me the most captivating performance in this film. I, as

1344
01:17:59,280 --> 01:18:00,800
Speaker 1: you said, could not take my eyes off of her.

1345
01:18:00,840 --> 01:18:03,760
Speaker 1: The entire film Popular is a perfect exemplification of that.

1346
01:18:05,080 --> 01:18:08,160
Speaker 1: And in in and outside of this song, she is

1347
01:18:08,640 --> 01:18:16,760
Speaker 1: doing this beautiful like amalgamation of of of what is

1348
01:18:16,880 --> 01:18:21,760
Speaker 1: a Kristin Chenowitz Glinda like giving us minor like like

1349
01:18:21,800 --> 01:18:25,960
Speaker 1: she gives us the perfect like she's a beautiful vocal

1350
01:18:26,000 --> 01:18:28,679
Speaker 1: impression as she does, a beautiful vocal impression of Kristin

1351
01:18:29,360 --> 01:18:32,559
Speaker 1: sprinkled throughout the performance, but not be labored. In my opinion,

1352
01:18:32,600 --> 01:18:32,920
Speaker 1: it's like.

1353
01:18:33,040 --> 01:18:35,640
Speaker 3: Used, So I wouldn't say it's more an homage than

1354
01:18:35,680 --> 01:18:37,840
Speaker 3: an impression, right, Yes, it's an homage.

1355
01:18:38,240 --> 01:18:41,679
Speaker 1: But also if you know Ari, like she is that girl,

1356
01:18:41,720 --> 01:18:44,719
Speaker 1: Like she saw this musical when she was ten years

1357
01:18:44,760 --> 01:18:48,280
Speaker 1: old and it imprinted on her. And when she was ten,

1358
01:18:48,760 --> 01:18:52,040
Speaker 1: that was when she started preparing for this role.

1359
01:18:52,200 --> 01:18:54,360
Speaker 3: You know what I mean. It's a lifetime. It's a

1360
01:18:54,400 --> 01:18:55,120
Speaker 3: role of a lifetime.

1361
01:18:55,280 --> 01:18:59,320
Speaker 1: And it really shows throughout the film in this and

1362
01:18:59,400 --> 01:19:02,679
Speaker 1: in this song that she was able to perfectly balance

1363
01:19:02,960 --> 01:19:10,719
Speaker 1: what was an homage to Kristin Chennowitz Glinda enmeshed with Ari,

1364
01:19:10,800 --> 01:19:18,400
Speaker 1: who is a true genuine theater faggot with a capital F,

1365
01:19:18,880 --> 01:19:22,639
Speaker 1: like she is in her own private life going through

1366
01:19:22,680 --> 01:19:25,400
Speaker 1: a rack of clothes and going you know like she

1367
01:19:25,400 --> 01:19:27,479
Speaker 1: she does that, she is that girl. So we get

1368
01:19:27,520 --> 01:19:30,280
Speaker 1: a little Christian and then we get a little Ari,

1369
01:19:30,680 --> 01:19:32,960
Speaker 1: and then we get a little bit of this secret

1370
01:19:33,000 --> 01:19:36,960
Speaker 1: third thing, which is her going right Like there's this hyperactivity.

1371
01:19:37,000 --> 01:19:40,120
Speaker 1: There's a kind of like when you expect Glinta, when

1372
01:19:40,160 --> 01:19:44,400
Speaker 1: you expect Glinta to zig, she's zags right Like, she's weird.

1373
01:19:44,600 --> 01:19:47,559
Speaker 1: She's kind of wacky. She the way she kind of

1374
01:19:47,600 --> 01:19:50,599
Speaker 1: like juts out her leg, or when she like throws

1375
01:19:50,600 --> 01:19:52,960
Speaker 1: herself on the bed and does that funny dramatic thing,

1376
01:19:53,080 --> 01:19:56,519
Speaker 1: or like I'm also thinking about do you remember like

1377
01:19:56,640 --> 01:20:02,400
Speaker 1: inshes like right before she accidentally volunteers to be Alphaba's roommate,

1378
01:20:02,439 --> 01:20:04,160
Speaker 1: when like she spotted.

1379
01:20:03,720 --> 01:20:06,439
Speaker 3: Like scurrying behind the scene and.

1380
01:20:06,360 --> 01:20:09,519
Speaker 1: You hear her a little heels cluck, like those are choice, Like,

1381
01:20:09,560 --> 01:20:14,840
Speaker 1: those are beautiful choices between the directing and ari that.

1382
01:20:14,960 --> 01:20:17,479
Speaker 1: I just I was so I could not take my eyes.

1383
01:20:17,320 --> 01:20:19,200
Speaker 3: Off of her. No one could have played this part

1384
01:20:19,240 --> 01:20:24,200
Speaker 3: but her, I agree. Sorry, not Lady Gaga. Not No

1385
01:20:24,360 --> 01:20:26,559
Speaker 3: Gaga was supposed to be Alphaba. Oh right, we're right.

1386
01:20:26,600 --> 01:20:29,639
Speaker 3: Wait there was Amanda Seyfred was right in the running,

1387
01:20:29,840 --> 01:20:32,000
Speaker 3: and that would have been great. I think she's a

1388
01:20:32,000 --> 01:20:36,040
Speaker 3: little too old. I read like Katy Perry auditioned. That's

1389
01:20:36,280 --> 01:20:40,480
Speaker 3: crazy crazy, it is not a woman's.

1390
01:20:41,840 --> 01:20:46,720
Speaker 1: But yeah, she she she proved everything about herself in

1391
01:20:46,760 --> 01:20:50,880
Speaker 1: this song. I just I will, I will not stop

1392
01:20:50,920 --> 01:20:52,880
Speaker 1: listening to it. When I was a kid, this was

1393
01:20:52,920 --> 01:20:54,559
Speaker 1: my favorite song in the musical.

1394
01:20:54,880 --> 01:20:58,679
Speaker 3: It wasn't mine, but it like almost is in the movie.

1395
01:20:59,400 --> 01:21:02,160
Speaker 3: So I think of popular is the part of the

1396
01:21:02,160 --> 01:21:05,120
Speaker 3: movie that SAgs a little bit for me, Like from

1397
01:21:05,160 --> 01:21:08,760
Speaker 3: popular to one short day, I like, it's like I

1398
01:21:08,800 --> 01:21:11,080
Speaker 3: don't remember much from it, which is how I know,

1399
01:21:11,200 --> 01:21:13,559
Speaker 3: like it wasn't imprinting on me a lot. Although I

1400
01:21:13,600 --> 01:21:16,120
Speaker 3: did really like the scene in Doctor Dylman's classroom, how

1401
01:21:16,200 --> 01:21:19,200
Speaker 3: they changed that from the stage musical in which it's

1402
01:21:19,320 --> 01:21:22,679
Speaker 3: just done through lighting in a choreography, and instead here

1403
01:21:22,840 --> 01:21:25,519
Speaker 3: they bring in the poppies, which Alphabet uses to make

1404
01:21:25,520 --> 01:21:29,160
Speaker 3: everyone fall asleep, which is obviously a nod to the

1405
01:21:29,200 --> 01:21:30,480
Speaker 3: original film.

1406
01:21:30,640 --> 01:21:33,840
Speaker 1: And that's quickly followed by another easter egg, which is

1407
01:21:34,200 --> 01:21:38,519
Speaker 1: when Alphabet gets on the bike and she's miss gulching yes,

1408
01:21:38,640 --> 01:21:41,760
Speaker 1: and they put the lion cub who is going to

1409
01:21:41,760 --> 01:21:45,559
Speaker 1: be the cowardly lion into the basket and the and

1410
01:21:45,560 --> 01:21:47,400
Speaker 1: and the lion like pokes out of the basket in

1411
01:21:47,439 --> 01:21:48,479
Speaker 1: the exact same way.

1412
01:21:48,720 --> 01:21:51,120
Speaker 3: And they also even use a little bit of the

1413
01:21:51,240 --> 01:21:55,560
Speaker 3: do Do in the score. Oh my god, it's a

1414
01:21:55,680 --> 01:22:00,639
Speaker 3: very very like subtle moment. The scene between Fear and Albaba.

1415
01:22:00,680 --> 01:22:04,680
Speaker 3: I thought Jonathan Bailey and Cynthia Rievo had great chemistry.

1416
01:22:04,040 --> 01:22:07,559
Speaker 1: Which is honestly, you would not I was not ready

1417
01:22:07,640 --> 01:22:11,240
Speaker 1: to believe in that no offense. But yeah, no, I

1418
01:22:11,439 --> 01:22:15,240
Speaker 1: I really you you you said previous that I'm not

1419
01:22:15,280 --> 01:22:17,759
Speaker 1: that Girl is kind of a dud of a song.

1420
01:22:18,080 --> 01:22:20,599
Speaker 3: It's a it's a bit of a snooze. It was

1421
01:22:20,760 --> 01:22:23,840
Speaker 3: in the musical, so I'm fine with it being that

1422
01:22:24,240 --> 01:22:26,519
Speaker 3: in the movie, and Diynthia made that song so much

1423
01:22:26,520 --> 01:22:28,600
Speaker 3: better in my opinion. It's a it's a bit of

1424
01:22:28,640 --> 01:22:32,400
Speaker 3: a skip for me. Wow, But it always has been,

1425
01:22:32,439 --> 01:22:35,360
Speaker 3: so I don't think it's the fault of the movie.

1426
01:22:35,479 --> 01:22:38,400
Speaker 1: But the thing is, tell me that when you were

1427
01:22:38,439 --> 01:22:41,760
Speaker 1: not a teeny little baby, you would not like sit

1428
01:22:41,800 --> 01:22:44,479
Speaker 1: alone in your room and think Hen's touch.

1429
01:22:45,640 --> 01:22:49,439
Speaker 3: I didn't. It's not in silence. It's not also the

1430
01:22:49,520 --> 01:22:55,320
Speaker 3: song that really hits I actually I actually prefer Glinda's

1431
01:22:55,360 --> 01:23:02,479
Speaker 3: reprise of it in act too. Oh interesting, Okay. Then

1432
01:23:03,080 --> 01:23:07,040
Speaker 3: we then Alphaba and Glinda go to the Emerald City

1433
01:23:07,200 --> 01:23:09,920
Speaker 3: and we go into you know, the final act of

1434
01:23:09,920 --> 01:23:12,000
Speaker 3: the movie, which I think the like the last forty

1435
01:23:12,000 --> 01:23:16,439
Speaker 3: minutes of this movie are like brilliant. It's Stune Ralli

1436
01:23:16,520 --> 01:23:19,280
Speaker 3: King from start to finish. I love the design of

1437
01:23:19,280 --> 01:23:22,559
Speaker 3: the Emerald City. It really is like visually different from

1438
01:23:22,640 --> 01:23:26,040
Speaker 3: anywhere else we've seen it's so much more green. It's

1439
01:23:26,040 --> 01:23:28,599
Speaker 3: so much more like tac dial Well, It's different.

1440
01:23:28,760 --> 01:23:32,840
Speaker 1: Instead of it being the monochromatic Emerald City, it's like

1441
01:23:33,040 --> 01:23:36,280
Speaker 1: many different shades of green and then like a pop

1442
01:23:36,320 --> 01:23:40,200
Speaker 1: of yellow, a pop of blue like it. It feels

1443
01:23:40,240 --> 01:23:44,280
Speaker 1: more lived in, and it also feels like the book. Honestly,

1444
01:23:44,360 --> 01:23:47,400
Speaker 1: it feels like like old school in a really good way.

1445
01:23:47,600 --> 01:23:49,639
Speaker 3: One Short Day has always been one of my favorite

1446
01:23:49,680 --> 01:23:55,040
Speaker 3: numbers from the show, and it was turned up to

1447
01:23:56,320 --> 01:24:01,400
Speaker 3: a hundred because so I knew. Of course, going into this,

1448
01:24:01,600 --> 01:24:05,559
Speaker 3: I was sure that aDNA Menzel and Kristin China With

1449
01:24:05,680 --> 01:24:08,040
Speaker 3: were going to have some sort of cameo in this movie,

1450
01:24:08,280 --> 01:24:11,519
Speaker 3: and I even thought this was likely the place where

1451
01:24:11,520 --> 01:24:15,679
Speaker 3: it would be oh wow, But I did not think

1452
01:24:16,000 --> 01:24:19,000
Speaker 3: that they were going to have full roles and like

1453
01:24:19,160 --> 01:24:22,080
Speaker 3: a whole new song written by Stephen Schwartz, written by

1454
01:24:22,080 --> 01:24:24,400
Speaker 3: Stephen Schwartz, who also has a cameo in the film

1455
01:24:24,439 --> 01:24:27,320
Speaker 3: as the guard Well says the Wizard will see you now.

1456
01:24:27,400 --> 01:24:30,840
Speaker 3: And also there's a cameo from Winnie Holtzman, who wrote

1457
01:24:30,840 --> 01:24:32,960
Speaker 3: the book of the show and helped write the screenplay

1458
01:24:33,000 --> 01:24:35,880
Speaker 3: of the movie. She is the woman in the crowd

1459
01:24:36,000 --> 01:24:39,400
Speaker 3: who says like, oh he could read the grimmery, he

1460
01:24:39,479 --> 01:24:44,080
Speaker 3: must be a wizard. But the Kristin adena cameo. When

1461
01:24:44,120 --> 01:24:48,000
Speaker 3: they came out, I screamed in the theater. I also

1462
01:24:48,160 --> 01:24:52,400
Speaker 3: squealed yeah. And they were so good. They were so funny.

1463
01:24:52,720 --> 01:24:55,320
Speaker 3: They're playing off the dynamic that they had in the

1464
01:24:55,360 --> 01:24:59,400
Speaker 3: original show where Kristin is like the scene stealer. She's

1465
01:24:59,439 --> 01:25:02,160
Speaker 3: like really fun. Any adenas like a little more like

1466
01:25:02,320 --> 01:25:07,000
Speaker 3: serious and cunty. I loved Adna's yeah moment.

1467
01:25:07,400 --> 01:25:11,800
Speaker 1: I so it is such seopled fan service. I'll, I

1468
01:25:12,240 --> 01:25:14,280
Speaker 1: know this is so un fun. But like this this

1469
01:25:14,439 --> 01:25:18,080
Speaker 1: part of the film, I don't I don't want to

1470
01:25:18,160 --> 01:25:19,360
Speaker 1: change it. I don't want to edit it. I don't

1471
01:25:19,360 --> 01:25:23,040
Speaker 1: want to take it out. But it was like totally separate,

1472
01:25:23,160 --> 01:25:28,280
Speaker 1: like they are Idna and Kristin, like they were not characters,

1473
01:25:28,479 --> 01:25:29,040
Speaker 1: you know what I mean.

1474
01:25:29,400 --> 01:25:30,840
Speaker 3: But that's fine to me.

1475
01:25:31,040 --> 01:25:33,640
Speaker 1: But I but I almost will it's so meta, but

1476
01:25:33,840 --> 01:25:39,160
Speaker 1: I well, yeah, I like that their their function in

1477
01:25:39,200 --> 01:25:43,160
Speaker 1: this is to literally be a part of the Ossian propaganda, right,

1478
01:25:43,200 --> 01:25:48,120
Speaker 1: the erasure of a mythology, uh, the rasure of the

1479
01:25:48,120 --> 01:25:51,519
Speaker 1: the of like why the wizard? How the Wizard came

1480
01:25:51,520 --> 01:25:54,919
Speaker 1: into power. There's also another easter egg in their original

1481
01:25:54,960 --> 01:25:59,960
Speaker 1: in their new song where uh, Jeff Goldbloom says oh

1482
01:26:00,000 --> 01:26:03,800
Speaker 1: o maha, which is like where the Reserve is from, right, and.

1483
01:26:04,080 --> 01:26:08,360
Speaker 3: We get to see each of them with their new counterpart,

1484
01:26:08,560 --> 01:26:13,000
Speaker 3: which is beautiful. But the handover the mouth, it's so funny.

1485
01:26:13,080 --> 01:26:16,400
Speaker 3: It's like it's ridiculous, and like, I will agree, it

1486
01:26:16,479 --> 01:26:18,880
Speaker 3: does take you out of the movie a little bit,

1487
01:26:19,120 --> 01:26:21,559
Speaker 3: but it's in a way that I want to be

1488
01:26:21,600 --> 01:26:22,519
Speaker 3: taken out of the movie.

1489
01:26:22,680 --> 01:26:26,040
Speaker 1: Yeah, I think for for us, for the consumers that

1490
01:26:26,080 --> 01:26:28,080
Speaker 1: we are, Like there are people that are seeing this

1491
01:26:28,160 --> 01:26:31,519
Speaker 1: movie that have never seen Wicked. There are people online

1492
01:26:31,520 --> 01:26:33,439
Speaker 1: that didn't know Wicked was a musical, like that's great,

1493
01:26:33,520 --> 01:26:33,960
Speaker 1: that's crazy.

1494
01:26:34,000 --> 01:26:35,920
Speaker 3: That's crazy to me, And I'm like, what the fuck

1495
01:26:35,920 --> 01:26:38,920
Speaker 3: are you talking like the Wizard of Are you dumb?

1496
01:26:39,960 --> 01:26:40,200
Speaker 2: Yeah?

1497
01:26:40,240 --> 01:26:43,360
Speaker 1: I mean I'd be curious to know how other people,

1498
01:26:43,439 --> 01:26:46,280
Speaker 1: like people that are not die hard Wicked or Broadway

1499
01:26:46,320 --> 01:26:48,799
Speaker 1: Stands like feel about that cameo.

1500
01:26:50,439 --> 01:26:52,800
Speaker 3: I think it's so obvious, like there might as well

1501
01:26:52,840 --> 01:26:55,880
Speaker 3: be a neon sign hanging upon that says this is

1502
01:26:55,920 --> 01:26:56,840
Speaker 3: a cameo. Y.

1503
01:26:57,640 --> 01:27:01,640
Speaker 1: Yeah, which sorry to back to this cameo, but for

1504
01:27:01,800 --> 01:27:04,120
Speaker 1: me and I have to be fucking real with you,

1505
01:27:05,400 --> 01:27:08,400
Speaker 1: Stephen Schwartz was the doo doo kaka of this movie.

1506
01:27:09,040 --> 01:27:14,200
Speaker 1: I was infuriated, infuriated because I you know, I'm not

1507
01:27:14,240 --> 01:27:16,519
Speaker 1: a standstand I didn't realize it was Stephen Schwartz. No

1508
01:27:16,600 --> 01:27:18,760
Speaker 1: one told me, I don't know what this man looks like.

1509
01:27:18,760 --> 01:27:19,280
Speaker 3: I don't care.

1510
01:27:19,960 --> 01:27:24,280
Speaker 1: So when you have a banger of a song, the

1511
01:27:24,760 --> 01:27:33,360
Speaker 1: most extravagant maximalist, Baslerminian like vision of the Emerald City

1512
01:27:33,400 --> 01:27:36,360
Speaker 1: coming to a climax, giving us these beautiful moments with

1513
01:27:36,439 --> 01:27:40,160
Speaker 1: like Christian and Idina and then coming to a close

1514
01:27:40,800 --> 01:27:45,679
Speaker 1: in the original soundtrack where someone says the Wizard will

1515
01:27:45,680 --> 01:27:49,960
Speaker 1: see you now, and yet it's Stephen Schwartz, just hollowly

1516
01:27:50,120 --> 01:27:52,719
Speaker 1: kind of saying the Wizard will see you now.

1517
01:27:53,040 --> 01:27:55,160
Speaker 3: And I loved it, and I'm sorry, but.

1518
01:27:55,160 --> 01:28:00,479
Speaker 1: He he had the privilege of playing a character who

1519
01:28:00,960 --> 01:28:03,400
Speaker 1: is a queen in like the original Wizard of Oz,

1520
01:28:03,479 --> 01:28:06,639
Speaker 1: you know what I mean, Like the the gatekeeper with

1521
01:28:06,760 --> 01:28:09,080
Speaker 1: the kind of broom for a mustache.

1522
01:28:08,760 --> 01:28:10,959
Speaker 3: Who was played by the actor who plays the worst.

1523
01:28:10,840 --> 01:28:16,320
Speaker 1: Right girla like he's such a zany can't be a

1524
01:28:16,439 --> 01:28:19,680
Speaker 1: like unforgettable part of that film, and Steven's.

1525
01:28:19,280 --> 01:28:21,160
Speaker 3: Wortze just kind of threw it away, and I opinion,

1526
01:28:21,240 --> 01:28:23,040
Speaker 3: I thought he was great whatever. I was happy to

1527
01:28:23,040 --> 01:28:26,800
Speaker 3: see him kindly disagree. So then Alphaba and Glinda meet

1528
01:28:26,880 --> 01:28:31,360
Speaker 3: the Wizard, which you know, the final skip, the final skip,

1529
01:28:31,439 --> 01:28:34,639
Speaker 3: Sentimental Man, this song sucks. That is when you should

1530
01:28:34,720 --> 01:28:36,760
Speaker 3: go for your pee break. I think this soley is

1531
01:28:36,760 --> 01:28:38,799
Speaker 3: the song kind of boring. But then there's a whole

1532
01:28:38,840 --> 01:28:43,280
Speaker 3: like dance break after where the Wizard like does kind

1533
01:28:43,280 --> 01:28:45,640
Speaker 3: of a soft shoe routine. And then also there's this

1534
01:28:45,680 --> 01:28:48,800
Speaker 3: whole bit where he's like showing them his plans for

1535
01:28:48,840 --> 01:28:51,000
Speaker 3: what will be the yellow Brick road. This is when

1536
01:28:51,040 --> 01:28:52,360
Speaker 3: you pee during the movie.

1537
01:28:52,479 --> 01:28:55,559
Speaker 1: I think, yeah, this, I think this is the worst song.

1538
01:28:56,200 --> 01:28:58,840
Speaker 1: I mean, I didn't not enjoy. I still enjoy myself

1539
01:28:58,880 --> 01:29:01,240
Speaker 1: because I love Jeff Golbloom, but yeah, I think that

1540
01:29:01,840 --> 01:29:04,360
Speaker 1: more than something bad, more than I'm not that girl.

1541
01:29:04,400 --> 01:29:08,920
Speaker 1: I think Sentimental Man is like so like not interesting.

1542
01:29:09,160 --> 01:29:13,120
Speaker 3: But then after that, the scene where Madame Morrible comes in,

1543
01:29:13,280 --> 01:29:17,240
Speaker 3: Alphabe gets the Grimmery, which literally looks like a children's book.

1544
01:29:17,240 --> 01:29:18,679
Speaker 3: It's like giving good night Moon.

1545
01:29:18,760 --> 01:29:21,439
Speaker 1: It's very origami, but that's like just steampunk it all.

1546
01:29:21,560 --> 01:29:26,120
Speaker 3: She there there is this like herculean task which in

1547
01:29:26,160 --> 01:29:29,160
Speaker 3: the span of like a two to three minute scene,

1548
01:29:29,640 --> 01:29:35,679
Speaker 3: Alphabet has to realize that that the Wizard is a fraud,

1549
01:29:36,960 --> 01:29:41,840
Speaker 3: realize what he's doing to the animals, lose all of

1550
01:29:41,880 --> 01:29:44,720
Speaker 3: the hope she's ever had for her future.

1551
01:29:44,439 --> 01:29:47,400
Speaker 1: Her entire life completely changing.

1552
01:29:47,120 --> 01:29:52,559
Speaker 3: And then decide to become this rebel anarchist. And it

1553
01:29:52,680 --> 01:29:56,680
Speaker 3: is a tall order for a very short scene. But

1554
01:29:57,120 --> 01:30:00,719
Speaker 3: I think Cynthia Arrivo does a really good job acting

1555
01:30:00,960 --> 01:30:04,000
Speaker 3: that journey, and you were there with her on every

1556
01:30:04,000 --> 01:30:06,320
Speaker 3: step of the way, and you understand how she gets

1557
01:30:06,320 --> 01:30:08,640
Speaker 3: from point A to point B, which I think is

1558
01:30:08,680 --> 01:30:11,840
Speaker 3: a very tall order. It's devastating.

1559
01:30:11,920 --> 01:30:14,680
Speaker 1: Like this scene for me is like why I'm like

1560
01:30:15,040 --> 01:30:19,680
Speaker 1: she has the nom like she is the alphaba, like

1561
01:30:20,520 --> 01:30:23,680
Speaker 1: it is. It is like the stakes of it are

1562
01:30:24,160 --> 01:30:26,960
Speaker 1: carried by her and we haven't even gotten to defying

1563
01:30:26,960 --> 01:30:27,519
Speaker 1: gravity yet.

1564
01:30:27,560 --> 01:30:29,280
Speaker 3: Like it's so devastated.

1565
01:30:29,320 --> 01:30:32,160
Speaker 1: And also like the I love how growth, the growth,

1566
01:30:32,560 --> 01:30:36,679
Speaker 1: how grotesque the transformation of the monkeys was, because in

1567
01:30:36,920 --> 01:30:39,720
Speaker 1: the original Wizard of Oz, the monkeys are supposed to

1568
01:30:39,800 --> 01:30:42,720
Speaker 1: be are the are horrifying. I was terrified of them

1569
01:30:42,800 --> 01:30:46,840
Speaker 1: as a child, like and when they're like, you know,

1570
01:30:47,000 --> 01:30:49,880
Speaker 1: in pursuit of her and breaking through the windows, like

1571
01:30:50,320 --> 01:30:54,719
Speaker 1: it's horror, it's a horror, like it's really really good.

1572
01:30:56,760 --> 01:31:00,360
Speaker 3: I also think this this is where, like this leaning

1573
01:31:00,400 --> 01:31:03,719
Speaker 3: into defining gravity is where we really see that tension

1574
01:31:04,240 --> 01:31:07,160
Speaker 3: of what I brought up earlier, which is we're not

1575
01:31:07,240 --> 01:31:09,839
Speaker 3: just examining what it is to be wicked, we're examining

1576
01:31:09,880 --> 01:31:12,719
Speaker 3: what it is to be good. And we see how

1577
01:31:13,560 --> 01:31:20,640
Speaker 3: Glinda is so like tied to the system, tied to power,

1578
01:31:20,960 --> 01:31:26,280
Speaker 3: that even though she has seen hard evidence that what

1579
01:31:26,320 --> 01:31:30,479
Speaker 3: the people are doing is wrong, she still thinks that

1580
01:31:30,560 --> 01:31:34,880
Speaker 3: to be aligned with what is perceived as good is

1581
01:31:34,960 --> 01:31:37,080
Speaker 3: the same thing as actually being good.

1582
01:31:37,400 --> 01:31:42,519
Speaker 1: Oh that is wow. I love the way you put that.

1583
01:31:42,520 --> 01:31:46,040
Speaker 1: That's like, but it's the beating heart of the story.

1584
01:31:46,120 --> 01:31:49,680
Speaker 1: It's this story, as you said, of like the activist

1585
01:31:49,800 --> 01:31:55,120
Speaker 1: versus the institutionalist right and the institutionalist and the activists

1586
01:31:55,160 --> 01:31:59,760
Speaker 1: both kind of having like this perilous relationship to what

1587
01:31:59,800 --> 01:32:03,599
Speaker 1: they they previously believed in what they believe now and

1588
01:32:03,960 --> 01:32:09,240
Speaker 1: the choices they then make and and then eventually split in.

1589
01:32:09,280 --> 01:32:12,240
Speaker 3: Having it's like and the realizations, you know. So now

1590
01:32:12,320 --> 01:32:15,280
Speaker 3: we're at divine gravity, the final sequence of the movie,

1591
01:32:15,920 --> 01:32:22,240
Speaker 3: and it's so heartbreaking because you have in this moment

1592
01:32:22,760 --> 01:32:26,880
Speaker 3: these two women who love each other so much, maybe

1593
01:32:27,000 --> 01:32:29,720
Speaker 3: just as friends, maybe not I think, I think not,

1594
01:32:31,760 --> 01:32:34,800
Speaker 3: these two women who love each other. One of them

1595
01:32:34,880 --> 01:32:37,240
Speaker 3: wants to disrupt the system. One of them wants to

1596
01:32:37,320 --> 01:32:37,840
Speaker 3: uphold it.

1597
01:32:38,360 --> 01:32:41,040
Speaker 1: And you see, maybe not even wants to, but just

1598
01:32:41,080 --> 01:32:43,080
Speaker 1: like this is what she she has no choice but

1599
01:32:43,200 --> 01:32:46,439
Speaker 1: to hold the system. And Alphaba asked Glinda to come

1600
01:32:46,479 --> 01:32:50,439
Speaker 1: with her, and you see, not not necessarily that Glinda

1601
01:32:50,600 --> 01:32:54,920
Speaker 1: wants to, but that she wants to want to. Yes,

1602
01:32:54,960 --> 01:32:58,640
Speaker 1: she because they are both in this moment discovering what

1603
01:32:58,840 --> 01:33:01,760
Speaker 1: is at the core of them. Alphabet which is that

1604
01:33:01,800 --> 01:33:04,719
Speaker 1: she will not stand for injustice and she is finally

1605
01:33:04,760 --> 01:33:07,719
Speaker 1: going to accept this outcast role that has been forced

1606
01:33:08,120 --> 01:33:10,559
Speaker 1: upon her whole life, and it's finally going to be

1607
01:33:11,320 --> 01:33:15,400
Speaker 1: to do something that she believes is right. And Glinda,

1608
01:33:15,479 --> 01:33:18,160
Speaker 1: which is that she understands that she will never be

1609
01:33:18,240 --> 01:33:22,400
Speaker 1: able to let go of her desire to be seen

1610
01:33:23,080 --> 01:33:26,559
Speaker 1: as right, even if that's diametrically opposed to what actually

1611
01:33:26,640 --> 01:33:27,479
Speaker 1: is right to do.

1612
01:33:27,920 --> 01:33:31,320
Speaker 3: Yes, they're each discovering this inner truth of themselves that

1613
01:33:31,720 --> 01:33:35,280
Speaker 3: they learn puts them forever at odds with each other.

1614
01:33:35,400 --> 01:33:39,599
Speaker 3: And it's so heartbreaking and beautiful and they both play

1615
01:33:39,640 --> 01:33:43,200
Speaker 3: it so well. Literally, like they're standing at the tower

1616
01:33:44,240 --> 01:33:46,799
Speaker 3: at the top of this the Wizard's Tower, and Alphabe

1617
01:33:46,880 --> 01:33:49,520
Speaker 3: is looking Aglinda and saying.

1618
01:33:49,840 --> 01:33:54,080
Speaker 1: Together, we could be bad bitches. And just as you said,

1619
01:33:54,200 --> 01:33:59,439
Speaker 1: like it, I personally like my original. When I first

1620
01:33:59,479 --> 01:34:04,280
Speaker 1: watched the musical, I thought it was much It was

1621
01:34:04,360 --> 01:34:06,479
Speaker 1: not as complex as what how is portrayed here.

1622
01:34:06,520 --> 01:34:07,200
Speaker 3: It was just like.

1623
01:34:07,200 --> 01:34:13,400
Speaker 1: Glinda chooses to be an institutionalist. What Ari does in

1624
01:34:13,439 --> 01:34:16,160
Speaker 1: this scene is do exactly what you said. She wants

1625
01:34:16,200 --> 01:34:19,960
Speaker 1: to want it. You can see how embattled she is inside.

1626
01:34:20,000 --> 01:34:24,040
Speaker 1: You can see that she wants so badly to support

1627
01:34:24,160 --> 01:34:28,160
Speaker 1: her friend, and yet she's not programmed that way. Yeah,

1628
01:34:28,240 --> 01:34:31,240
Speaker 1: that's it's not how she was raised. And I loved also,

1629
01:34:31,320 --> 01:34:32,799
Speaker 1: like I can't remember if this was in the original

1630
01:34:32,880 --> 01:34:35,639
Speaker 1: musical or not, but like Albaba asks her, she asked,

1631
01:34:35,680 --> 01:34:39,639
Speaker 1: she pops the question essentially, and Glinda doesn't. Like, let's

1632
01:34:39,680 --> 01:34:43,840
Speaker 1: scissor on this broomshead and Glinda doesn't answer the question.

1633
01:34:44,080 --> 01:34:46,920
Speaker 1: Deflects and then like makes a fashion choice for Alba

1634
01:34:47,320 --> 01:34:50,639
Speaker 1: the cap yeah, which is like exactly what her character

1635
01:34:50,760 --> 01:34:53,440
Speaker 1: should do. It's it's so amazing.

1636
01:34:54,840 --> 01:34:57,519
Speaker 3: So the defying gravity sequence is a lot longer in

1637
01:34:57,560 --> 01:34:59,200
Speaker 3: the movie than it is in the show, as it

1638
01:34:59,200 --> 01:35:01,680
Speaker 3: should be, and as it should be, the stakes are

1639
01:35:01,720 --> 01:35:04,960
Speaker 3: really ramped up. They give it. They they do sort

1640
01:35:04,960 --> 01:35:07,799
Speaker 3: of marvel fy it in a way with the whole

1641
01:35:08,320 --> 01:35:10,880
Speaker 3: hot Air Balloons sequence, not in a bad way. Not

1642
01:35:10,920 --> 01:35:14,000
Speaker 3: in a bad way, because I do understand, because you again,

1643
01:35:14,120 --> 01:35:18,639
Speaker 3: like it's justifying this being the end of a movie

1644
01:35:18,720 --> 01:35:20,760
Speaker 3: and it's twenty twenty four. The stakes have to be

1645
01:35:21,400 --> 01:35:24,080
Speaker 3: higher than they are in the stage show for you

1646
01:35:24,160 --> 01:35:27,000
Speaker 3: to feel like this real sense of closure that will

1647
01:35:27,040 --> 01:35:29,679
Speaker 3: get you through the next year until we get Wicked

1648
01:35:29,720 --> 01:35:32,160
Speaker 3: Part two. So I think that was the right choice

1649
01:35:32,200 --> 01:35:37,519
Speaker 3: to make. I think it works. I love, love the

1650
01:35:38,240 --> 01:35:41,400
Speaker 3: choice to have Alphaba jump out the window with her

1651
01:35:41,439 --> 01:35:45,120
Speaker 3: broom and fall for the cape to like she gets

1652
01:35:45,120 --> 01:35:48,080
Speaker 3: tangled in the cape and yeah, for her to fall,

1653
01:35:48,600 --> 01:35:51,680
Speaker 3: and I like that she sees her younger self. I

1654
01:35:51,680 --> 01:35:54,120
Speaker 3: think it could have been a more brief glimpse. I

1655
01:35:54,240 --> 01:35:57,040
Speaker 3: don't think it needed to be this extended moment. It

1656
01:35:57,080 --> 01:36:00,559
Speaker 3: was maybe like ten to fifteen seconds too long. The

1657
01:36:00,640 --> 01:36:05,760
Speaker 3: fact that she reaches out and to herself and imbues

1658
01:36:06,600 --> 01:36:10,280
Speaker 3: that lyric it's me with a meaning that it has

1659
01:36:10,360 --> 01:36:13,519
Speaker 3: never had before in any production of Wicked, feeling that

1660
01:36:13,600 --> 01:36:16,519
Speaker 3: she is feeling her and her child choosing herself, and

1661
01:36:16,560 --> 01:36:20,240
Speaker 3: that is how she finds her power and finally ascends

1662
01:36:20,320 --> 01:36:23,240
Speaker 3: and devis gravity. And then we get her hovering in

1663
01:36:23,280 --> 01:36:26,240
Speaker 3: the air, her Kate billowing out up behind her in

1664
01:36:26,320 --> 01:36:30,799
Speaker 3: this direct homage to the stage musical. It's so fucking cool.

1665
01:36:31,000 --> 01:36:35,080
Speaker 3: It's so powerful. The defying gravity has like there's like

1666
01:36:35,200 --> 01:36:37,840
Speaker 3: four different moments where it ends, and it kind of

1667
01:36:37,920 --> 01:36:41,400
Speaker 3: keeps going. I really like the chase scene with the

1668
01:36:41,439 --> 01:36:45,519
Speaker 3: monkeys and that she's sort of like she is able

1669
01:36:45,560 --> 01:36:48,640
Speaker 3: to use like the propulsion of the monkeys to like

1670
01:36:48,720 --> 01:36:51,960
Speaker 3: take out the guards, Like there's a reason why this

1671
01:36:52,000 --> 01:36:55,000
Speaker 3: is happening. She's not just hovering and flying around for

1672
01:36:55,120 --> 01:36:57,920
Speaker 3: the drama of it, even though she is like, oh yeah,

1673
01:36:58,120 --> 01:37:01,880
Speaker 3: they make it have a purpose in the story. Oh yeah.

1674
01:37:01,920 --> 01:37:04,800
Speaker 1: She she comes down like she when she's like, you know,

1675
01:37:05,080 --> 01:37:06,759
Speaker 1: if you care to find me, look to the motherfucking

1676
01:37:06,760 --> 01:37:09,599
Speaker 1: Western sky and you think she's proved her point because

1677
01:37:09,640 --> 01:37:12,240
Speaker 1: she flies off and she sings some more, and she goes,

1678
01:37:12,720 --> 01:37:15,720
Speaker 1: let me just turn this car around and make the

1679
01:37:15,760 --> 01:37:17,439
Speaker 1: point one more motherfucking time.

1680
01:37:18,800 --> 01:37:19,120
Speaker 3: It is.

1681
01:37:19,200 --> 01:37:22,720
Speaker 1: It's I was kind of giggling because she does kind

1682
01:37:22,760 --> 01:37:26,280
Speaker 1: of do like two or three like laps that way,

1683
01:37:26,320 --> 01:37:30,920
Speaker 1: but every single time, because the song has so many crescendos,

1684
01:37:30,960 --> 01:37:35,400
Speaker 1: so satisfying, it feels like that the encore. It feels

1685
01:37:35,400 --> 01:37:39,519
Speaker 1: like an encore. It feels like a big, huge fuck

1686
01:37:39,640 --> 01:37:43,679
Speaker 1: you to everything that she has like withstood up into

1687
01:37:43,680 --> 01:37:45,719
Speaker 1: this moment, which is exactly what the song is supposed

1688
01:37:45,720 --> 01:37:49,040
Speaker 1: to feel like. And just as you said, the homage

1689
01:37:49,040 --> 01:37:52,280
Speaker 1: to the original musical, the expansion of the cape and

1690
01:37:52,320 --> 01:37:59,120
Speaker 1: to that perfect triangle in that like like uh kind

1691
01:37:59,160 --> 01:38:04,519
Speaker 1: of like menacing orangey cloud kind of like sun like

1692
01:38:04,600 --> 01:38:09,560
Speaker 1: you know, the sunscape. Like it was so beautiful. It's

1693
01:38:09,640 --> 01:38:12,880
Speaker 1: a frame in film to stand the test of time

1694
01:38:12,960 --> 01:38:14,120
Speaker 1: for so long.

1695
01:38:14,840 --> 01:38:18,800
Speaker 3: My god, I was gagged. I gagged. And then the

1696
01:38:18,800 --> 01:38:22,080
Speaker 3: movie ends with Alphaba zooming away. We have a year

1697
01:38:22,200 --> 01:38:24,760
Speaker 3: before part two comes out. I need to see the

1698
01:38:24,760 --> 01:38:27,639
Speaker 3: movie five more times. I'm seeing it again tomorrow. Oh yeah,

1699
01:38:27,960 --> 01:38:34,280
Speaker 3: I'm so excited. Well, I really really loved it. Yeah,

1700
01:38:34,400 --> 01:38:38,120
Speaker 3: it was stunning. Okay, Part two, here's some of my

1701
01:38:38,160 --> 01:38:43,960
Speaker 3: predictions for the sequel. I think what they will do

1702
01:38:44,160 --> 01:38:47,880
Speaker 3: to build the story out is, well, what I'm hoping

1703
01:38:47,880 --> 01:38:50,200
Speaker 3: for is I really want an extension of the whole

1704
01:38:50,200 --> 01:38:54,240
Speaker 3: Wicked Witch of the the Wicked Witch of the East sequence.

1705
01:38:54,680 --> 01:38:56,439
Speaker 3: I did not love Nessa Rose in this movie. We

1706
01:38:56,520 --> 01:38:58,240
Speaker 3: didn't really talk about her much, but I think it's fine.

1707
01:38:58,240 --> 01:39:01,719
Speaker 3: She was kind of a snooze. That is a song

1708
01:39:01,760 --> 01:39:04,120
Speaker 3: that was that is not on the Wicked soundtrack because

1709
01:39:04,120 --> 01:39:06,599
Speaker 3: it's kind of like more of a refrain in the musical.

1710
01:39:06,760 --> 01:39:08,360
Speaker 3: What is it? Actually, don't know? It the Wicked Witch

1711
01:39:08,400 --> 01:39:11,439
Speaker 3: of the East. So it's the whole sequence where Alpha

1712
01:39:11,439 --> 01:39:14,840
Speaker 3: becomes Nessa Rose uses the Grimmery to put the spell

1713
01:39:14,880 --> 01:39:17,799
Speaker 3: on back that makes his heart stop. Oh and Alpha

1714
01:39:17,800 --> 01:39:19,600
Speaker 3: but turns him into the Tan Man, and all the

1715
01:39:19,600 --> 01:39:23,040
Speaker 3: while Nessa Rose sings this song The Wicked Witch of

1716
01:39:23,040 --> 01:39:27,000
Speaker 3: the East about how she's become this like tyrant, a dictate,

1717
01:39:27,080 --> 01:39:29,439
Speaker 3: a dictator in munchkin Land. So I hope we get

1718
01:39:29,479 --> 01:39:29,920
Speaker 3: more of that.

1719
01:39:30,240 --> 01:39:34,479
Speaker 1: Well, also, like it's worth saying, like I mean, I

1720
01:39:34,479 --> 01:39:36,920
Speaker 1: don't know. I obviously kept being like, what if Ali

1721
01:39:36,960 --> 01:39:39,680
Speaker 1: Stoker was in this role. But like, I the thing

1722
01:39:39,680 --> 01:39:44,280
Speaker 1: about Nessa in the original musical, like she's such an afterthought,

1723
01:39:44,360 --> 01:39:48,400
Speaker 1: there's never any time spent with the character. She's really

1724
01:39:48,439 --> 01:39:51,360
Speaker 1: a cog in the plot, and I she wasn't in

1725
01:39:51,360 --> 01:39:54,439
Speaker 1: this film, but but she Yeah, just you said, there's

1726
01:39:54,479 --> 01:39:57,320
Speaker 1: a real opportunity for her to be a real bitch,

1727
01:39:57,640 --> 01:40:01,160
Speaker 1: and I'm that would be so much fun, especially since

1728
01:40:01,240 --> 01:40:03,600
Speaker 1: she has such an important part in the lore of

1729
01:40:03,640 --> 01:40:04,960
Speaker 1: the very original story.

1730
01:40:05,160 --> 01:40:07,720
Speaker 3: But what I think we'll mostly see in Part two.

1731
01:40:07,880 --> 01:40:12,240
Speaker 3: What I'm expecting is because Part two essentially runs concurrently

1732
01:40:12,360 --> 01:40:15,360
Speaker 3: with the plot of The Wizard of Oz, I think

1733
01:40:15,600 --> 01:40:20,799
Speaker 3: we'll see more direct references and homages to that story.

1734
01:40:21,479 --> 01:40:25,840
Speaker 3: Maybe we'll see Dorothy Moore, because she's not in the show,

1735
01:40:25,920 --> 01:40:29,320
Speaker 3: She's really only featured as a silhouette and a voice

1736
01:40:29,439 --> 01:40:33,440
Speaker 3: off screen. In the book Wicked, she has a slightly

1737
01:40:33,479 --> 01:40:35,599
Speaker 3: more of a presence, Like she does have a couple

1738
01:40:35,680 --> 01:40:38,800
Speaker 3: scenes with Alphaba in which she is like really trying

1739
01:40:38,840 --> 01:40:42,840
Speaker 3: to apologize for killing Nessro's I did not know that.

1740
01:40:43,520 --> 01:40:48,519
Speaker 3: So that's my prediction. I think we'll see more stuff

1741
01:40:48,600 --> 01:40:52,439
Speaker 3: directly lifted from either the book or the Wizard of

1742
01:40:52,439 --> 01:40:54,240
Speaker 3: Oz to build out that story. We also know we're

1743
01:40:54,240 --> 01:40:58,200
Speaker 3: getting two original songs, two new songs that Stephen Schwartz

1744
01:40:58,240 --> 01:41:02,280
Speaker 3: has written. I would guests, more cameos. Maybe we'll get

1745
01:41:02,320 --> 01:41:05,120
Speaker 3: in Orbert lyobuts moment. Yeah.

1746
01:41:05,160 --> 01:41:09,200
Speaker 1: I So for the visions that are unaware, I think

1747
01:41:09,240 --> 01:41:10,880
Speaker 1: you're the one that told me this that the second

1748
01:41:10,920 --> 01:41:12,920
Speaker 1: act is kind of famously like lackluster.

1749
01:41:13,360 --> 01:41:19,080
Speaker 3: Yeah, it has. It has some bangers I love, Thank goodness. Uh,

1750
01:41:19,240 --> 01:41:21,320
Speaker 3: their bridges you cross, you didn't know you cross them

1751
01:41:21,360 --> 01:41:25,360
Speaker 3: to you cross is maybe maybe my favorite like line

1752
01:41:25,400 --> 01:41:29,080
Speaker 3: of music on the whole show. No good Deed is

1753
01:41:29,240 --> 01:41:33,240
Speaker 3: like really great and uh, as long as your mind

1754
01:41:33,320 --> 01:41:36,360
Speaker 3: is really sexy and sensual for good it is going

1755
01:41:36,439 --> 01:41:40,719
Speaker 3: to have us all you know weeping. Yeah, I well.

1756
01:41:40,760 --> 01:41:43,120
Speaker 1: And also if the virsions don't know, it's like it's

1757
01:41:43,120 --> 01:41:45,760
Speaker 1: a in the musical, it's a big time jump, so

1758
01:41:46,320 --> 01:41:48,760
Speaker 1: it jumps years and years and and all of this

1759
01:41:49,000 --> 01:41:52,200
Speaker 1: kind of ossy and propaganda has been disseminated, and like

1760
01:41:52,560 --> 01:41:57,960
Speaker 1: Munchkin Lenen, everybody has been like, you know, brainwash, brainwashed whatever,

1761
01:41:58,040 --> 01:42:04,280
Speaker 1: like just mediafied into believing that Alpha but is the

1762
01:42:04,400 --> 01:42:10,000
Speaker 1: ultimate evil public enemy number one. Glinda is this politician

1763
01:42:10,160 --> 01:42:13,000
Speaker 1: in service of that message. Fierro is like the head

1764
01:42:13,000 --> 01:42:16,080
Speaker 1: of the guard in pursuit of this like mass witch hunt.

1765
01:42:16,400 --> 01:42:19,960
Speaker 1: It's a dystopia and it's it's all of the darkness

1766
01:42:20,120 --> 01:42:24,440
Speaker 1: of the original Gregory Maguire's story that I think enriches

1767
01:42:25,280 --> 01:42:29,000
Speaker 1: so much of of of Yeah, what it's gonna what's

1768
01:42:29,000 --> 01:42:29,519
Speaker 1: gonna happen?

1769
01:42:29,640 --> 01:42:31,360
Speaker 3: Who knows, Maybe we'll get a sex scene, Maybe we'll

1770
01:42:31,360 --> 01:42:32,920
Speaker 3: see if alphabus pussy is green.

1771
01:42:33,040 --> 01:42:34,840
Speaker 1: Well the as long what is that as long as

1772
01:42:34,960 --> 01:42:36,840
Speaker 1: as long as your isn't that a sex sce a

1773
01:42:36,840 --> 01:42:37,400
Speaker 1: sex scene?

1774
01:42:37,479 --> 01:42:40,200
Speaker 3: I mean it's a love scene. Well there's they're they're

1775
01:42:40,280 --> 01:42:42,600
Speaker 3: like hooking up in a forest. And you said, I

1776
01:42:42,640 --> 01:42:44,280
Speaker 3: think we discussed the see and at the end she

1777
01:42:44,320 --> 01:42:46,880
Speaker 3: goes for the first time, I feel.

1778
01:42:47,040 --> 01:42:51,639
Speaker 1: Wicked, right, I think you said this in our Wizard

1779
01:42:51,680 --> 01:42:55,920
Speaker 1: of Oz episode of your But like the sex scenes

1780
01:42:55,960 --> 01:42:59,000
Speaker 1: in the book are like kind of eclipsed. It's nothing graphic, right,

1781
01:42:59,080 --> 01:43:01,680
Speaker 1: but there's no it's but apparently this is where like

1782
01:43:01,720 --> 01:43:06,560
Speaker 1: the intersex thing, Like, yeah, it's like from Fiera's perspective,

1783
01:43:06,720 --> 01:43:12,000
Speaker 1: he like has some commentary about Alphaba's like genitalia. He

1784
01:43:12,080 --> 01:43:14,559
Speaker 1: sees something between her. There's literally like two or three

1785
01:43:14,560 --> 01:43:15,479
Speaker 1: references in the book.

1786
01:43:16,600 --> 01:43:18,599
Speaker 3: I think when he says like he sees like a

1787
01:43:18,880 --> 01:43:22,280
Speaker 3: scar hor something might have been removed.

1788
01:43:22,520 --> 01:43:27,120
Speaker 1: What Like that's crazy. Well because like from the very beginning.

1789
01:43:27,200 --> 01:43:29,720
Speaker 3: I was actually listening to the first chapter of the

1790
01:43:29,760 --> 01:43:33,240
Speaker 3: Wicked audiobook recently, and in the first chapter in the prologue,

1791
01:43:33,280 --> 01:43:36,600
Speaker 3: the Witch is like following, you know, like the the

1792
01:43:36,640 --> 01:43:40,400
Speaker 3: Fabulous four around and they're all kind of like gossiping

1793
01:43:40,439 --> 01:43:43,240
Speaker 3: about her, and they're like, I've heard that she is

1794
01:43:43,280 --> 01:43:47,639
Speaker 3: a hermaphrodite. I heard she was she's with a married man.

1795
01:43:47,760 --> 01:43:49,479
Speaker 3: I heard she is a married man.

1796
01:43:49,880 --> 01:43:49,960
Speaker 1: What.

1797
01:43:50,520 --> 01:43:54,080
Speaker 3: Yeah, they transvestigate her, they do. They transvestigate her.

1798
01:43:55,120 --> 01:43:57,599
Speaker 1: That's I also didn't know that in the book, Glinda

1799
01:43:57,640 --> 01:43:58,679
Speaker 1: and Alphabet kiss.

1800
01:43:59,120 --> 01:44:02,919
Speaker 3: Yeah. It's so oh sapphic wow. I mean Gregor Gregory

1801
01:44:02,920 --> 01:44:07,519
Speaker 3: maguire is gay and so like the books are very gay.

1802
01:44:07,680 --> 01:44:09,599
Speaker 3: I love that. I've never read the book. I think

1803
01:44:09,600 --> 01:44:12,760
Speaker 3: I might have to. It's very dense. I read it

1804
01:44:13,200 --> 01:44:15,120
Speaker 3: for the first time when I was in middle school,

1805
01:44:15,160 --> 01:44:17,040
Speaker 3: and like I didn't even know that it was becoming

1806
01:44:17,040 --> 01:44:19,200
Speaker 3: a musical. I just saw it in a bookstore and

1807
01:44:19,240 --> 01:44:21,240
Speaker 3: I saw the Witch on the cover and was like,

1808
01:44:21,439 --> 01:44:23,360
Speaker 3: I need to read that because the Wizard of Oz

1809
01:44:23,920 --> 01:44:25,639
Speaker 3: was like my favorite thing in the world.

1810
01:44:26,640 --> 01:44:33,120
Speaker 1: Yeah, I think I would love to see more more

1811
01:44:33,240 --> 01:44:37,200
Speaker 1: built out in the I was gonna say animal rights activism,

1812
01:44:37,280 --> 01:44:42,240
Speaker 1: but like just the the social narrative like in this story.

1813
01:44:42,280 --> 01:44:43,400
Speaker 1: I would love to see more.

1814
01:44:43,520 --> 01:44:45,639
Speaker 3: Yeah, I would love to see Alfa but actually doing

1815
01:44:45,680 --> 01:44:48,600
Speaker 3: something like I would love to see her because in

1816
01:44:48,640 --> 01:44:53,880
Speaker 3: the in the book, she when she has this relationship

1817
01:44:53,920 --> 01:44:57,160
Speaker 3: with Fierro, she has become this sort of like underground

1818
01:44:57,240 --> 01:45:02,120
Speaker 3: eco terrorist who they like somewhere in the Emerald City.

1819
01:45:02,160 --> 01:45:04,800
Speaker 3: I think, so maybe we'll see more of like her

1820
01:45:05,000 --> 01:45:08,280
Speaker 3: activist journey. I would love for her to bomb. And

1821
01:45:08,720 --> 01:45:11,800
Speaker 3: there's also a part where Madam Morrible dies in the

1822
01:45:11,840 --> 01:45:14,400
Speaker 3: book and then Alphabe like bludgeons her dead body.

1823
01:45:14,800 --> 01:45:14,840
Speaker 2: What.

1824
01:45:15,479 --> 01:45:20,840
Speaker 1: Yeah, I cannot wait to read this. I yeah, I'm like,

1825
01:45:21,240 --> 01:45:23,720
Speaker 1: I'm like, I hope it. I mean, they could only

1826
01:45:23,800 --> 01:45:24,479
Speaker 1: be so dark.

1827
01:45:24,600 --> 01:45:25,360
Speaker 3: You reminded me.

1828
01:45:25,400 --> 01:45:28,960
Speaker 1: Yesterday that the Children's It has to be PG in

1829
01:45:29,040 --> 01:45:31,439
Speaker 1: order for them to make the maximum amount of money.

1830
01:45:32,360 --> 01:45:35,280
Speaker 1: But it is like a really dark like this is

1831
01:45:35,280 --> 01:45:38,160
Speaker 1: the latter half is a really dark part of the story.

1832
01:45:39,240 --> 01:45:44,160
Speaker 1: I'm really curious like your theories on Dorothy, like what

1833
01:45:44,240 --> 01:45:47,559
Speaker 1: you like. So I was like actually thinking about it

1834
01:45:47,600 --> 01:45:51,439
Speaker 1: on the bike right here, and yesterday you were like,

1835
01:45:51,560 --> 01:45:53,960
Speaker 1: I think it could be like a sickening cameo, or

1836
01:45:53,960 --> 01:45:57,200
Speaker 1: maybe it'll just be the back of her head. There

1837
01:45:57,280 --> 01:45:59,640
Speaker 1: is there's like a tease photo of like you know,

1838
01:45:59,680 --> 01:46:02,400
Speaker 1: the back of the four like in front of Oz.

1839
01:46:03,439 --> 01:46:09,080
Speaker 1: I am thinking that because this will be probably the

1840
01:46:09,120 --> 01:46:15,240
Speaker 1: highest grossing movie of the year, that it will absolutely

1841
01:46:15,320 --> 01:46:18,719
Speaker 1: be a star like I think Dorothy will be played

1842
01:46:18,760 --> 01:46:24,679
Speaker 1: by a star. And then this is my prediction, they

1843
01:46:24,920 --> 01:46:29,120
Speaker 1: are going to announce that John M. Chew is adapting

1844
01:46:29,160 --> 01:46:30,000
Speaker 1: The Wizard of Us.

1845
01:46:30,479 --> 01:46:32,080
Speaker 3: I don't want that to happen.

1846
01:46:32,240 --> 01:46:36,519
Speaker 1: I think that is what's happened with Perfection. No, you

1847
01:46:36,640 --> 01:46:40,520
Speaker 1: really can't, but I think that that is what's happening.

1848
01:46:40,560 --> 01:46:44,479
Speaker 3: That should not happen. I agree with you.

1849
01:46:45,400 --> 01:46:52,280
Speaker 1: Unless no, unless their Wizard of Oz is PG. Thirteen

1850
01:46:54,160 --> 01:46:55,559
Speaker 1: because the Frank L.

1851
01:46:55,640 --> 01:47:00,360
Speaker 3: Baum story is bomb L L. Frank Baumb It's dark

1852
01:47:00,400 --> 01:47:04,040
Speaker 3: as fuck. Like it's dark if you want, but if

1853
01:47:04,040 --> 01:47:07,280
Speaker 3: you want a dark adaptation, watch Return to Oz. It

1854
01:47:07,400 --> 01:47:08,280
Speaker 3: already exists.

1855
01:47:08,360 --> 01:47:10,559
Speaker 1: Did you also see that Mombi was mentioned in this.

1856
01:47:10,840 --> 01:47:12,120
Speaker 3: That's one of the professors.

1857
01:47:12,120 --> 01:47:16,000
Speaker 1: That's crazy, like need a momby cameo.

1858
01:47:17,720 --> 01:47:19,559
Speaker 3: Wow, So how long?

1859
01:47:20,080 --> 01:47:20,280
Speaker 1: Yeah?

1860
01:47:20,280 --> 01:47:24,639
Speaker 3: How long? Recordings? Having a long time? Holy fuck? An

1861
01:47:24,640 --> 01:47:29,439
Speaker 3: hour and forty four minutes. Honestly, y'all, this this is

1862
01:47:29,479 --> 01:47:32,360
Speaker 3: longer than what we recorded yesterday. You're welcome, and it's

1863
01:47:32,400 --> 01:47:35,920
Speaker 3: better and it's better, yeah, really better. We hope that

1864
01:47:36,000 --> 01:47:39,479
Speaker 3: you liked this very thorough analysis of Wicked. I'm sure

1865
01:47:39,640 --> 01:47:42,639
Speaker 3: that as we both maybe see it again, keep listening

1866
01:47:42,640 --> 01:47:45,679
Speaker 3: to the soundtrack, we will have more thoughts. I would

1867
01:47:45,720 --> 01:47:50,320
Speaker 3: imagine that we'll get a trailer for part two, probably

1868
01:47:50,520 --> 01:47:53,040
Speaker 3: at the Oscars. That's when the trailer for part one

1869
01:47:53,160 --> 01:47:57,160
Speaker 3: came out this past year. Oh but I'm sure, like

1870
01:47:57,520 --> 01:47:59,360
Speaker 3: I'm sure that by the end of the year we'll

1871
01:47:59,360 --> 01:48:03,080
Speaker 3: see some like official first look images. It's insane to

1872
01:48:03,120 --> 01:48:05,320
Speaker 3: think about, but it's a year away. We have a

1873
01:48:05,400 --> 01:48:08,040
Speaker 3: year long intermission. I'm gonna pee for the whole thing.

1874
01:48:09,160 --> 01:48:13,240
Speaker 1: You will start peeing now and you won't stop next November.

1875
01:48:14,880 --> 01:48:15,879
Speaker 3: I am gagged.

1876
01:48:16,040 --> 01:48:19,240
Speaker 1: Virgins. Please get in the comments, get in the chat,

1877
01:48:19,240 --> 01:48:22,479
Speaker 1: tell us everything. This is our this is the most

1878
01:48:22,520 --> 01:48:26,040
Speaker 1: important episode we have made the like a virgin Patreon

1879
01:48:26,320 --> 01:48:26,760
Speaker 1: thus far.

1880
01:48:26,920 --> 01:48:31,040
Speaker 3: Okay, so we recorded this twice for you for you

1881
01:48:31,560 --> 01:48:34,240
Speaker 3: and I have fun, had so much. I mean, I

1882
01:48:34,520 --> 01:48:37,000
Speaker 3: talk about we good first, Like I said, I was

1883
01:48:37,040 --> 01:48:38,720
Speaker 3: going to talk about it, but I'm too tired. Like

1884
01:48:38,800 --> 01:48:40,320
Speaker 3: I could get into a whole other.

1885
01:48:40,160 --> 01:48:43,840
Speaker 1: Section where we're talking about like constructions of class in

1886
01:48:43,880 --> 01:48:47,559
Speaker 1: the original like l frank Baum, Wizard of Oz and

1887
01:48:47,600 --> 01:48:50,600
Speaker 1: how they've like been brought into like they skipped the

1888
01:48:50,680 --> 01:48:54,320
Speaker 1: musical and are maybe being looped back into this wicked story.

1889
01:48:54,360 --> 01:48:57,480
Speaker 1: But you know, maybe we'll have follow ups next episode.

1890
01:48:58,240 --> 01:49:03,240
Speaker 3: Until then or if you carefund me looks in the

1891
01:49:03,320 --> 01:49:04,439
Speaker 3: Western Side