WEBVTT - The Handmaiden with Soyoung Chon

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<v Speaker 1>On the Doll Cast, the questions asked if movies have

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<v Speaker 1>women and um are all their discussions just boyfriends and

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<v Speaker 1>husbands or do they have individualism the patriarchy? Zef In

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<v Speaker 1>best start changing it with the Bell Cast. Hey, Jamie Caitlin,

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<v Speaker 1>I just wanted to say thank you so much for

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<v Speaker 1>giving me a job as your handmaiden. Oh, your welcome,

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<v Speaker 1>And I just want to let you know I'm definitely

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<v Speaker 1>not trying to trick you and steal your fortune or

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<v Speaker 1>anything like that. Okay, well, I guess while we're on

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<v Speaker 1>the topic, I wanted to let you know that I'm

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<v Speaker 1>definitely not three steps ahead of you what with the trick,

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<v Speaker 1>and I'm tricking you based on your trick, and your

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<v Speaker 1>trick is actually a whole distraction. And it doesn't matter

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<v Speaker 1>because we're going to fall in love at the end.

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<v Speaker 1>At the end, all the tricks cancel each other out

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<v Speaker 1>and it's uh, and we're gonna go on a boat.

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<v Speaker 1>I love that for us, Good for us. Yeah, I'm

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<v Speaker 1>gonna seem I'm gonna seem like I've never been outside.

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<v Speaker 1>But here's a twist. I have been outside a couple

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<v Speaker 1>of times. Okay, at least all right, well, I love

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<v Speaker 1>that we're learning so much about each other. We're in love.

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<v Speaker 1>What can you do? Hello, and welcome to the Bechtel Cast.

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<v Speaker 1>Perfect intro as usual, amazing, we nailed it. My name

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<v Speaker 1>is Caitlin Darante, my name is Jamie Loftus. And this

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<v Speaker 1>is our podcast where we look at your favorite movies,

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<v Speaker 1>your least favorite movies, movies that you don't know how

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<v Speaker 1>to feel about, using an intersectional feminist lens. And we

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<v Speaker 1>use the Bechtel test simply as a jumping off point

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<v Speaker 1>to initiate a larger conversation. And the Bechtel test is

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<v Speaker 1>a media metric created by queer cartoonist Alison Bechtel, sometimes

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<v Speaker 1>called the Bechtel Wallace Test, and it has many versions,

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<v Speaker 1>and the one that we are using these days, and

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<v Speaker 1>let's and and and we also have been finessing this formula.

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<v Speaker 1>We've been finessing our little, our little twist on it

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<v Speaker 1>for half a decade. At this point, it's true. The

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<v Speaker 1>metric that we are using. The caveats, if you will,

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<v Speaker 1>are that a movie has to have two characters of

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<v Speaker 1>any marginalized gender who have names. They must speak to

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<v Speaker 1>each other about something other than a man. And ideally

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<v Speaker 1>their conversation is meaningful, plot relevant, not just a throwaway

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<v Speaker 1>exchange of dialogue or maybe it's in the case of

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<v Speaker 1>this movie, a deceitful exchange. I love a good deceitful exchange.

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<v Speaker 1>You know what it's allowed. And then something that we

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<v Speaker 1>should bring up more often. Um, but it's especially relevant

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<v Speaker 1>for a movie like this is that the test originally

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<v Speaker 1>appearing in Alison Becktel's Decks to Watch out For. In

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<v Speaker 1>the context for that was that Alison Becktel's characters, who

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<v Speaker 1>are queer women, would watch movies and pay attention to

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<v Speaker 1>if the female characters in the movies they're watching speak

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<v Speaker 1>to each other, and if so, do they talk about

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<v Speaker 1>things besides a man? Because if so, then Alison Bechtel's

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<v Speaker 1>characters could ship them together and pretend that they were

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<v Speaker 1>lesbians in the movie that they're watching. So that is

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<v Speaker 1>the origins of the Bechtel test, speaking to the piss

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<v Speaker 1>poor representation of any queer people in movies at the

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<v Speaker 1>time the comic was published back in A five right,

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<v Speaker 1>and then for a movie like this, no shipping required

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<v Speaker 1>because the care actors do that for you. It's cannon. Yes,

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<v Speaker 1>So the movie that we're talking about today is The Handmaiden,

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<v Speaker 1>and we have a guest joining us. She's a pal

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<v Speaker 1>of ours. She's a cyber security engineer. It's so young

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<v Speaker 1>chan Hi. Hello, welcome, Thank you for having me, thanks

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<v Speaker 1>for being here, for being here. So we're interested in

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<v Speaker 1>what is your relationship, your history, your general impression of

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<v Speaker 1>The Handmaiden. Um. Yeah, I thought it was pretty wild

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<v Speaker 1>from start to finish. Um. These types of movies don't

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<v Speaker 1>don't really come out that much from South Korea because

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<v Speaker 1>Korea is a pretty conservative country still, so this was

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<v Speaker 1>a big shock when it came out featuring two lesbian

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<v Speaker 1>women and that that never that never happens. But I

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<v Speaker 1>thought it was overall really really good, really new and

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<v Speaker 1>groundbreaking for Korea. So that's what I thought. It was

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<v Speaker 1>pretty cool. Yeah. Oh, I can't wait to talk about

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<v Speaker 1>it more. Jamie, what about you. I hadn't seen this

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<v Speaker 1>movie yet, and it rocked my world. I really like

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<v Speaker 1>movies that really keep you on your toes like this

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<v Speaker 1>where I guess if you haven't seen this movie, I

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<v Speaker 1>would recommend honestly watching it because listening to us, like

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<v Speaker 1>some movies, I feel fine spoiling for our listeners, but

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<v Speaker 1>this movie. I'm so glad I didn't know any of

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<v Speaker 1>the twists going in, because sometimes I'll go into a

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<v Speaker 1>movie being like I've seen I've seen it all, and

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<v Speaker 1>then it turns out, guess what. I like half of

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<v Speaker 1>my notes from the first half of the movie, I

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<v Speaker 1>had to like highlight being like just kidding, I am,

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<v Speaker 1>I am the fool, Like they got my ass. It's

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<v Speaker 1>so tightly written, and I just, yeah, this was my

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<v Speaker 1>my first time. I've seen it twice. I feel like

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<v Speaker 1>this is a movie that really delivers on a rewatch

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<v Speaker 1>and I just really enjoyed it. Holy holy shit. I

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<v Speaker 1>am just not as smart as this movie. I'm not

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<v Speaker 1>operating on this level. And it was a pleasure to

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<v Speaker 1>be in a world where I was like, oh, yeah,

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<v Speaker 1>I would have Um, I don't know what would have

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<v Speaker 1>happened to be if I existed in this world. I

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<v Speaker 1>would have I would have just died because everyone is

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<v Speaker 1>operating like everyone's playing four D h S the entire movie.

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<v Speaker 1>It's wonderful. Yeah, Caitlyn, what's your history of this movie? O?

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<v Speaker 1>G whiz. I saw it not right when it came out,

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<v Speaker 1>but I remember there being buzz around it because it

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<v Speaker 1>was released in the US sometime I think in the

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<v Speaker 1>back half of and then it won the Oscar for

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<v Speaker 1>Best Movie not in the English language. Yeah, for like

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<v Speaker 1>the Oscars. So I was like, oh, all right, got

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<v Speaker 1>to see it. Exciting. So I was still getting Netflix

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<v Speaker 1>devids at the time, so I took it upon myself

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<v Speaker 1>to borrow rent or whatever have Netflix send me a DVD.

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<v Speaker 1>And I don't normally do this, but I watched the

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<v Speaker 1>movie and then as soon as it was over, I

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<v Speaker 1>immediately watched it again because I was like, WHOA, holy shit.

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<v Speaker 1>I don't even want to process that. I just want

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<v Speaker 1>to like rewatch it and just have a better understanding

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<v Speaker 1>of what happened, because, like you said, there's so many twists,

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<v Speaker 1>there's so many layers there's and so I've seen the

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<v Speaker 1>movie I think like six or seven times now, and

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<v Speaker 1>every time I watch it, I discover something new or

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<v Speaker 1>like notice like a new little clue, or like a

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<v Speaker 1>bit of foreshadowing or some like plant and payoff, or

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<v Speaker 1>just like some detail that I had overlooked before. So yeah,

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<v Speaker 1>it definitely holds up on a rewatch. The twists are

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<v Speaker 1>so intricate that or like some of the reveals are

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<v Speaker 1>just like I won't remember what happened, so like, every

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<v Speaker 1>time rewatch it, it's like I'm seeing it for the

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<v Speaker 1>first time. So I'm just like, whoa, And it's it's

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<v Speaker 1>beautiful to look at. It's mesmerizing. Yeah, the story is

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<v Speaker 1>so tightly written. I love this movie so and the

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<v Speaker 1>history behind the movie is also really interesting. I didn't

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<v Speaker 1>know about like all the adaptation stuff going on in

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<v Speaker 1>this movie, so I'm very excited to talk about it. Yeah.

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<v Speaker 1>I also, in preparation for this episode, watched the BBC

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<v Speaker 1>like two episode mini series Fingersmith. She's okay, yes, well,

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<v Speaker 1>then I was also like, Sally Hawkins is in this.

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<v Speaker 1>Paddington's mom is in this. Obviously I have to watch it.

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<v Speaker 1>See I always think of Sally Hawkins. I'm about to

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<v Speaker 1>sound like I hate women. I'm like, she's the lady

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<v Speaker 1>who had sex with the fish in the movie. I

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<v Speaker 1>know that lady, but that was reductive and I apologize,

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<v Speaker 1>but she did have sex with a fish. I mean,

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<v Speaker 1>you're not wrong, I'm not, but I should remember the

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<v Speaker 1>character's name. I just know it was Sally Hawkins. Well,

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<v Speaker 1>she's definitely Mrs Brown in the Paddington franchise, so I

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<v Speaker 1>did watch Fingersmith, and um, do you like it? I

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<v Speaker 1>did it, So just some context for anyone who's um

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<v Speaker 1>not aware. This movie is based on a novel called

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<v Speaker 1>Fingersmith by Sarah Waters that was published in two two

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<v Speaker 1>I think so obviously we did not read the book

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<v Speaker 1>because we famously on this podcast do not read books.

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<v Speaker 1>It probably won't to stop people from getting mad at

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<v Speaker 1>us for not reading a book, but listen, the show

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<v Speaker 1>is free. I don't know what to tell you, but

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<v Speaker 1>I did watch this adaptation and probably like the second

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<v Speaker 1>half of Fingersmith is pretty wildly different from the second

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<v Speaker 1>half of The Handmaiden, where I like the ending of

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<v Speaker 1>the hand Made In way better. And I don't know

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<v Speaker 1>if that's just because like I saw it first and

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<v Speaker 1>my brain just works that way, where I'm like, well,

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<v Speaker 1>the first thing I saw is the thing that I

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<v Speaker 1>like better because it happens all the time with me.

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<v Speaker 1>But uh, I don't know. I feel that it gives

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<v Speaker 1>the characters more agency. Yeah, I I like the handmade

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<v Speaker 1>in better. I like the narrative choices that were made there.

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<v Speaker 1>So yeah, it's a It's the rare movie where I

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<v Speaker 1>feel like we're constantly complaining about how movies are. Movies

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<v Speaker 1>are long, but this movie is two and a half

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<v Speaker 1>hours long, and it does not feel two and a

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<v Speaker 1>half hours long, which is incredible a miracle. Yeah, should

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<v Speaker 1>I get into the recap? Yeah, yeah, let's let's do it.

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<v Speaker 1>And so I feel free to jump in at any time.

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<v Speaker 1>It's a free for all. Absolutely, thank you. Okay. So

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<v Speaker 1>the story takes place in Japanese occupied Korea, so both

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<v Speaker 1>Korean and Japan These are spoken by almost every major

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<v Speaker 1>character throughout the movie. I believe we are in the thirties,

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<v Speaker 1>although the decade wasn't super clear, but I read in

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<v Speaker 1>interviews that, yeah, it's supposed to be the thirties. Okay. Cool.

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<v Speaker 1>The story is divided into three parts. Part one, we

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<v Speaker 1>meet Suki, a pickpocket, a forger. She's like a common thief.

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<v Speaker 1>We also meet a Korean man from a low class

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<v Speaker 1>who is masquerading as a Japanese nobleman. He's going by

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<v Speaker 1>the name Count Fujiwara. I kept calling him Count all

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<v Speaker 1>off in my head because anytime someone introduces themselves as account,

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<v Speaker 1>I was like, okay, all counts are con men. This

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<v Speaker 1>is a trend in media. All accounts are lying about

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<v Speaker 1>being a count and they're where they're always wearing a

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<v Speaker 1>hat and um lying, that's my knowledge accounts and I

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<v Speaker 1>think that's canon. Yeah, this Ivan does this count challenge

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<v Speaker 1>that he does not, it's true. So he helps Suki

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<v Speaker 1>get a job as a handmaiden to Lady Hitigo, and

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<v Speaker 1>he does this because he intends to seduce Lady Hitiko,

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<v Speaker 1>marry her, put her in like quote, a madhouse so

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<v Speaker 1>that he can steal her fortune, and he needs Suki's

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<v Speaker 1>help to do all this. So Suki, using a fake name,

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<v Speaker 1>meets Lady Hideko and starts tending to her. She spends

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<v Speaker 1>most of her days helping her uncle Kazuki with his

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<v Speaker 1>rare books, which he collects and sells, and then he

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<v Speaker 1>also hosts private events where Hitiko does readings from the

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<v Speaker 1>books for rich Japanese gentleman rights. And the meaning of

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<v Speaker 1>rare books is really stretched and challenged later in Yes,

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<v Speaker 1>her uncle is It becomes apparent pretty early on, and

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<v Speaker 1>then even more apparent later on that he is extremely

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<v Speaker 1>creepy and he's also trying to marry how to go

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<v Speaker 1>to get access to her fortune also something that count

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<v Speaker 1>all offs trying to do all the time, just a

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<v Speaker 1>lot of count connections here? Oh my god? Right, counts

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<v Speaker 1>are always trying to marry people under false pretenses to

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<v Speaker 1>get access to a fortune. I need to write a

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<v Speaker 1>think piece about this. Doesn't count all off pretend to

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<v Speaker 1>be those children's uncle too, or some family member. He

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<v Speaker 1>pretends to be a distant relative in order to adopt them.

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<v Speaker 1>I mean, I didn't, I didn't even put that together.

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<v Speaker 1>If anyone ever introduces them as a count, walk away,

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<v Speaker 1>they're lying. What's the story of the count of Money

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<v Speaker 1>Monte Crystal? Oh? I know I saw that movie, but

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<v Speaker 1>no idea. I feel like there's some deception involved there

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<v Speaker 1>as well. Is okay, this is not the Count of

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<v Speaker 1>Monte Cristo. Is that related to the sandwich? Or is

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<v Speaker 1>the sandwich a separate thing? Monte Cristo sandwich? Is Monte

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<v Speaker 1>Cristo a place? Um? I think they're also. I was

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<v Speaker 1>just born this morning. I think they're all extremely not

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<v Speaker 1>only connected, but identical. What is even in a Monte

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<v Speaker 1>Cristo sandwich? You know what I'm that's one where they

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<v Speaker 1>like there's ham and there's cheese, and you're like panini

0:14:36.920 --> 0:14:40.800
<v Speaker 1>it and then there's like powdered sugar on top. There's

0:14:40.840 --> 0:14:44.880
<v Speaker 1>always such a scam. When someone makes a very simple

0:14:44.920 --> 0:14:47.720
<v Speaker 1>sandwich sounds extremely fancy and they're like, it's it's like

0:14:47.800 --> 0:14:50.480
<v Speaker 1>Monte Cristo at seventeen dollars, and then you get it.

0:14:50.520 --> 0:14:57.120
<v Speaker 1>You're like, this is ham and cheese. How dare you anyway?

0:14:57.560 --> 0:15:01.760
<v Speaker 1>Speaking of the Count, yes, he gets to work on

0:15:01.880 --> 0:15:09.040
<v Speaker 1>seducing Lady Hideko under the guise of giving her painting lessons. Meanwhile,

0:15:09.280 --> 0:15:14.480
<v Speaker 1>Suki and Heideko are getting closer and they are clearly

0:15:14.520 --> 0:15:18.800
<v Speaker 1>attracted to each other. And the further into the scam

0:15:18.920 --> 0:15:23.360
<v Speaker 1>Suki gets of like helping the fake Count Mary hidego,

0:15:23.880 --> 0:15:28.160
<v Speaker 1>the more Suki wants to back out, especially after one

0:15:28.240 --> 0:15:32.800
<v Speaker 1>night when Lady Hideko wants Suki to teach her how

0:15:32.840 --> 0:15:35.400
<v Speaker 1>to kiss so that she will be ready to kiss

0:15:35.440 --> 0:15:40.480
<v Speaker 1>the Count, and then they end up having very steamy sex.

0:15:41.480 --> 0:15:45.040
<v Speaker 1>Suki has no choice but to keep going along with

0:15:45.080 --> 0:15:49.360
<v Speaker 1>the scam, and the two of them run away. They

0:15:49.400 --> 0:15:53.680
<v Speaker 1>travel with the Count to Japan, the Count Mary's Hideko,

0:15:54.040 --> 0:15:57.400
<v Speaker 1>and then he and Suki take Hideko to be institutionalized.

0:15:57.920 --> 0:16:01.360
<v Speaker 1>But wait a minute, turns out it the Count and

0:16:01.480 --> 0:16:04.680
<v Speaker 1>Hiteko had been the ones who were tricking Suki and

0:16:04.720 --> 0:16:10.320
<v Speaker 1>they send Suki to the institution. I gasped right when

0:16:10.520 --> 0:16:13.360
<v Speaker 1>edeko uh. At first, I was like, what is going on?

0:16:13.600 --> 0:16:17.960
<v Speaker 1>Because she hugs Suki and then she walks backward really quickly,

0:16:18.000 --> 0:16:20.400
<v Speaker 1>and I was like, what is happening? And then it

0:16:20.480 --> 0:16:25.120
<v Speaker 1>was the twist. But wait, there's more. There's more. There's

0:16:25.120 --> 0:16:28.280
<v Speaker 1>two more parts. So this is the beginning of part two.

0:16:28.680 --> 0:16:31.240
<v Speaker 1>We learned what the real situation is with Lady Hiteko.

0:16:31.920 --> 0:16:36.400
<v Speaker 1>She's not this like virginal, naive lady that we all

0:16:36.440 --> 0:16:39.880
<v Speaker 1>thought she was. The books of her uncle's that she

0:16:40.000 --> 0:16:44.920
<v Speaker 1>does readings for our very pornographic something that he's been

0:16:44.960 --> 0:16:47.600
<v Speaker 1>training her to do ever since she was a child,

0:16:48.520 --> 0:16:54.640
<v Speaker 1>which is what disgusting. Yeah, and this is like, this

0:16:54.680 --> 0:16:57.520
<v Speaker 1>is something he's done with like other members of the family,

0:16:57.560 --> 0:17:01.160
<v Speaker 1>to like with her aunt as well. Yeah, it's a

0:17:01.160 --> 0:17:04.600
<v Speaker 1>whole thing. Yes, So when the Count first meets her,

0:17:04.640 --> 0:17:07.360
<v Speaker 1>he realizes that he would never be able to seduce her,

0:17:07.920 --> 0:17:10.800
<v Speaker 1>so then he forms a different plan, which is to

0:17:10.960 --> 0:17:14.760
<v Speaker 1>collaborate with her, take her away from this place and

0:17:14.840 --> 0:17:17.760
<v Speaker 1>set her free, and then they will split her fortune.

0:17:18.040 --> 0:17:21.160
<v Speaker 1>And then it's her idea to find a handmaiden and

0:17:21.240 --> 0:17:26.320
<v Speaker 1>send her to the institution under her name. So then

0:17:26.400 --> 0:17:29.000
<v Speaker 1>a lot of the same story beats play out that

0:17:29.080 --> 0:17:33.280
<v Speaker 1>we've seen before, but this time through hiokos point of view,

0:17:33.760 --> 0:17:38.400
<v Speaker 1>with like Suki arriving and tending to her and convincing

0:17:38.400 --> 0:17:41.639
<v Speaker 1>her that she's in love with the count. But then eventually,

0:17:41.680 --> 0:17:45.119
<v Speaker 1>because Hitiko and Suki are falling in love, Hiteko also

0:17:45.160 --> 0:17:47.360
<v Speaker 1>wants to back out of the plan right and then

0:17:47.400 --> 0:17:49.879
<v Speaker 1>finally the two of them reveal to each other that

0:17:49.920 --> 0:17:53.960
<v Speaker 1>they have been tricking each other. So seen is so

0:17:55.280 --> 0:18:00.080
<v Speaker 1>good but scary but good. Where Lady hit the I

0:18:00.119 --> 0:18:02.919
<v Speaker 1>goes about to take her own life. She's about to

0:18:02.920 --> 0:18:07.760
<v Speaker 1>hang herself, and then Suki catches her, and everyone watching

0:18:07.760 --> 0:18:09.960
<v Speaker 1>the scene has an anxiety attack of like, I hope

0:18:10.000 --> 0:18:14.280
<v Speaker 1>that she has strong arms, uh, and this whole scene

0:18:14.280 --> 0:18:19.040
<v Speaker 1>have it's It's really good. These two actors together are

0:18:19.240 --> 0:18:23.800
<v Speaker 1>incredible for sure. So now their new plan is to

0:18:24.400 --> 0:18:28.480
<v Speaker 1>team up with each other against Count Fujiwara, and then

0:18:28.600 --> 0:18:32.440
<v Speaker 1>right before they're about to run away, they also destroy

0:18:32.560 --> 0:18:36.879
<v Speaker 1>the Uncle's treasured book collection as basically a like fuck

0:18:36.960 --> 0:18:42.399
<v Speaker 1>you dude gesture, and then we realize that when Suki

0:18:42.520 --> 0:18:45.600
<v Speaker 1>is taken to the institution. It's all part of the plan.

0:18:46.600 --> 0:18:50.879
<v Speaker 1>So then part three is Suki escapes from the institution

0:18:51.520 --> 0:18:55.800
<v Speaker 1>by lighting it on fire. I was slightly confused about

0:18:55.800 --> 0:18:57.919
<v Speaker 1>the logistics, but by that point in the movie I

0:18:57.960 --> 0:19:01.080
<v Speaker 1>was like, Yeah, sure, she liked it on fire. I

0:19:01.119 --> 0:19:06.680
<v Speaker 1>believe it. Meanwhile, Hitiko drugs the Count, escapes and meets

0:19:06.720 --> 0:19:09.320
<v Speaker 1>up with Suki. They flee and get on a ferry

0:19:09.320 --> 0:19:13.240
<v Speaker 1>to Shanghai. And then the Count has been captured and

0:19:13.240 --> 0:19:17.760
<v Speaker 1>brought back to the uncle's estate where the uncle tortures him.

0:19:17.800 --> 0:19:20.159
<v Speaker 1>And then the Count smokes a couple of cigarettes laced

0:19:20.160 --> 0:19:24.320
<v Speaker 1>with mercury, which poisons the air and kills both the men,

0:19:24.920 --> 0:19:27.520
<v Speaker 1>and then we cut back to the ferry where Suki

0:19:27.680 --> 0:19:33.199
<v Speaker 1>and Hitiko have more steamy sex. And that's how the

0:19:33.280 --> 0:19:38.000
<v Speaker 1>movie ends. So let's take a quick break and then

0:19:38.160 --> 0:19:48.639
<v Speaker 1>we will come back to discuss. And we're back, where

0:19:48.640 --> 0:19:52.840
<v Speaker 1>do we Caitlin, I'm genuinely curious just to start, what

0:19:53.040 --> 0:19:57.200
<v Speaker 1>is different about the ending of the BBC adaptation, because

0:19:57.200 --> 0:20:02.240
<v Speaker 1>I know that the largest adaptation change is obviously changing

0:20:02.280 --> 0:20:05.639
<v Speaker 1>the setting and the I think the time period was

0:20:05.640 --> 0:20:08.480
<v Speaker 1>shifted as well. I think it's a Victorian England to

0:20:08.640 --> 0:20:12.720
<v Speaker 1>nineteen thirties Japan and Korea. But what what is different

0:20:12.760 --> 0:20:15.760
<v Speaker 1>about like the plot points of the ending. So yeah,

0:20:15.760 --> 0:20:19.320
<v Speaker 1>the first half plays out basically the same, but in

0:20:19.400 --> 0:20:23.760
<v Speaker 1>Fingersmith the two women never collaborate. They never say, oh,

0:20:23.880 --> 0:20:26.480
<v Speaker 1>you're tricking me, I was tricking you. Wow, Let's team

0:20:26.560 --> 0:20:32.920
<v Speaker 1>up together and take down these male oppressors. That does

0:20:32.960 --> 0:20:37.480
<v Speaker 1>not happen. Instead, the handmade in character ends up in

0:20:37.520 --> 0:20:41.760
<v Speaker 1>the institution and then stays there for a while, does

0:20:41.800 --> 0:20:47.159
<v Speaker 1>still escape. Meanwhile, the lady character like is taken to

0:20:47.280 --> 0:20:51.160
<v Speaker 1>London after this marriage, and she keeps trying to escape

0:20:51.280 --> 0:20:53.400
<v Speaker 1>and they're like, no, we still have to get your

0:20:53.400 --> 0:20:57.240
<v Speaker 1>fortune from you. Uh. So she eventually is able to

0:20:57.320 --> 0:21:00.800
<v Speaker 1>run away and goes to one of like the book

0:21:00.880 --> 0:21:05.119
<v Speaker 1>collectors that her uncle knows, but then he turns her away,

0:21:05.160 --> 0:21:08.720
<v Speaker 1>so she has to go back to the home base

0:21:08.800 --> 0:21:12.080
<v Speaker 1>of all the like the Thief House, basically in London, which,

0:21:12.119 --> 0:21:16.560
<v Speaker 1>by the way, the sort of like matron character is

0:21:16.600 --> 0:21:20.639
<v Speaker 1>played by Amelda Staunton, who is of course Aunt Lucy

0:21:20.800 --> 0:21:25.679
<v Speaker 1>from Paddington's Okay I'm with Yes, So there's a lot

0:21:25.720 --> 0:21:33.200
<v Speaker 1>of Paddington connections in Fingersmith. So and then that like

0:21:33.600 --> 0:21:40.280
<v Speaker 1>matriarch character is like, hey, royal lady person, by the way,

0:21:40.480 --> 0:21:45.000
<v Speaker 1>you were switched at birth with this handmaiden lady, and

0:21:45.080 --> 0:21:48.359
<v Speaker 1>so she's the actual lady, and you're I think maybe

0:21:48.400 --> 0:21:51.160
<v Speaker 1>I'm getting that totally wrong because things got also very

0:21:51.160 --> 0:21:55.560
<v Speaker 1>confusing at that part. The handmaiden is better. Yeah what

0:21:55.600 --> 0:21:58.920
<v Speaker 1>I'm hearing right, Yeah, So there's some like switched at

0:21:58.960 --> 0:22:03.240
<v Speaker 1>birth scandal can't introduce switched at birth at the end

0:22:04.320 --> 0:22:08.880
<v Speaker 1>this fourth grade. And then so the count guy who

0:22:08.880 --> 0:22:12.400
<v Speaker 1>they call whose name is like the gentleman in Fingersmith,

0:22:12.840 --> 0:22:17.320
<v Speaker 1>comes around at some point and gets murdered by unclear

0:22:17.760 --> 0:22:21.000
<v Speaker 1>which person it was. It was either like the lady

0:22:21.359 --> 0:22:25.680
<v Speaker 1>or the Amelda Stanton character, but Amelti Stans character takes

0:22:25.720 --> 0:22:28.160
<v Speaker 1>the blame for it, and then she is hanged. So

0:22:28.200 --> 0:22:30.920
<v Speaker 1>that sort of now that all these people are dead,

0:22:31.160 --> 0:22:35.520
<v Speaker 1>she goes back to her like estate with all the books,

0:22:36.240 --> 0:22:39.200
<v Speaker 1>and then Sally Hawk like the handmaid and character comes

0:22:39.240 --> 0:22:43.240
<v Speaker 1>back and they sort of like reconcile. So the huge

0:22:43.280 --> 0:22:45.840
<v Speaker 1>difference is that there's never a team up. There's never

0:22:45.960 --> 0:22:50.359
<v Speaker 1>like a co conspirator like let's take the men down

0:22:50.440 --> 0:22:53.080
<v Speaker 1>kind of thing. They just sort of like have to

0:22:53.160 --> 0:22:58.200
<v Speaker 1>forgive each other, and then there's some like class stuff

0:22:58.400 --> 0:23:01.199
<v Speaker 1>of like you're not who you think you are, and

0:23:01.200 --> 0:23:06.840
<v Speaker 1>it's also kind of confusing. So that's Fingersmith. It sounds interesting,

0:23:07.000 --> 0:23:12.520
<v Speaker 1>but long I like this better. Yeah, okay, well, thank you,

0:23:12.640 --> 0:23:16.600
<v Speaker 1>thank you for thank you for sharing that. I I

0:23:16.640 --> 0:23:22.160
<v Speaker 1>wasn't aware how how much the source material deviated from

0:23:22.200 --> 0:23:26.080
<v Speaker 1>this adaptation. Yeah, it's pretty significant. Or I mean again,

0:23:26.080 --> 0:23:28.720
<v Speaker 1>because we haven't read the book. Who who knows what

0:23:29.240 --> 0:23:33.320
<v Speaker 1>happens there? Who knows how much that BBC adapt adaptation

0:23:33.520 --> 0:23:36.719
<v Speaker 1>deviated from the original source material. But The Handmaiden is

0:23:36.840 --> 0:23:40.520
<v Speaker 1>pretty drastically different in the second half of it from

0:23:41.000 --> 0:23:46.080
<v Speaker 1>Fingersmith the BBC series, UM got it? Yeah, so yeah.

0:23:46.400 --> 0:23:49.280
<v Speaker 1>And because of that, one of the things I like

0:23:49.320 --> 0:23:52.439
<v Speaker 1>about this movie so much is that it's a story

0:23:52.640 --> 0:23:58.200
<v Speaker 1>about men trying to exploit women and pit women against

0:23:58.240 --> 0:24:02.679
<v Speaker 1>each other, which doesn't work because the women talk to

0:24:02.720 --> 0:24:06.800
<v Speaker 1>each other and then they're like, wait a minute, these

0:24:06.800 --> 0:24:09.240
<v Speaker 1>men are trying to suck us over, so they instead

0:24:09.280 --> 0:24:14.600
<v Speaker 1>team up and punish. They're like again the male oppressors,

0:24:15.240 --> 0:24:18.600
<v Speaker 1>and then they get together and they live happily ever after. God,

0:24:18.640 --> 0:24:22.760
<v Speaker 1>I hope so or at least happily on the ferry,

0:24:23.080 --> 0:24:29.440
<v Speaker 1>they at least have an amazing cruise. So as you

0:24:29.760 --> 0:24:32.520
<v Speaker 1>started to talk about So Young in terms of like

0:24:32.560 --> 0:24:38.000
<v Speaker 1>this being a pretty groundbreaking film for South Korean cinema,

0:24:38.040 --> 0:24:42.199
<v Speaker 1>in terms of it's like queer representation, Yeah, just curious

0:24:42.240 --> 0:24:46.120
<v Speaker 1>if you have any other thoughts on that or yeah,

0:24:46.200 --> 0:24:50.240
<v Speaker 1>because you know, queer representation, it's just it's not there's

0:24:50.280 --> 0:24:53.040
<v Speaker 1>not a lot in Korean media and stuff like that,

0:24:53.160 --> 0:24:56.000
<v Speaker 1>even in you know, songs and stuff, and while it's

0:24:56.000 --> 0:24:59.040
<v Speaker 1>still while it's changing and people are becoming a lot

0:24:59.080 --> 0:25:02.960
<v Speaker 1>more open to it, it's still not on the forefront

0:25:03.040 --> 0:25:05.400
<v Speaker 1>like it is in America or you know, other countries.

0:25:05.920 --> 0:25:08.560
<v Speaker 1>So this was a you know, this was a pretty

0:25:08.600 --> 0:25:12.280
<v Speaker 1>big deal for not even it's not even like two

0:25:12.359 --> 0:25:14.760
<v Speaker 1>gay men, because that would have been still more something

0:25:14.760 --> 0:25:18.520
<v Speaker 1>that you would see, but to two women that that

0:25:18.800 --> 0:25:21.320
<v Speaker 1>is unheard of. So this was, Yeah, this was pretty

0:25:21.320 --> 0:25:25.120
<v Speaker 1>groundbreaking in that way, and I appreciate it. I saw,

0:25:25.280 --> 0:25:29.280
<v Speaker 1>like I guess, mixed reception of of the sex scenes

0:25:29.320 --> 0:25:32.360
<v Speaker 1>and how they were filmed and framed, and I'm interested

0:25:32.400 --> 0:25:35.520
<v Speaker 1>to talk about that as well. But I did appreciate that, like,

0:25:35.600 --> 0:25:40.280
<v Speaker 1>this movie is not shy at all about what it's

0:25:40.320 --> 0:25:44.800
<v Speaker 1>about and about this like intense sexual connection that these

0:25:44.800 --> 0:25:47.320
<v Speaker 1>two women have, because I feel like we I mean,

0:25:47.400 --> 0:25:51.000
<v Speaker 1>even in covering other movies on this podcast, you know,

0:25:51.640 --> 0:25:54.680
<v Speaker 1>very often when there is a relationship between two women,

0:25:54.800 --> 0:25:58.040
<v Speaker 1>you get a fade to black situation or you you

0:25:58.160 --> 0:26:02.480
<v Speaker 1>don't get the sex scene that appears in many PG

0:26:02.640 --> 0:26:05.639
<v Speaker 1>thirteen movies between a man and a woman. And so

0:26:05.960 --> 0:26:09.040
<v Speaker 1>I was, yeah, pleasantly surprised to see. I was like, oh,

0:26:09.119 --> 0:26:14.879
<v Speaker 1>we're we're getting sex scenes. That's exciting. I'm very pro sex,

0:26:17.119 --> 0:26:19.960
<v Speaker 1>especially like and this would have been more common in

0:26:20.440 --> 0:26:23.959
<v Speaker 1>at least like older American movies. But I just remember

0:26:24.040 --> 0:26:27.920
<v Speaker 1>that episode that we did on Fried Green Tomatoes where

0:26:27.960 --> 0:26:31.720
<v Speaker 1>the source material like more explicitly makes it clear that

0:26:31.840 --> 0:26:35.000
<v Speaker 1>the characters are queer. But then the movie, because it's

0:26:35.040 --> 0:26:39.160
<v Speaker 1>like a movie from the nineties, not even suggests it.

0:26:39.160 --> 0:26:43.440
<v Speaker 1>It's just like they're friends. They're friends who don't kiss

0:26:43.480 --> 0:26:45.880
<v Speaker 1>each other like they're friends, and they lived together for

0:26:45.960 --> 0:26:53.040
<v Speaker 1>such a long time, which based on how you described,

0:26:53.480 --> 0:26:56.840
<v Speaker 1>like the history of queer representation in South Korean cinema

0:26:57.520 --> 0:27:00.359
<v Speaker 1>so young, you might expect there to be more of

0:27:00.400 --> 0:27:03.679
<v Speaker 1>a like coding of like that relationship. Even if like

0:27:03.720 --> 0:27:06.679
<v Speaker 1>the two characters like do team up and like screw

0:27:06.760 --> 0:27:10.800
<v Speaker 1>over the men, that the precedent was set, it sounds

0:27:10.880 --> 0:27:14.520
<v Speaker 1>like to not get very explicit about the nature of

0:27:14.560 --> 0:27:18.320
<v Speaker 1>their relationship. So the fact that we do it is

0:27:18.400 --> 0:27:23.560
<v Speaker 1>very explicit, and we do see steamy sex scenes, which

0:27:24.920 --> 0:27:27.840
<v Speaker 1>again we'll talk about. But yeah, I was like, I

0:27:27.840 --> 0:27:30.000
<v Speaker 1>thought that was I thought that was really cool because

0:27:30.040 --> 0:27:32.760
<v Speaker 1>I did a little bit of just kind of I'm

0:27:32.800 --> 0:27:36.880
<v Speaker 1>by no means an expert in Korean media and certainly

0:27:36.920 --> 0:27:41.639
<v Speaker 1>not in like queer representation of it. But there is

0:27:41.680 --> 0:27:47.840
<v Speaker 1>a very helpful Wikipedia, our favorite scholarly journal page specifically

0:27:47.880 --> 0:27:52.000
<v Speaker 1>about queer representation in Korean media and that how according

0:27:52.040 --> 0:27:57.560
<v Speaker 1>to two scholars pill Ho Kim and see Colin Singer,

0:27:58.119 --> 0:28:02.159
<v Speaker 1>there are three pretty distinct waves of queer representation in

0:28:02.280 --> 0:28:06.840
<v Speaker 1>Korean cinema. Where there's like an invisible age from nine

0:28:07.400 --> 0:28:11.280
<v Speaker 1>seven where there was like minimal, very minimal l g

0:28:11.320 --> 0:28:14.639
<v Speaker 1>B t Q plus representation in film. But those films

0:28:14.680 --> 0:28:18.840
<v Speaker 1>were like relegated to the sidelines, like they didn't get publicity,

0:28:18.880 --> 0:28:22.280
<v Speaker 1>they were not mainstream. Most people didn't see them. They

0:28:22.320 --> 0:28:24.919
<v Speaker 1>like flew under the radar, and then there was the

0:28:25.040 --> 0:28:31.160
<v Speaker 1>Camouflage age from two thousand four, where representation grew during

0:28:31.160 --> 0:28:35.600
<v Speaker 1>that period, but queer characters and themes were still sidelined

0:28:35.720 --> 0:28:42.680
<v Speaker 1>and overshadowed by more heteronormative characters and themes. And then

0:28:43.160 --> 0:28:47.320
<v Speaker 1>finally the blockbuster age from two five to the present,

0:28:48.160 --> 0:28:53.240
<v Speaker 1>where cultural acceptance of queer people in queer communities in

0:28:53.320 --> 0:28:57.600
<v Speaker 1>South Korea as well as queer representation in media has

0:28:57.640 --> 0:28:59.640
<v Speaker 1>just kind of like been on the rise and been

0:28:59.680 --> 0:29:04.560
<v Speaker 1>more tolerated and accepted. So which like doesn't sound that

0:29:04.760 --> 0:29:10.160
<v Speaker 1>unlike the trend of queer representation and American Hollywood cinema

0:29:10.240 --> 0:29:14.000
<v Speaker 1>to be honest. Yeah, it's just a little slower, a

0:29:14.040 --> 0:29:19.040
<v Speaker 1>little more behind, right. Another trip that I really liked

0:29:19.040 --> 0:29:23.000
<v Speaker 1>that this movie because we've we've been covering a number

0:29:23.160 --> 0:29:27.120
<v Speaker 1>of query movies recently, and I think it was in

0:29:27.160 --> 0:29:30.480
<v Speaker 1>our Portrait of a Lady on Fire episode where we

0:29:30.680 --> 0:29:34.960
<v Speaker 1>discussed the trope that it's also a very white trope ordinarily,

0:29:35.480 --> 0:29:38.520
<v Speaker 1>but when there is a period piece with a lesbian

0:29:38.560 --> 0:29:43.320
<v Speaker 1>couple that it's all very doomed, it's all very like it.

0:29:43.320 --> 0:29:46.480
<v Speaker 1>It never ends well for the couple. The couple never

0:29:46.960 --> 0:29:50.479
<v Speaker 1>is able to survive the adversity, which is in some

0:29:50.560 --> 0:29:54.440
<v Speaker 1>ways at odds with many historical examples, but that is

0:29:54.560 --> 0:29:57.880
<v Speaker 1>the trend that movies have taken. And so when I

0:29:58.600 --> 0:30:01.400
<v Speaker 1>when I learned this was a period piece, I was like, Oh, no,

0:30:01.720 --> 0:30:05.000
<v Speaker 1>are we going to get another you know, doomed queer

0:30:05.080 --> 0:30:10.320
<v Speaker 1>couple that and and we don't they win? Like they win,

0:30:10.680 --> 0:30:14.160
<v Speaker 1>and I mean it was I guess it does kind

0:30:14.160 --> 0:30:18.080
<v Speaker 1>of demonstrate how going for scraps we still have to

0:30:18.120 --> 0:30:20.440
<v Speaker 1>be at times. But I was like, they their their

0:30:20.520 --> 0:30:25.320
<v Speaker 1>love survives, they overcome the adversity. It's not like, you know,

0:30:25.360 --> 0:30:27.800
<v Speaker 1>an ending where they're just like, I wonder what could

0:30:27.800 --> 0:30:31.440
<v Speaker 1>have been, Like they're on the damn boat having sex.

0:30:32.280 --> 0:30:35.200
<v Speaker 1>I was thrilled that that they ended up together at

0:30:35.240 --> 0:30:38.920
<v Speaker 1>the end, And because it's yeah, and in period pieces especially,

0:30:38.920 --> 0:30:43.520
<v Speaker 1>I feel like that is kind of rare. Yeah, I

0:30:43.560 --> 0:30:47.800
<v Speaker 1>think it legit shocked me given the historical context of

0:30:47.840 --> 0:30:50.360
<v Speaker 1>the of the movie, because you know, during that time,

0:30:50.400 --> 0:30:52.960
<v Speaker 1>it was like a lot of people died, so it

0:30:53.000 --> 0:30:56.440
<v Speaker 1>wouldn't it wouldn't have been strange to kind of see

0:30:56.440 --> 0:30:59.160
<v Speaker 1>that ending with the fact that it was a happy ending.

0:30:59.240 --> 0:31:02.040
<v Speaker 1>I mean, that was that was amazing. I was like, absolutely,

0:31:02.080 --> 0:31:06.120
<v Speaker 1>I'm here for it. Yeah. In the Catharsis of like

0:31:06.520 --> 0:31:13.520
<v Speaker 1>the two men dying, cut to two women just like

0:31:13.680 --> 0:31:21.120
<v Speaker 1>putting jingle bells in there for joying and having a ball.

0:31:21.240 --> 0:31:28.160
<v Speaker 1>I guess that's one literally no pun intended having a ball,

0:31:29.240 --> 0:31:35.760
<v Speaker 1>and oh god, the that. There were moments where I like,

0:31:36.840 --> 0:31:39.560
<v Speaker 1>this movie is just straight up smarter than me in

0:31:39.640 --> 0:31:41.760
<v Speaker 1>certain ways where I was like, oh, yeah, like I

0:31:41.800 --> 0:31:43.800
<v Speaker 1>know that the bell. I was like, the bell is

0:31:43.800 --> 0:31:46.680
<v Speaker 1>a metaphorical object. I can pick up on that much.

0:31:46.880 --> 0:31:48.920
<v Speaker 1>And so when they're fucking each other with the bells,

0:31:48.920 --> 0:31:52.240
<v Speaker 1>I'm like, this means something. I don't know what, but

0:31:52.400 --> 0:31:57.600
<v Speaker 1>definitely something. It's a metaphorical thing. And I and and sure,

0:31:57.840 --> 0:32:04.000
<v Speaker 1>and I totally understand. Yeah, I don't know what the

0:32:04.040 --> 0:32:08.280
<v Speaker 1>bells are a metaphor for, but I feel like I

0:32:08.320 --> 0:32:12.240
<v Speaker 1>don't need to know. I don't know. I every time

0:32:12.280 --> 0:32:17.719
<v Speaker 1>I'm just like, it's a metaphor for dot dot patriarchy.

0:32:18.120 --> 0:32:23.320
<v Speaker 1>I don't actually really know. Uh. I think the bells

0:32:23.400 --> 0:32:28.000
<v Speaker 1>they were in um one of the books that the

0:32:28.120 --> 0:32:30.200
<v Speaker 1>lady she read. I think they're just kind of like, oh,

0:32:30.280 --> 0:32:32.760
<v Speaker 1>I'm going to reclaim it. You know, it's not part

0:32:32.760 --> 0:32:36.480
<v Speaker 1>of this weird, creepy whatever thing that I'm doing from

0:32:36.480 --> 0:32:39.400
<v Speaker 1>my uncle. It's like our love things. That's what I thought.

0:32:40.040 --> 0:32:42.400
<v Speaker 1>I don't know, because it's like uses their uses a

0:32:42.440 --> 0:32:47.560
<v Speaker 1>weapon at one point, and okay, maybe I do understand. Oh,

0:32:47.600 --> 0:32:51.400
<v Speaker 1>but those are a different set of metal balls that

0:32:51.440 --> 0:32:55.720
<v Speaker 1>are used, like Okay, then I'm lost again. Yeah, I

0:32:55.720 --> 0:32:59.800
<v Speaker 1>think that was stove, that was right. The bells Okay, no,

0:33:02.120 --> 0:33:04.680
<v Speaker 1>they look similar, but no, but you're right, so young

0:33:05.000 --> 0:33:10.080
<v Speaker 1>where she was, because it's this difference of she's being

0:33:10.120 --> 0:33:15.880
<v Speaker 1>forced against her will to read these stories solely for

0:33:15.920 --> 0:33:20.400
<v Speaker 1>the sake of the pleasure of all of these men,

0:33:21.320 --> 0:33:25.960
<v Speaker 1>and then when we actually see her use those toys, materials,

0:33:26.640 --> 0:33:32.600
<v Speaker 1>the items, the bells, the bells, now, it's like they're

0:33:32.720 --> 0:33:38.160
<v Speaker 1>on her terms and she's not doing it for these

0:33:38.240 --> 0:33:42.280
<v Speaker 1>creepy men. She's doing it for herself. So it's like

0:33:42.320 --> 0:33:50.440
<v Speaker 1>a nice, just symbolic thing. I also noticed in that

0:33:50.520 --> 0:33:53.720
<v Speaker 1>scene when she's reading about because that's the only scene

0:33:53.760 --> 0:33:56.360
<v Speaker 1>I think where she's doing a reading from one of

0:33:56.360 --> 0:34:00.680
<v Speaker 1>those books that does involve two women, and we see

0:34:00.680 --> 0:34:04.680
<v Speaker 1>her like pat her little handkerchief, like pat down her

0:34:04.720 --> 0:34:09.200
<v Speaker 1>like perspiration, as if to say, Wow, that actually got

0:34:09.239 --> 0:34:12.120
<v Speaker 1>me excited because of all the other the other scenes

0:34:12.160 --> 0:34:16.080
<v Speaker 1>where she's doing readings about like a penis going into

0:34:16.120 --> 0:34:21.439
<v Speaker 1>a vagina, She's just like not interested, do not care,

0:34:22.000 --> 0:34:25.800
<v Speaker 1>and a penis going into a vagina in a pretty

0:34:25.840 --> 0:34:28.400
<v Speaker 1>a pretty mean way most of the time, like that

0:34:28.640 --> 0:34:32.959
<v Speaker 1>they're they're not they're very unpleasant stories that all these

0:34:32.960 --> 0:34:37.080
<v Speaker 1>guys are getting extremely aroused by. It's all like, I mean,

0:34:37.200 --> 0:34:39.360
<v Speaker 1>I guess that that is like so much of what

0:34:39.520 --> 0:34:42.520
<v Speaker 1>comes up in the movie is like the the men

0:34:42.600 --> 0:34:46.879
<v Speaker 1>of this story policing and controlling the women in their

0:34:46.880 --> 0:34:50.200
<v Speaker 1>lives and controlling their bodies sexually, controlling their bodies in

0:34:50.320 --> 0:34:55.040
<v Speaker 1>terms of like Lady Hideko is literally like trapped in

0:34:55.239 --> 0:35:00.080
<v Speaker 1>this castle kind of Princess Peach style, and it's it's

0:35:00.120 --> 0:35:04.120
<v Speaker 1>like about the extreme control of women's bodies and and

0:35:04.600 --> 0:35:09.680
<v Speaker 1>an attempt to control their minds which doesn't succeed. But yeah,

0:35:09.840 --> 0:35:11.640
<v Speaker 1>I don't know, I mean, it's it's so And and

0:35:11.680 --> 0:35:17.000
<v Speaker 1>then also in the case of the uncle, this really

0:35:17.080 --> 0:35:23.560
<v Speaker 1>volatile nature of like repeated intimidation of his wife who

0:35:23.600 --> 0:35:26.920
<v Speaker 1>eventually takes her own life, and and his niece. No

0:35:27.520 --> 0:35:30.960
<v Speaker 1>he it's implied that he kills her, but but it's

0:35:30.960 --> 0:35:34.600
<v Speaker 1>played off as though she killed herself. But in any case,

0:35:34.640 --> 0:35:38.600
<v Speaker 1>like it repeatedly like instilling them with fear and threats,

0:35:38.640 --> 0:35:42.440
<v Speaker 1>and then when they respond to that, they're framed as

0:35:42.600 --> 0:35:46.399
<v Speaker 1>hysterical in this very I mean, I guess you're like, well,

0:35:46.400 --> 0:35:50.680
<v Speaker 1>it's theties, of course that is happening. But um, it

0:35:50.719 --> 0:35:54.479
<v Speaker 1>was interesting seeing it framed the way it was, where

0:35:54.480 --> 0:35:57.160
<v Speaker 1>it was like even with that deception that they're like, oh,

0:35:57.200 --> 0:35:59.759
<v Speaker 1>she she took her own life, you know, because she

0:36:00.239 --> 0:36:03.680
<v Speaker 1>you know, she was suffering from something that we don't

0:36:03.680 --> 0:36:06.319
<v Speaker 1>really know what was going on, when it's like so

0:36:06.440 --> 0:36:10.520
<v Speaker 1>clear what is going on in this house where women

0:36:10.560 --> 0:36:15.279
<v Speaker 1>are just brutalized and if I don't know, I mean

0:36:15.320 --> 0:36:19.279
<v Speaker 1>it's it's it's really brutal in some um in some

0:36:19.320 --> 0:36:21.560
<v Speaker 1>sections of this movie, to the point where you know,

0:36:21.600 --> 0:36:24.080
<v Speaker 1>when the when the count and the uncle kind of

0:36:24.120 --> 0:36:25.680
<v Speaker 1>get their come up into at the end, you're like,

0:36:26.520 --> 0:36:31.560
<v Speaker 1>thank god, Uh yeah, especially with the reveal that the

0:36:31.680 --> 0:36:37.200
<v Speaker 1>uncle has been basically grooming her since childhood to read

0:36:38.080 --> 0:36:42.440
<v Speaker 1>this like erotic literature, that's straight up child sex abuse.

0:36:42.760 --> 0:36:46.719
<v Speaker 1>And so when he keels over and dies, I was like,

0:36:47.400 --> 0:36:53.080
<v Speaker 1>it's about damned time. Um, let's take another quick break

0:36:53.239 --> 0:37:02.120
<v Speaker 1>and then we will be right back, and we're back.

0:37:02.760 --> 0:37:07.760
<v Speaker 1>We we've referenced this already. But so Fingersmith was the

0:37:07.800 --> 0:37:10.600
<v Speaker 1>inspiration for this story. It sounds like it deviates kind

0:37:10.600 --> 0:37:14.680
<v Speaker 1>of significantly in the back half. But um, I was,

0:37:14.920 --> 0:37:18.120
<v Speaker 1>you know, pleasantly surprised, knowing nothing about the background of

0:37:18.160 --> 0:37:21.520
<v Speaker 1>this movie, to find that it had been adapted by

0:37:21.719 --> 0:37:25.280
<v Speaker 1>a text by a queer woman, by a Welsh author

0:37:25.480 --> 0:37:29.160
<v Speaker 1>named Sarah Waters, who wrote this in two thousand two.

0:37:29.200 --> 0:37:31.239
<v Speaker 1>And I thought that just I don't know all the

0:37:31.280 --> 0:37:35.279
<v Speaker 1>information on adapting this movie and adapting that story to

0:37:35.560 --> 0:37:38.840
<v Speaker 1>Japan and Korea in this time period. I I learned

0:37:39.000 --> 0:37:43.760
<v Speaker 1>a lot, having h having gotten you know, a piss

0:37:43.800 --> 0:37:49.160
<v Speaker 1>poor American education that this same this period of history

0:37:49.320 --> 0:37:51.880
<v Speaker 1>in Korea and Japan. I was not well versed in.

0:37:51.960 --> 0:37:55.240
<v Speaker 1>I knew kind of the main bullet points, but learning

0:37:55.360 --> 0:37:59.920
<v Speaker 1>more about the annexation of Korea and just the complete culture,

0:38:00.239 --> 0:38:04.080
<v Speaker 1>erasure and colonialism that was going on at this time

0:38:04.280 --> 0:38:07.680
<v Speaker 1>was not something that I was very well versed in.

0:38:08.400 --> 0:38:11.240
<v Speaker 1>And it doesn't sound like it was something that Sarah Waters,

0:38:11.320 --> 0:38:14.000
<v Speaker 1>a Welsh author, was very well first in as well,

0:38:14.160 --> 0:38:16.960
<v Speaker 1>and so there will link this in the description. But

0:38:18.000 --> 0:38:22.040
<v Speaker 1>it's just a very interesting adaptation story. Where Sarah Waters

0:38:22.280 --> 0:38:26.880
<v Speaker 1>was at first, um not sure whether Park Chun Wook,

0:38:26.920 --> 0:38:30.560
<v Speaker 1>who is the director of this movie and many other movies.

0:38:30.880 --> 0:38:33.640
<v Speaker 1>He's kind of has a reputation for being a hyper

0:38:33.640 --> 0:38:37.759
<v Speaker 1>masculine director, like he directs pretty like he directed Old Boy.

0:38:38.120 --> 0:38:41.759
<v Speaker 1>He directed all these like really male driven movies, and

0:38:41.800 --> 0:38:45.239
<v Speaker 1>so at first she was like, I don't does this

0:38:45.400 --> 0:38:50.919
<v Speaker 1>make sense. Once they like discussed collaborating and hester and

0:38:50.920 --> 0:38:54.760
<v Speaker 1>and he also wrote this script with female co writer

0:38:55.400 --> 0:38:59.520
<v Speaker 1>Chung I hope that I'm getting right Chung cho kieong um,

0:38:59.560 --> 0:39:03.680
<v Speaker 1>who he's worked with a number of times over the years.

0:39:03.719 --> 0:39:06.360
<v Speaker 1>So he had he had a female co writer and

0:39:06.719 --> 0:39:10.960
<v Speaker 1>they proposed this time shift, and that was what got

0:39:11.040 --> 0:39:14.120
<v Speaker 1>Sarah Waters on board. So I just I don't know,

0:39:14.160 --> 0:39:16.880
<v Speaker 1>it's it's it's a really cool story of and I

0:39:17.160 --> 0:39:20.200
<v Speaker 1>feel like this time period in the setting like fit

0:39:20.320 --> 0:39:24.239
<v Speaker 1>the stories so effortlessly and also kind of I mean,

0:39:24.280 --> 0:39:27.640
<v Speaker 1>based on what you're saying about the BBC adaptation, Caitlin,

0:39:27.719 --> 0:39:30.520
<v Speaker 1>sounds like it sort of expands the scope of what

0:39:30.840 --> 0:39:34.359
<v Speaker 1>the story is able to explore because it's you know,

0:39:34.600 --> 0:39:38.360
<v Speaker 1>not only is it examining class in a lot of ways,

0:39:38.400 --> 0:39:41.880
<v Speaker 1>and it's like examining queerness and it's examining patriarchy, but

0:39:41.920 --> 0:39:45.799
<v Speaker 1>it's also touching on this you know, extreme period of

0:39:46.120 --> 0:39:50.080
<v Speaker 1>colonialism and really aggressive cultural erasure in a way. It

0:39:50.080 --> 0:39:53.279
<v Speaker 1>sounds like the source material didn't because of where, where

0:39:53.280 --> 0:39:56.279
<v Speaker 1>and when it was set. So um, yeah, yeah, it's

0:39:56.280 --> 0:39:59.920
<v Speaker 1>just a really interesting story. Yeah. Like I was like,

0:40:00.160 --> 0:40:03.240
<v Speaker 1>turns out I know nothing about this period of history.

0:40:03.400 --> 0:40:06.160
<v Speaker 1>Let me read the Wikipedia page. And it's just like

0:40:06.200 --> 0:40:08.839
<v Speaker 1>in the US, we're just like not taught about this

0:40:08.880 --> 0:40:12.719
<v Speaker 1>period of time at all. Yeah, so, uh, this movie

0:40:12.760 --> 0:40:16.239
<v Speaker 1>inspired me to like learn about it. So I did

0:40:16.560 --> 0:40:22.839
<v Speaker 1>read the first several paragraphs of the Wikipedia page about it. Well,

0:40:22.880 --> 0:40:26.200
<v Speaker 1>we'll link to some resources in uh in the description

0:40:26.239 --> 0:40:30.800
<v Speaker 1>as well, if you like us got a very limited

0:40:31.040 --> 0:40:38.160
<v Speaker 1>shitty education the United States. Yeah, I just wanted to add, like,

0:40:38.400 --> 0:40:40.680
<v Speaker 1>I think one of the interesting things is, like, so

0:40:40.800 --> 0:40:42.920
<v Speaker 1>the brutality of the men, right, the men were pretty

0:40:43.000 --> 0:40:46.520
<v Speaker 1>terrible and they did pretty terrible things. But during this time,

0:40:47.040 --> 0:40:48.920
<v Speaker 1>you know, there was a lot of anti Japanese sentiment

0:40:49.239 --> 0:40:51.400
<v Speaker 1>obviously because of what was happening and I thought it

0:40:51.440 --> 0:40:55.239
<v Speaker 1>was really interesting because these two men are very pro Japanese, right,

0:40:55.280 --> 0:40:58.760
<v Speaker 1>they want, you know, doing all these things, but they're Korean,

0:40:59.280 --> 0:41:02.920
<v Speaker 1>and so it kind of showed the whole, you know,

0:41:03.000 --> 0:41:05.600
<v Speaker 1>in my personal opinion, it showed a whole like all

0:41:05.920 --> 0:41:10.000
<v Speaker 1>the Koreans who kind of portrayed, you know, our country

0:41:10.320 --> 0:41:13.319
<v Speaker 1>in a sense, we're worse than the Japanese people who

0:41:13.680 --> 0:41:16.520
<v Speaker 1>invaded our country. So I did find that that's a

0:41:16.600 --> 0:41:20.600
<v Speaker 1>very interesting framing of that from pac John because you know,

0:41:20.920 --> 0:41:23.000
<v Speaker 1>during this time it was such a you know, was

0:41:23.000 --> 0:41:26.319
<v Speaker 1>obviously about time, but kind of that shine through the

0:41:26.480 --> 0:41:29.919
<v Speaker 1>very you know, don't be this type of person during

0:41:29.960 --> 0:41:33.320
<v Speaker 1>this horrible time in which you know, this thing's happened.

0:41:33.360 --> 0:41:37.439
<v Speaker 1>So yeah, yeah, totally. Yeah. There there's like that whole

0:41:37.440 --> 0:41:40.279
<v Speaker 1>conversation they have where it's like a reveal later in

0:41:40.280 --> 0:41:43.239
<v Speaker 1>the movie that the uncle has done the same thing

0:41:43.360 --> 0:41:47.080
<v Speaker 1>that the Count is in the middle of doing, which

0:41:47.200 --> 0:41:50.719
<v Speaker 1>is yeah, you know, saying their their Japanese when they

0:41:50.719 --> 0:41:55.520
<v Speaker 1>are not and being generally villainous. And but there's like

0:41:55.520 --> 0:41:58.640
<v Speaker 1>that whole conversation they have where the uncle is talking

0:41:58.640 --> 0:42:02.719
<v Speaker 1>about how he that Korea is ugly and Japan is beautiful,

0:42:02.840 --> 0:42:06.600
<v Speaker 1>and the Count says, oh, you know, that's interesting. I've

0:42:06.600 --> 0:42:09.719
<v Speaker 1>heard people say the exact opposite, and it's like the

0:42:10.840 --> 0:42:13.120
<v Speaker 1>I don't know, I mean, and again I'm I'm not

0:42:13.400 --> 0:42:16.080
<v Speaker 1>extremely educated in this period of history at all, but

0:42:16.520 --> 0:42:20.480
<v Speaker 1>just even opening this story to make room for discussion

0:42:20.520 --> 0:42:24.440
<v Speaker 1>about that, and it does seem like Park chinook Is

0:42:24.440 --> 0:42:27.719
<v Speaker 1>is making kind of a value judgment of of these

0:42:27.840 --> 0:42:33.560
<v Speaker 1>characters through their behavior outside of of the colonial history.

0:42:34.000 --> 0:42:37.680
<v Speaker 1>It's it's it's it's you know, I never want to

0:42:37.719 --> 0:42:44.840
<v Speaker 1>see someone's fingers chopped off by like a paper cutter. Uh.

0:42:45.200 --> 0:42:47.480
<v Speaker 1>I guess that's the end of the sentence. But you know,

0:42:47.520 --> 0:42:50.279
<v Speaker 1>it's like if it had to happen to someone, I'm like,

0:42:50.320 --> 0:42:54.480
<v Speaker 1>the Count is terrible, and and as the as the

0:42:54.480 --> 0:42:57.680
<v Speaker 1>story goes on, you just realize more more angles from

0:42:57.719 --> 0:43:01.080
<v Speaker 1>which he is terrible, and so when they take his

0:43:01.120 --> 0:43:06.200
<v Speaker 1>fingers off with a paper cutter, it's like, you know, yeah, okay, fine, fine,

0:43:08.400 --> 0:43:12.839
<v Speaker 1>I'll allow it. Yeah no, Uh, both the Count and

0:43:13.000 --> 0:43:16.320
<v Speaker 1>the uncle got what they deserved as far as I'm concerned,

0:43:16.360 --> 0:43:20.200
<v Speaker 1>because you know, they're both abusers, their manipulators. I mean,

0:43:20.200 --> 0:43:22.560
<v Speaker 1>we see a scene where the Count tries to sexually

0:43:22.560 --> 0:43:27.759
<v Speaker 1>assault Hittigo. These are awful, awful men, and so I

0:43:27.800 --> 0:43:32.239
<v Speaker 1>appreciate that we see toxic male behavior being punished because

0:43:32.280 --> 0:43:35.520
<v Speaker 1>they end up dying because the women were very clever

0:43:35.880 --> 0:43:41.440
<v Speaker 1>in their like orchestration of this scheme to get back

0:43:41.640 --> 0:43:45.839
<v Speaker 1>at them. And I thought that was really cool to see.

0:43:46.000 --> 0:43:50.360
<v Speaker 1>You often don't see toxic male behavior punished in movies.

0:43:50.640 --> 0:43:54.719
<v Speaker 1>So yeah, I just appreciated that a lot. And it

0:43:54.760 --> 0:43:57.640
<v Speaker 1>does seem like they really I mean, both of those

0:43:57.800 --> 0:44:02.920
<v Speaker 1>characters are leve viridging the most dominant advantage they have,

0:44:03.200 --> 0:44:07.000
<v Speaker 1>which is the fact that they're men. And it is

0:44:07.160 --> 0:44:10.839
<v Speaker 1>I feel like any you know, any empathy you could

0:44:10.840 --> 0:44:14.239
<v Speaker 1>generate for these characters, who are to an extent in

0:44:14.520 --> 0:44:19.000
<v Speaker 1>a really difficult situation as Korean men at this time

0:44:19.040 --> 0:44:22.640
<v Speaker 1>of intense colonialism, is completely undercut by the fact that

0:44:22.680 --> 0:44:25.080
<v Speaker 1>they're taking it out on the women around them, the

0:44:25.120 --> 0:44:29.480
<v Speaker 1>people who have less power than them, and elevating themselves

0:44:29.520 --> 0:44:32.600
<v Speaker 1>at the expense of the people who have less power.

0:44:32.719 --> 0:44:35.840
<v Speaker 1>And there's there were some like interesting moments I found

0:44:35.840 --> 0:44:39.440
<v Speaker 1>interesting with account where he says these things that sound

0:44:39.680 --> 0:44:44.200
<v Speaker 1>so cutting and cruel, but you can sort of understand

0:44:44.239 --> 0:44:46.279
<v Speaker 1>why he's saying them, even if you don't agree with it.

0:44:46.320 --> 0:44:48.560
<v Speaker 1>Where he's saying, you know, where I come from, it's

0:44:48.560 --> 0:44:53.200
<v Speaker 1>illegal to be naive, and sort of referencing the fact

0:44:53.239 --> 0:44:57.600
<v Speaker 1>that he's from the underclass and he's from he's Korean,

0:44:57.640 --> 0:45:01.080
<v Speaker 1>he's from a really oppressed group of people at this time,

0:45:01.200 --> 0:45:04.080
<v Speaker 1>and so you can understand why he would say that.

0:45:04.120 --> 0:45:09.200
<v Speaker 1>But what he's talking about is deceiving a Korean woman

0:45:09.480 --> 0:45:15.640
<v Speaker 1>and throwing her in jail essentially, and it's yeah, yeah,

0:45:15.680 --> 0:45:17.800
<v Speaker 1>it's almost like blaming her and it's like you shouldn't

0:45:17.800 --> 0:45:25.160
<v Speaker 1>have trusted anybody. Yeah, ever, right, Yeah, it's it's all

0:45:25.320 --> 0:45:31.080
<v Speaker 1>very fascinating and the yeah, the way that these really

0:45:31.200 --> 0:45:37.480
<v Speaker 1>terrible men in the movie are punished for their like

0:45:37.680 --> 0:45:43.960
<v Speaker 1>upholding of the patriarchy is very exciting to watch in

0:45:44.000 --> 0:45:45.719
<v Speaker 1>a way that doesn't really I mean, it kind of

0:45:45.760 --> 0:45:49.160
<v Speaker 1>happens in Fingersmiths, but like, again, the major change that

0:45:49.239 --> 0:45:54.200
<v Speaker 1>I really appreciate is the two women like realizing that

0:45:54.239 --> 0:45:58.600
<v Speaker 1>they're in love with the other. That kind of prompts

0:45:58.800 --> 0:46:03.719
<v Speaker 1>them to admit what's going on. Then they're like, yeah,

0:46:03.760 --> 0:46:06.719
<v Speaker 1>I'm upset that you tricked me, but also I was

0:46:06.760 --> 0:46:09.399
<v Speaker 1>tricking you, so I can't be that upset. But now

0:46:09.400 --> 0:46:13.440
<v Speaker 1>that we know what the real situation is, let's team up.

0:46:13.880 --> 0:46:19.800
<v Speaker 1>And now there's a third trickery happening against the count.

0:46:20.280 --> 0:46:25.360
<v Speaker 1>So I love a movie with tricks. It's exciting. Um,

0:46:25.400 --> 0:46:30.120
<v Speaker 1>should we talk a little bit more about the sex

0:46:30.160 --> 0:46:37.200
<v Speaker 1>scenes slash the mail Gaze. Yeah, let's get into where So,

0:46:37.520 --> 0:46:42.560
<v Speaker 1>like we mentioned, there have been mixed reviews about this

0:46:42.719 --> 0:46:46.440
<v Speaker 1>where some of the discussion around this film was how

0:46:47.239 --> 0:46:52.839
<v Speaker 1>the movie deconstructs or transcends the mail gaze. I think

0:46:53.200 --> 0:46:55.879
<v Speaker 1>more based on the events of the story and how

0:46:56.080 --> 0:46:59.600
<v Speaker 1>like these women team up and collaborate and take down

0:47:00.040 --> 0:47:04.719
<v Speaker 1>the men, rather than the sex scenes themselves. Because other

0:47:04.800 --> 0:47:09.240
<v Speaker 1>critics have been like, um, well, it is a movie

0:47:09.560 --> 0:47:15.240
<v Speaker 1>about lesbians with some graphic sex scenes that were shot

0:47:15.360 --> 0:47:20.880
<v Speaker 1>by a director and cinematographer who are both men, and

0:47:21.120 --> 0:47:26.520
<v Speaker 1>the sex scenes are really long and and quite graphic,

0:47:27.000 --> 0:47:31.399
<v Speaker 1>and you know, there's still male gaze involved because of

0:47:31.440 --> 0:47:35.839
<v Speaker 1>the people who are capturing this imagery and delivering it

0:47:35.880 --> 0:47:39.480
<v Speaker 1>to an audience. And then other people were like, but

0:47:39.560 --> 0:47:43.000
<v Speaker 1>what about the part of the movie where there's like

0:47:43.120 --> 0:47:49.320
<v Speaker 1>a shot from the point of view of Heidako's volva,

0:47:50.000 --> 0:47:54.600
<v Speaker 1>where like we just see Suki like leaning in with

0:47:54.640 --> 0:47:57.520
<v Speaker 1>her tongue out about she had a goal pro on

0:47:57.800 --> 0:48:03.319
<v Speaker 1>her LA is essentially the shot, and so it's like, well,

0:48:03.320 --> 0:48:05.960
<v Speaker 1>how could that be the male gaze when it's literally

0:48:06.200 --> 0:48:09.080
<v Speaker 1>from the point of view of a vagina. And then

0:48:09.160 --> 0:48:11.160
<v Speaker 1>so there's you know, there's a lot of sides to

0:48:11.200 --> 0:48:15.040
<v Speaker 1>this argument. I'm curious how the both of you feel

0:48:15.120 --> 0:48:20.399
<v Speaker 1>about this. I think, Okay, look, I think the sex

0:48:20.400 --> 0:48:23.080
<v Speaker 1>scenes were over the top. That's just my personal opinion.

0:48:23.160 --> 0:48:27.200
<v Speaker 1>I think it was a lot and very graphic and

0:48:27.280 --> 0:48:32.080
<v Speaker 1>almost like unnecessarily graphic, honestly, And I do agree. It's

0:48:32.080 --> 0:48:35.600
<v Speaker 1>a male director, it's a male cinematographer, so there is

0:48:35.640 --> 0:48:40.640
<v Speaker 1>a male gaze there especially. I don't know the director obviously,

0:48:40.680 --> 0:48:43.040
<v Speaker 1>but just kind of like how much do they really

0:48:43.080 --> 0:48:47.200
<v Speaker 1>know about how the sex scene should go, you know,

0:48:47.280 --> 0:48:53.520
<v Speaker 1>and like in other lgbt Q movies. So I'll say, yeah,

0:48:53.800 --> 0:48:56.680
<v Speaker 1>that's like my main criticism it is it's a lot.

0:48:56.760 --> 0:49:01.319
<v Speaker 1>It's definitely almost too much. And I think if you

0:49:01.320 --> 0:49:03.799
<v Speaker 1>didn't have it that graphic or whatever, it wouldn't have

0:49:03.920 --> 0:49:07.080
<v Speaker 1>taken away from the story whatsoever. So I think, yeah,

0:49:07.120 --> 0:49:09.399
<v Speaker 1>I think it was a little too much. I wasn't sure.

0:49:09.440 --> 0:49:11.520
<v Speaker 1>I mean I was interested to read through all the

0:49:11.560 --> 0:49:14.719
<v Speaker 1>different takes, and it's like, you know, if if you

0:49:14.800 --> 0:49:17.560
<v Speaker 1>loved the sex scene, that's great. I didn't. I mean,

0:49:17.640 --> 0:49:20.320
<v Speaker 1>I liked that there was a sex scene there. I

0:49:20.360 --> 0:49:22.600
<v Speaker 1>didn't have any issue with that because I feel like,

0:49:23.600 --> 0:49:26.759
<v Speaker 1>you know, very often, like we're talking about earlier, when

0:49:26.800 --> 0:49:30.120
<v Speaker 1>there's a lesbian relationship, it's all very like Wink wink

0:49:30.160 --> 0:49:36.120
<v Speaker 1>fade to black in mainstream movies, but the scenes are

0:49:36.239 --> 0:49:42.560
<v Speaker 1>very long. They're extremely long. The go pro shot through me. Uh,

0:49:42.760 --> 0:49:46.120
<v Speaker 1>he also get the same sex scene twice from like

0:49:46.520 --> 0:49:50.839
<v Speaker 1>two different points of view. I guess yeah. I mean,

0:49:51.080 --> 0:49:56.359
<v Speaker 1>knowing that it was directed and filmed by men, I

0:49:56.360 --> 0:49:59.399
<v Speaker 1>feel like kind of tells you what you need to know.

0:50:00.080 --> 0:50:04.600
<v Speaker 1>And I was also interested in This came from a

0:50:04.719 --> 0:50:10.400
<v Speaker 1>Guardian profile of Sarah Waters, who wrote Fingersmith at the

0:50:10.440 --> 0:50:13.880
<v Speaker 1>time The Handmaiden came out and kind of like clarified.

0:50:14.000 --> 0:50:17.200
<v Speaker 1>I was like, what is so essentially what it says

0:50:17.280 --> 0:50:20.839
<v Speaker 1>is in in the book, which we're not going to read,

0:50:21.239 --> 0:50:24.160
<v Speaker 1>but in in the book, I guess, uh, you know,

0:50:24.200 --> 0:50:29.240
<v Speaker 1>Sarah Waters very often writes lesbian romances in her work,

0:50:29.800 --> 0:50:33.200
<v Speaker 1>but a lot of what she's known for is just

0:50:33.239 --> 0:50:37.000
<v Speaker 1>talking about women's bodies very frankly, in a way that

0:50:37.120 --> 0:50:41.960
<v Speaker 1>like incorporates things like sweat and like pubic hair and

0:50:42.040 --> 0:50:45.000
<v Speaker 1>just things that are kind of a glossed over and

0:50:45.120 --> 0:50:48.960
<v Speaker 1>a lot of big movie sex scenes and present this

0:50:49.120 --> 0:50:55.040
<v Speaker 1>very idealized version of what lesbian sex looks like. And

0:50:55.080 --> 0:50:57.399
<v Speaker 1>I and that is like made clear in the story too,

0:50:57.640 --> 0:51:03.040
<v Speaker 1>where you know, like when Lady high Deco is reading this,

0:51:03.440 --> 0:51:08.160
<v Speaker 1>you know, pornographic literature, they're referencing the vagina repeatedly as

0:51:08.280 --> 0:51:15.640
<v Speaker 1>like hairless, smooth, like this mythic thing that those who

0:51:15.640 --> 0:51:20.400
<v Speaker 1>have vaginas are, Like, okay, sure, like it's somehow like

0:51:20.520 --> 0:51:25.840
<v Speaker 1>pearly white, made of jade, the jade gates, you know,

0:51:25.880 --> 0:51:29.520
<v Speaker 1>and they're like folds of like gore. You're like, okay,

0:51:29.640 --> 0:51:34.120
<v Speaker 1>but sparkles and shimmers and but there's also other stuff

0:51:34.160 --> 0:51:37.560
<v Speaker 1>going on. Um. And it seems like her work was

0:51:37.640 --> 0:51:41.000
<v Speaker 1>kind of known for just like talking about bodies in

0:51:41.040 --> 0:51:45.280
<v Speaker 1>that way that was like very sexual, but also about

0:51:45.360 --> 0:51:48.799
<v Speaker 1>actual bodies and not this like mythic view of what

0:51:48.880 --> 0:51:50.920
<v Speaker 1>bodies are. And I felt like the sex scenes in

0:51:50.920 --> 0:51:55.040
<v Speaker 1>this movie didn't really meet that where it's still felt

0:51:55.840 --> 0:51:58.400
<v Speaker 1>even though the other side of that came across clearly

0:51:58.440 --> 0:52:00.680
<v Speaker 1>that it's like listening to her half to talk about

0:52:00.760 --> 0:52:05.839
<v Speaker 1>this really unrealistic view of what a vagina looks like

0:52:05.920 --> 0:52:08.880
<v Speaker 1>day after day is clearly wearing on her and is

0:52:09.239 --> 0:52:13.160
<v Speaker 1>ridiculous and male gazy. The sex scenms, I feel like,

0:52:13.200 --> 0:52:17.080
<v Speaker 1>didn't really challenge that enough. I don't know, I don't know.

0:52:17.680 --> 0:52:23.520
<v Speaker 1>My personal opinion is that they were they were long. Yeah,

0:52:23.640 --> 0:52:28.400
<v Speaker 1>I'm like of two minds about it, where I think

0:52:28.480 --> 0:52:33.440
<v Speaker 1>it's cool that we do get more of a foray

0:52:33.760 --> 0:52:41.200
<v Speaker 1>into lesbian sex than you tend to see in mainstream movies,

0:52:42.080 --> 0:52:46.719
<v Speaker 1>just because of like our heteronormative society and so much

0:52:46.920 --> 0:52:51.080
<v Speaker 1>phobia around queer sex. There's just been a tendency to

0:52:51.680 --> 0:52:55.239
<v Speaker 1>shy away from it, or skirt around it, or just

0:52:55.520 --> 0:53:00.520
<v Speaker 1>not feature it, especially because when it's lesbian sex there

0:53:00.760 --> 0:53:05.600
<v Speaker 1>is double the focus on female pleasure, which is something

0:53:06.320 --> 0:53:11.480
<v Speaker 1>that even in hetero sex scenes and just again culture

0:53:11.520 --> 0:53:17.200
<v Speaker 1>at large, the idea of female pleasure is terrifying to

0:53:17.800 --> 0:53:23.000
<v Speaker 1>a large chunk of the population. So further to be,

0:53:23.640 --> 0:53:27.440
<v Speaker 1>this emphasis on female pleasure in the sex scenes is

0:53:27.920 --> 0:53:32.600
<v Speaker 1>cool and exciting, but the sex scenes linger on for

0:53:32.840 --> 0:53:36.960
<v Speaker 1>longer than we need, and ultimately they are by the

0:53:37.080 --> 0:53:40.479
<v Speaker 1>very nature of who is making this film shot through

0:53:41.040 --> 0:53:45.200
<v Speaker 1>the male gaze and interpreted through the male gaze, and

0:53:45.280 --> 0:53:47.640
<v Speaker 1>even sort of the way in which the like the

0:53:47.680 --> 0:53:52.160
<v Speaker 1>blocking of the sex scenes feels it's a lot. It's

0:53:52.200 --> 0:53:54.120
<v Speaker 1>it's just knowing there is a man on the other

0:53:54.160 --> 0:53:59.680
<v Speaker 1>side of the go pro it feels it's like, it

0:53:59.719 --> 0:54:04.200
<v Speaker 1>feels fetishy, the way some straight men are like, oh yeah,

0:54:05.000 --> 0:54:08.640
<v Speaker 1>getting it on, that's so hot. I agree, And I

0:54:08.680 --> 0:54:12.879
<v Speaker 1>feel like that is like another thing that it seems like,

0:54:13.000 --> 0:54:16.960
<v Speaker 1>I mean, just based on doing basic research on this

0:54:17.080 --> 0:54:22.360
<v Speaker 1>production team that Park Chinook very often collaborates with the

0:54:22.360 --> 0:54:25.000
<v Speaker 1>same group of people, and this is a cinematographer he

0:54:25.080 --> 0:54:27.799
<v Speaker 1>works with a lot. But it's like if again, it's

0:54:27.800 --> 0:54:29.839
<v Speaker 1>like when we talk about this with male directors all

0:54:29.840 --> 0:54:34.000
<v Speaker 1>the time, of like, if you are dead set on

0:54:34.120 --> 0:54:37.560
<v Speaker 1>adapting this story, then you need to be flexible in

0:54:37.600 --> 0:54:40.520
<v Speaker 1>who you're working with, and you need to like really

0:54:41.040 --> 0:54:44.160
<v Speaker 1>make sure you have people in the room who will

0:54:44.239 --> 0:54:48.040
<v Speaker 1>just be able to speak to the experience, because otherwise

0:54:48.480 --> 0:54:52.879
<v Speaker 1>there's going to be stuff that feels dissonant. I did

0:54:53.160 --> 0:54:57.799
<v Speaker 1>read an interview with the director in which he addresses

0:54:58.400 --> 0:55:02.640
<v Speaker 1>these sex scenes, and it seems like his general intention

0:55:03.040 --> 0:55:07.560
<v Speaker 1>was that he understood how like delicate of a thing

0:55:07.640 --> 0:55:10.200
<v Speaker 1>this would be to shoot, and he wanted to be

0:55:10.320 --> 0:55:14.840
<v Speaker 1>as considerate and respectful to the actors as possible, because

0:55:14.880 --> 0:55:19.600
<v Speaker 1>that's always something we're like, Okay, these actors have to

0:55:19.920 --> 0:55:21.960
<v Speaker 1>be naked in front of a bunch of people, they

0:55:22.000 --> 0:55:26.600
<v Speaker 1>have to be physically close with another actor simulating sex,

0:55:27.120 --> 0:55:31.480
<v Speaker 1>and depending on different factors, this has the potential to

0:55:31.560 --> 0:55:37.360
<v Speaker 1>be very uncomfortable for actors. So I found this interview

0:55:38.239 --> 0:55:41.680
<v Speaker 1>in which he it seems like, you know, he he

0:55:41.719 --> 0:55:44.200
<v Speaker 1>did his very best, although some of the answers are

0:55:44.280 --> 0:55:47.800
<v Speaker 1>funny where he's like, that day, we hired a woman

0:55:47.920 --> 0:55:51.920
<v Speaker 1>to be the boom operator for that day on set,

0:55:51.960 --> 0:55:56.759
<v Speaker 1>and it's like, well, is that the only circumstances where

0:55:56.760 --> 0:55:59.920
<v Speaker 1>you would hire a woman to be or boom operate?

0:56:01.840 --> 0:56:06.239
<v Speaker 1>But it seems like he was like fully aware of

0:56:06.360 --> 0:56:09.800
<v Speaker 1>the situation. He wanted to make everyone as comfortable as possible.

0:56:09.840 --> 0:56:13.440
<v Speaker 1>So there was like very minimal crew on set for

0:56:13.480 --> 0:56:18.880
<v Speaker 1>those scenes. The DP and the camera operator were not

0:56:19.040 --> 0:56:23.400
<v Speaker 1>on set that they were using like a remote controlled camera.

0:56:23.840 --> 0:56:27.120
<v Speaker 1>I hope there's like an intimacy coordinator or something of

0:56:27.560 --> 0:56:32.840
<v Speaker 1>that nature. Yeah, I'm glad you brought that up, because

0:56:33.400 --> 0:56:37.320
<v Speaker 1>so if any listeners are not aware, if a movie

0:56:37.560 --> 0:56:42.839
<v Speaker 1>or TV production has a sex scene, ideally they will

0:56:42.960 --> 0:56:47.400
<v Speaker 1>hire what's called an intimacy coordinator, who is there to

0:56:47.640 --> 0:56:51.240
<v Speaker 1>advocate for the well being and safety of the actors

0:56:51.360 --> 0:56:54.839
<v Speaker 1>who participate in sex scenes or just like kind of

0:56:54.880 --> 0:56:59.960
<v Speaker 1>any other physically intimate scenes. Again, ideally a set will

0:57:00.040 --> 0:57:03.839
<v Speaker 1>of this person, but that's not always the case. And

0:57:04.160 --> 0:57:07.360
<v Speaker 1>as far as whether or not an intimacy coordinator was

0:57:07.520 --> 0:57:11.680
<v Speaker 1>present on this set, that did not get spoken of,

0:57:11.760 --> 0:57:15.919
<v Speaker 1>So I I am not sure. I really hope. So,

0:57:16.040 --> 0:57:18.480
<v Speaker 1>oh my god, if you're that naked, please have a

0:57:18.520 --> 0:57:22.480
<v Speaker 1>person who is your advocate there, that is I hope

0:57:22.520 --> 0:57:25.840
<v Speaker 1>he he just forgot to mention that person. Yeah, that

0:57:25.920 --> 0:57:29.400
<v Speaker 1>did not come up in the interview, but at least

0:57:29.440 --> 0:57:33.959
<v Speaker 1>it sounds like he made an effort. I didn't find

0:57:34.000 --> 0:57:39.760
<v Speaker 1>anything on how the actors felt about those scenes, about

0:57:40.000 --> 0:57:45.640
<v Speaker 1>you know, whether they were comfortable. I hope so. But yeah,

0:57:45.760 --> 0:57:48.000
<v Speaker 1>it's also sort of like, okay, if you have to

0:57:48.040 --> 0:57:53.240
<v Speaker 1>take so many leaps and bounds to make the shooting

0:57:53.240 --> 0:57:57.240
<v Speaker 1>of this safe for the actors. It's also a question

0:57:57.280 --> 0:58:00.440
<v Speaker 1>of like, Okay, do I like, does this absolutely you

0:58:00.480 --> 0:58:03.640
<v Speaker 1>need to happen this way? Or I feel like they're

0:58:03.720 --> 0:58:08.440
<v Speaker 1>I mean, in the erotic thriller genre in general, I

0:58:08.480 --> 0:58:12.560
<v Speaker 1>feel like sometimes it's like, I don't know, I'm generally

0:58:12.640 --> 0:58:16.680
<v Speaker 1>showing up for the thriller elements, and then if people

0:58:16.680 --> 0:58:22.840
<v Speaker 1>are fucking amazing, that's great, but that's not like what

0:58:22.840 --> 0:58:26.640
<v Speaker 1>what I'm like, what the bulk of the movie is. Um,

0:58:26.640 --> 0:58:29.080
<v Speaker 1>But yeah, I feel like that those seeds were like, Okay,

0:58:29.120 --> 0:58:33.480
<v Speaker 1>this is an erotic thriller, get it, especially because like,

0:58:34.320 --> 0:58:36.840
<v Speaker 1>I'm also interested on your both of your thoughts on

0:58:36.840 --> 0:58:40.240
<v Speaker 1>this as well. But to me, there's far more of

0:58:40.280 --> 0:58:43.560
<v Speaker 1>an emphasis in the movie on their sexual connection and

0:58:43.560 --> 0:58:47.080
<v Speaker 1>like their physical attraction than there is on like an

0:58:47.080 --> 0:58:51.720
<v Speaker 1>actual like what do they have in common? Why do

0:58:51.800 --> 0:58:56.160
<v Speaker 1>they like each other? I didn't get a big sense

0:58:56.200 --> 0:59:00.200
<v Speaker 1>of that. But also maybe I'm forgetting some stuff. I

0:59:00.240 --> 0:59:02.280
<v Speaker 1>do think. Yeah, I think there's more emphasis on the

0:59:02.320 --> 0:59:07.000
<v Speaker 1>sexual parts. I think with the emotional like aspect of it.

0:59:07.440 --> 0:59:09.640
<v Speaker 1>The part that sticks out to me is like the

0:59:09.720 --> 0:59:13.400
<v Speaker 1>time when they're when Suki is destroying all the books

0:59:13.560 --> 0:59:17.520
<v Speaker 1>and the paintings and whatnot, and she's like so angry

0:59:17.560 --> 0:59:20.360
<v Speaker 1>because she understands, you know, what has been happening. She

0:59:20.520 --> 0:59:25.040
<v Speaker 1>destroys everything, and the Lady Jadeko is just you know,

0:59:25.160 --> 0:59:28.760
<v Speaker 1>standing there, just like not fully sure on what to do.

0:59:28.960 --> 0:59:31.840
<v Speaker 1>She's just like, what is happening? I don't know. I

0:59:31.840 --> 0:59:34.120
<v Speaker 1>feel like that, Like on an emotional level, was like

0:59:34.440 --> 0:59:36.240
<v Speaker 1>I don't know. I felt that. I was like, oh,

0:59:36.280 --> 0:59:39.960
<v Speaker 1>that's really sweet because you know, they're kind of their

0:59:40.000 --> 0:59:42.400
<v Speaker 1>worlds are colliding in this moment where it's like she

0:59:42.640 --> 0:59:46.040
<v Speaker 1>kind of like is thinking, oh, I thought you were

0:59:46.080 --> 0:59:49.200
<v Speaker 1>this rich girl who doesn't really understand anything, but it's like, no,

0:59:49.400 --> 0:59:53.080
<v Speaker 1>you're you're victimized the way I'm victimized, just in different aspects,

0:59:53.120 --> 0:59:54.720
<v Speaker 1>you know. So I feel like that's kind of how

0:59:54.720 --> 0:59:58.160
<v Speaker 1>the world is collided in that sense. That's what That's

0:59:58.200 --> 1:00:00.720
<v Speaker 1>what I saw. That's the scene I remember. Yeah, I

1:00:01.240 --> 1:00:04.320
<v Speaker 1>felt a similar way where it's you know, I guess

1:00:04.360 --> 1:00:07.960
<v Speaker 1>that you learn more about their emotional connection in the

1:00:08.040 --> 1:00:11.439
<v Speaker 1>back half, where like part one definitely doesn't give you

1:00:12.200 --> 1:00:14.240
<v Speaker 1>everything you need, but also part one gives you a

1:00:14.280 --> 1:00:19.160
<v Speaker 1>completely false impression of who Lady Hideko is. Like I

1:00:19.160 --> 1:00:21.280
<v Speaker 1>feel like if we were just like all my notes

1:00:21.320 --> 1:00:24.479
<v Speaker 1>from part one was like, oh my gosh, like Lady

1:00:24.560 --> 1:00:28.440
<v Speaker 1>Hideko is on this like born sexy Yesterday thing going on,

1:00:29.640 --> 1:00:32.240
<v Speaker 1>and she's just like, I don't what is sex. I've

1:00:32.240 --> 1:00:35.600
<v Speaker 1>never heard of that, and you know, and and in

1:00:35.640 --> 1:00:37.360
<v Speaker 1>a way that I thought like the movie had fun

1:00:37.400 --> 1:00:39.640
<v Speaker 1>with later where they kind of poke fun at Suki

1:00:39.760 --> 1:00:42.200
<v Speaker 1>for being like, wow, this must just you must have

1:00:42.240 --> 1:00:46.840
<v Speaker 1>incredible instincts for being like, yeah, you're natural. That made

1:00:46.840 --> 1:00:50.200
<v Speaker 1>me laugh. Uh, But I I thought that, I mean,

1:00:50.760 --> 1:00:55.240
<v Speaker 1>I don't know, I felt like any relationship where they

1:00:55.320 --> 1:00:59.320
<v Speaker 1>just surprised each other and like, I don't know, I'm

1:00:59.360 --> 1:01:02.320
<v Speaker 1>I'm always like kind of a sucker for relationships like that,

1:01:02.400 --> 1:01:04.520
<v Speaker 1>and it is like, you know, kind of like definitely

1:01:04.520 --> 1:01:10.680
<v Speaker 1>a class story we've seen before. Let's say Titan Titan perhaps,

1:01:11.400 --> 1:01:14.400
<v Speaker 1>but where where you know, it's it's like they have

1:01:14.560 --> 1:01:17.520
<v Speaker 1>very rigid ideas of who this person is going to

1:01:17.600 --> 1:01:21.840
<v Speaker 1>be and they end up getting surprised by that person

1:01:21.920 --> 1:01:26.000
<v Speaker 1>having a lot more to them than they expected. So

1:01:26.280 --> 1:01:28.360
<v Speaker 1>I was on board for the love story. I I

1:01:28.760 --> 1:01:30.800
<v Speaker 1>got why they were drawn to each other as people,

1:01:30.880 --> 1:01:32.520
<v Speaker 1>and I think, you know, we definitely could have spent

1:01:32.560 --> 1:01:36.680
<v Speaker 1>more time with it um and with with them as

1:01:36.760 --> 1:01:40.680
<v Speaker 1>that relationship was building, but especially those like longer scenes

1:01:41.480 --> 1:01:44.800
<v Speaker 1>in part one when you reflect on them and you're like, oh,

1:01:44.840 --> 1:01:49.120
<v Speaker 1>like lady Hideko is playing four D chess and she

1:01:49.200 --> 1:01:52.400
<v Speaker 1>knows exactly what's going on, and even still she's like

1:01:52.600 --> 1:01:55.880
<v Speaker 1>falling for Suki. I don't know. I was on board

1:01:55.880 --> 1:01:58.240
<v Speaker 1>for the romance. I thought it was I thought it

1:01:58.280 --> 1:02:02.040
<v Speaker 1>was like a classic you know, star cross levers across

1:02:02.120 --> 1:02:06.480
<v Speaker 1>classes kind of thing. Sure, you just contrived in itself,

1:02:06.520 --> 1:02:12.160
<v Speaker 1>but like, I think we could have shortened those sex

1:02:12.200 --> 1:02:17.960
<v Speaker 1>scenes and given us like one or two more signifiers

1:02:17.960 --> 1:02:21.720
<v Speaker 1>of just like, oh, yeah, here's what they bond over,

1:02:22.000 --> 1:02:24.240
<v Speaker 1>here's the thing that they both like, or here's a

1:02:24.280 --> 1:02:27.320
<v Speaker 1>little thing that they have in common, because I don't

1:02:27.320 --> 1:02:30.919
<v Speaker 1>really I still don't have the strongest sense of that.

1:02:31.440 --> 1:02:33.360
<v Speaker 1>And it's one thing, you know, if a movie wants

1:02:33.400 --> 1:02:36.440
<v Speaker 1>to present this connection just as a sexual connection, like

1:02:36.480 --> 1:02:40.240
<v Speaker 1>obviously not every connection between people needs to be this deep, intimate,

1:02:40.560 --> 1:02:43.480
<v Speaker 1>long lasting love, but I feel like the movie frames

1:02:43.640 --> 1:02:48.160
<v Speaker 1>their connection as deep love. So I don't know, But

1:02:48.240 --> 1:02:52.480
<v Speaker 1>now I'm just picturing Titanic. If Titanic were like Billy

1:02:52.640 --> 1:02:59.160
<v Speaker 1>Zane and Rose collaborating to trick Jack Dawson into something.

1:02:59.200 --> 1:03:02.600
<v Speaker 1>But it turns out wait a minute, Rose and Jack

1:03:03.000 --> 1:03:07.200
<v Speaker 1>are collaborating to trick Billy Zane and get his fortune.

1:03:07.720 --> 1:03:14.000
<v Speaker 1>Everything remaps onto Titanic. It's just nature. Um, it's unavoidable.

1:03:14.280 --> 1:03:17.040
<v Speaker 1>And that's something that I also like, It's a trope

1:03:17.080 --> 1:03:21.360
<v Speaker 1>we talked about a jillion times, but relationships that are

1:03:21.440 --> 1:03:24.560
<v Speaker 1>founded on lies, you know, that was like I was

1:03:24.600 --> 1:03:28.480
<v Speaker 1>aware of very early in the movie. But again, I

1:03:28.480 --> 1:03:31.360
<v Speaker 1>feel like this movie kind of like finds its way

1:03:31.400 --> 1:03:34.680
<v Speaker 1>out of the trappings of that where the lies are

1:03:34.720 --> 1:03:39.600
<v Speaker 1>found out and they simply admit it and apologize to

1:03:39.600 --> 1:03:42.600
<v Speaker 1>each other and then like take action in a positive

1:03:42.600 --> 1:03:45.640
<v Speaker 1>direction where I feel like, you know, we've covered five

1:03:45.640 --> 1:03:48.760
<v Speaker 1>trillion movies at this point. That is like there's a

1:03:48.880 --> 1:03:52.000
<v Speaker 1>dare that involves a lie and it makes sense but

1:03:52.080 --> 1:03:56.360
<v Speaker 1>not really. And then at the end, the you know,

1:03:56.520 --> 1:03:59.600
<v Speaker 1>the person lying usually in this heterosexual relationship is like

1:03:59.640 --> 1:04:02.000
<v Speaker 1>Freddy Prince Jr. And he's like, I don't know, I

1:04:02.040 --> 1:04:06.200
<v Speaker 1>told a lie and I'm not even sorry and I apologize.

1:04:06.960 --> 1:04:09.479
<v Speaker 1>This movie, you know, like skirts, all of those things

1:04:09.480 --> 1:04:13.320
<v Speaker 1>where it is just everything is a lie at the beginning.

1:04:14.000 --> 1:04:18.360
<v Speaker 1>But then there's that great scene where uh Suki catches

1:04:18.840 --> 1:04:22.600
<v Speaker 1>Lady Hideco and they have this this just very emotionally

1:04:22.680 --> 1:04:25.680
<v Speaker 1>raw conversation. They're both crying, they're both being honest, and

1:04:25.720 --> 1:04:30.600
<v Speaker 1>then and then they singlehandedly destroyed the patriarchy at the end.

1:04:30.760 --> 1:04:37.000
<v Speaker 1>So there. Yeah, Also, I mean they're both victims of

1:04:37.040 --> 1:04:41.440
<v Speaker 1>this patriarchal structure. They're both they have a lot of

1:04:41.480 --> 1:04:46.560
<v Speaker 1>trauma that they have been subjected to. So yeah, I

1:04:46.560 --> 1:04:48.760
<v Speaker 1>mean it makes sense that they bond again. I just

1:04:48.800 --> 1:04:52.240
<v Speaker 1>I wish there was just to smidge more. There's also

1:04:52.320 --> 1:04:55.200
<v Speaker 1>that moment that I don't know in the different it

1:04:55.280 --> 1:04:57.720
<v Speaker 1>makes me want to like watch it back again because

1:04:57.760 --> 1:05:00.200
<v Speaker 1>I feel like this, like this movie does like give

1:05:00.240 --> 1:05:01.920
<v Speaker 1>you a lot back once you know what's going to

1:05:02.000 --> 1:05:06.080
<v Speaker 1>happen in the middle. But even the ways that like

1:05:06.440 --> 1:05:11.680
<v Speaker 1>their patriarchal structure influences their assumptions of each other. Where

1:05:11.840 --> 1:05:14.840
<v Speaker 1>at the beginning, like Suki, we hear her talking in

1:05:15.280 --> 1:05:20.200
<v Speaker 1>voiceover a lot, and she's talking about Lady Hideko as

1:05:20.240 --> 1:05:22.520
<v Speaker 1>if she's an object at the beginning, and she's like,

1:05:22.600 --> 1:05:26.800
<v Speaker 1>you know, ladies are handmaidens, dolls, and like she is

1:05:27.400 --> 1:05:29.160
<v Speaker 1>you know, being encouraged to think of her in this

1:05:29.320 --> 1:05:32.160
<v Speaker 1>very particular way and being encouraged to think of her as,

1:05:32.840 --> 1:05:35.240
<v Speaker 1>you know, someone who is not as smart as her.

1:05:35.280 --> 1:05:37.320
<v Speaker 1>And then in the second half, we're being encouraged to

1:05:37.320 --> 1:05:40.720
<v Speaker 1>think of Suki as someone who is not as smart

1:05:40.880 --> 1:05:44.160
<v Speaker 1>as Lady Hideko based on how she's been conditioned to view,

1:05:44.760 --> 1:05:47.480
<v Speaker 1>you know, poor women and and poor people in general.

1:05:47.560 --> 1:05:50.760
<v Speaker 1>And then in the third part you realize, uh, guess

1:05:50.840 --> 1:05:54.400
<v Speaker 1>what neither was true? And it was somewhere in the middle,

1:05:54.480 --> 1:05:58.960
<v Speaker 1>and and they're on the both geniuses, both geniuses, and

1:05:58.960 --> 1:06:03.240
<v Speaker 1>and they're on about I really liked Suki had this fun,

1:06:04.000 --> 1:06:07.920
<v Speaker 1>like Aladdin style introduction to who she was that I

1:06:07.960 --> 1:06:12.600
<v Speaker 1>thought was very exciting, where I like the the mythos

1:06:12.640 --> 1:06:17.200
<v Speaker 1>of Suki's life where she's like, I am the world's

1:06:17.400 --> 1:06:20.480
<v Speaker 1>greatest thief, and I was like, oh my god, she's Aladdin.

1:06:20.960 --> 1:06:25.760
<v Speaker 1>This is exciting. And that was I don't know if

1:06:25.760 --> 1:06:27.720
<v Speaker 1>that has anything to do with anything, but I wrote down,

1:06:27.960 --> 1:06:34.920
<v Speaker 1>Suki equals Aladdin and she falls in love with her.

1:06:34.960 --> 1:06:41.880
<v Speaker 1>Princess Jasmine um Hitiko teaches Suki how to read. So

1:06:42.440 --> 1:06:46.920
<v Speaker 1>women helping other women, women, uplifting women, you love to

1:06:46.960 --> 1:06:51.840
<v Speaker 1>see it. Although reading for Hideko was a prison for

1:06:51.880 --> 1:06:55.520
<v Speaker 1>a long time. She was to read for evil. It's true,

1:06:55.920 --> 1:06:58.920
<v Speaker 1>and that's why we don't read books. And that's why

1:06:58.960 --> 1:07:01.680
<v Speaker 1>on the Bectel cast we don't read books because reading,

1:07:01.800 --> 1:07:07.120
<v Speaker 1>actually women reading is a prison dangerous. We've been saying

1:07:07.120 --> 1:07:10.520
<v Speaker 1>this for years. At this point, it's dangerous. I mean

1:07:10.720 --> 1:07:14.040
<v Speaker 1>to call back to another Disney movie. According to Guston

1:07:14.360 --> 1:07:17.760
<v Speaker 1>in Beauty and the Beast, women who read it gives

1:07:17.760 --> 1:07:21.440
<v Speaker 1>them ideas and then they start thinking, and that is dangerous.

1:07:21.680 --> 1:07:29.160
<v Speaker 1>It's dangerous. Um, does anyone, Does anyone have anything else

1:07:29.200 --> 1:07:33.640
<v Speaker 1>they would like to talk about? Ah, that's all I had. Yeah,

1:07:35.240 --> 1:07:37.920
<v Speaker 1>I just wanted to add. So there's in the second

1:07:38.040 --> 1:07:40.960
<v Speaker 1>half of the movie. There's a scene we've seen a

1:07:41.000 --> 1:07:43.320
<v Speaker 1>couple of times from two different points of view where

1:07:43.880 --> 1:07:47.040
<v Speaker 1>Suki is like standing in as just like a model

1:07:47.320 --> 1:07:52.280
<v Speaker 1>for the art, like the painting that Hideko is doing

1:07:52.440 --> 1:07:57.400
<v Speaker 1>of Suki. And you see a quick reveal of her

1:07:57.560 --> 1:08:00.280
<v Speaker 1>drawing of Suki, and it's the funniest thing in the

1:08:00.320 --> 1:08:04.960
<v Speaker 1>world because it's so bad. It's really bad. But they

1:08:05.040 --> 1:08:09.960
<v Speaker 1>it's like what Leonardo DiCaprio was actually drawing. In the

1:08:09.960 --> 1:08:16.800
<v Speaker 1>Satanic he's like, um, circled dot dot smile, and then

1:08:16.800 --> 1:08:19.400
<v Speaker 1>you just get like the quickest glimpse of it. But

1:08:20.240 --> 1:08:22.680
<v Speaker 1>it's not really played as a joke. But I like,

1:08:22.800 --> 1:08:25.360
<v Speaker 1>I burst out laughing every time I see it because

1:08:25.400 --> 1:08:29.519
<v Speaker 1>it's so funny. Because then because first you see so

1:08:29.600 --> 1:08:32.200
<v Speaker 1>the council thing is that he's been training for years

1:08:32.240 --> 1:08:36.200
<v Speaker 1>to be a forger, so he like he's a talented artist,

1:08:36.280 --> 1:08:38.800
<v Speaker 1>Like he's a really good artist. He's really good at

1:08:38.880 --> 1:08:42.000
<v Speaker 1>creating these forgeries of these books and like the art

1:08:42.160 --> 1:08:45.280
<v Speaker 1>in the books, so he knows what he's doing. And

1:08:45.760 --> 1:08:49.160
<v Speaker 1>you see like his little sketches and paintings of Suki

1:08:49.240 --> 1:08:51.519
<v Speaker 1>and you're like, oh damn, Like he's great, and then

1:08:51.560 --> 1:08:59.439
<v Speaker 1>it pans over to Lady Jideko's drawing. It's the funniest

1:08:59.439 --> 1:09:03.160
<v Speaker 1>thing in the world. It's really bad. It's um, I

1:09:03.160 --> 1:09:06.479
<v Speaker 1>guess the last serious thing I wanted to talk about.

1:09:06.520 --> 1:09:10.200
<v Speaker 1>And I don't know a whole lot about Park chan

1:09:10.320 --> 1:09:14.559
<v Speaker 1>wooks filmography. I've seen Old Boy, but it's been several years,

1:09:14.640 --> 1:09:17.519
<v Speaker 1>so I don't remember it that well. So I don't

1:09:17.560 --> 1:09:20.599
<v Speaker 1>really know much about him as a figure, and sort

1:09:20.600 --> 1:09:23.439
<v Speaker 1>of like his his background and stuff like that. But

1:09:23.720 --> 1:09:26.759
<v Speaker 1>one of his reasons for wanting to make this movie

1:09:26.960 --> 1:09:32.839
<v Speaker 1>is that his intention was to normalize queer relationships in cinema,

1:09:33.360 --> 1:09:38.320
<v Speaker 1>and you know, that's not something that most straight male

1:09:38.400 --> 1:09:42.800
<v Speaker 1>directors are concerned with. So I feel like it's a

1:09:42.960 --> 1:09:46.679
<v Speaker 1>it's a classic step in the right direction kind of

1:09:46.880 --> 1:09:49.000
<v Speaker 1>move where we've talked about I think a lot of

1:09:49.080 --> 1:09:54.120
<v Speaker 1>instances like this where the attempt is perhaps in perfect

1:09:54.479 --> 1:09:59.080
<v Speaker 1>in some ways. But the endorsement of a you know,

1:09:59.360 --> 1:10:02.439
<v Speaker 1>super fame mis director, and I mean not even the internship,

1:10:02.479 --> 1:10:07.719
<v Speaker 1>but like a super famous director prioritizing representation of queer

1:10:07.720 --> 1:10:10.800
<v Speaker 1>people and of a lesbian relationship in their work is

1:10:11.160 --> 1:10:13.960
<v Speaker 1>like a good step in the right direction. Does it

1:10:14.080 --> 1:10:17.800
<v Speaker 1>mean that everything was represented perfectly and in a way

1:10:17.800 --> 1:10:22.040
<v Speaker 1>that made total sense? Usually not in those cases, because

1:10:22.080 --> 1:10:24.720
<v Speaker 1>most of these hot shot directors are normally straight men,

1:10:25.360 --> 1:10:30.000
<v Speaker 1>and they're you know, and there, and therefore they're fucked

1:10:30.800 --> 1:10:34.559
<v Speaker 1>in terms of their worldview. But but it usually indicates,

1:10:34.560 --> 1:10:37.240
<v Speaker 1>I feel like, at least historically, it usually indicates that

1:10:38.040 --> 1:10:42.439
<v Speaker 1>better movies and better representation is close behind, or I hope.

1:10:42.479 --> 1:10:47.439
<v Speaker 1>So yeah, yeah, And this movie being a success and

1:10:47.520 --> 1:10:53.680
<v Speaker 1>critically acclaimed hopefully paves the way for queer women in

1:10:54.080 --> 1:10:57.400
<v Speaker 1>South Korea to be able to tell their own stories next,

1:10:58.120 --> 1:11:03.040
<v Speaker 1>let's hope. So yeah, so the movie does pass the

1:11:03.120 --> 1:11:10.400
<v Speaker 1>Bechdel test. Hell yeah, a lot of women scheming, a

1:11:10.400 --> 1:11:13.080
<v Speaker 1>lot of women lying to each other in a way

1:11:13.120 --> 1:11:16.680
<v Speaker 1>that passes the Bechtel test. And as far as our

1:11:16.720 --> 1:11:20.519
<v Speaker 1>nipple scale, our scale of zero to five nipples, based

1:11:20.680 --> 1:11:23.800
<v Speaker 1>on how the movie Fair is looking at it through

1:11:24.200 --> 1:11:30.000
<v Speaker 1>the lens of intersectional feminism, I'm tempted to give this

1:11:30.640 --> 1:11:35.439
<v Speaker 1>like a four point to five. Just the narrative that

1:11:35.560 --> 1:11:43.479
<v Speaker 1>unfolds of ultimately like women teaming up two overthrow and

1:11:44.040 --> 1:11:47.640
<v Speaker 1>manipulate their oppressors the way that they had been manipulating

1:11:47.800 --> 1:11:51.920
<v Speaker 1>them and coming out on top being allowed to like

1:11:52.280 --> 1:11:57.599
<v Speaker 1>be together on this ferry and then hopefully after that

1:11:57.680 --> 1:12:01.559
<v Speaker 1>for however much time they want to spend together, if

1:12:01.600 --> 1:12:03.840
<v Speaker 1>they live, you know, the rest of their lives together.

1:12:04.680 --> 1:12:08.960
<v Speaker 1>And yeah, just like all the commentary on the patriarchy

1:12:09.040 --> 1:12:13.600
<v Speaker 1>and the smashing of that patriarchy is just very satisfying

1:12:13.680 --> 1:12:20.280
<v Speaker 1>and cathartic to watch. Um, the sex scenes are pretty

1:12:20.320 --> 1:12:27.679
<v Speaker 1>male gazy, they're pretty fetish. She a bit gratuitous, will say,

1:12:28.240 --> 1:12:30.439
<v Speaker 1>you know, it always kind of begs a question was

1:12:30.520 --> 1:12:34.600
<v Speaker 1>this the right director to tell this story or you know,

1:12:34.920 --> 1:12:37.960
<v Speaker 1>like is this is there the right person to be

1:12:38.320 --> 1:12:42.799
<v Speaker 1>shooting these scenes, and like how much consultation was actually done,

1:12:43.400 --> 1:12:46.719
<v Speaker 1>et cetera. So that's where the movie loses some points.

1:12:47.040 --> 1:12:49.240
<v Speaker 1>So I think I'll land on a four and a quarter.

1:12:49.760 --> 1:12:52.240
<v Speaker 1>That might be too generous, but I just think this

1:12:52.320 --> 1:12:55.920
<v Speaker 1>movie rules, So I'm gonna go easy on it, and

1:12:56.200 --> 1:13:00.400
<v Speaker 1>I will give my nipples to try Kim who plays

1:13:00.400 --> 1:13:07.400
<v Speaker 1>Suki Minhi Kim who plays Hiteko, the screenwriter John s Kion,

1:13:08.280 --> 1:13:13.639
<v Speaker 1>and I'll give one to the aunt a tragic fate

1:13:14.600 --> 1:13:19.639
<v Speaker 1>and she she deserves something. I'll give my quarter nipple

1:13:20.280 --> 1:13:27.519
<v Speaker 1>to that amazing drawing. I'm gonna go I think're gonna

1:13:27.600 --> 1:13:30.760
<v Speaker 1>go there. We when we get into the fractions to

1:13:30.800 --> 1:13:33.559
<v Speaker 1>get so messy. I'm gonna I'm gonna go three point

1:13:33.680 --> 1:13:37.719
<v Speaker 1>seven five because ultimately this movie is directed and shot

1:13:37.960 --> 1:13:42.640
<v Speaker 1>by straight guys, So I I can't Yeah, I I

1:13:42.680 --> 1:13:44.880
<v Speaker 1>don't want to go too much higher than that. That said,

1:13:45.000 --> 1:13:49.160
<v Speaker 1>A period piece that has a female co writer based

1:13:49.240 --> 1:13:53.719
<v Speaker 1>on the work of famous lesbian writer. It's a period

1:13:53.720 --> 1:13:58.599
<v Speaker 1>piece where the lesbian couple stays together at a happy

1:13:58.800 --> 1:14:04.080
<v Speaker 1>ending for them, we see the their patriarchal structure, um,

1:14:04.160 --> 1:14:05.760
<v Speaker 1>at least in the terms of the two of them

1:14:06.120 --> 1:14:12.160
<v Speaker 1>crumble and is very cool and very rare in terms

1:14:12.600 --> 1:14:17.800
<v Speaker 1>of lesbian period pieces unfortunately. Uh So, I think that's

1:14:17.800 --> 1:14:22.760
<v Speaker 1>definitely something worth praising. The movie itself fucking rocks. Like,

1:14:22.800 --> 1:14:27.160
<v Speaker 1>if you haven't seen it, it's so fun. I wish

1:14:27.200 --> 1:14:29.400
<v Speaker 1>I had watched it with someone else so we could

1:14:29.400 --> 1:14:32.920
<v Speaker 1>have like, like all the right moments. But it's just

1:14:33.000 --> 1:14:35.519
<v Speaker 1>it's it's a really fun movie. It's very accessible if

1:14:35.520 --> 1:14:39.719
<v Speaker 1>you have Amazon Prime. Hail Basos. Sorry, we can legally

1:14:39.800 --> 1:14:44.880
<v Speaker 1>have to say that we love what we we love

1:14:44.880 --> 1:14:49.000
<v Speaker 1>our bald king. Uh but um, yeah, I mean I

1:14:49.040 --> 1:14:52.760
<v Speaker 1>think that there there are like little this The sex

1:14:52.800 --> 1:14:56.439
<v Speaker 1>scenes are male gazy, and they are quite long, and

1:14:56.920 --> 1:14:58.880
<v Speaker 1>there are I don't know, I mean, this is sort

1:14:58.920 --> 1:15:01.439
<v Speaker 1>of inherent to the kind of story that this is.

1:15:01.520 --> 1:15:04.880
<v Speaker 1>But anytime, it's like, the patriarchy is two people and

1:15:04.920 --> 1:15:07.040
<v Speaker 1>you know them. So if you can just get rid

1:15:07.080 --> 1:15:10.320
<v Speaker 1>of these two people, right, you're free. Like it's it's

1:15:10.360 --> 1:15:13.240
<v Speaker 1>fun in a fantasy way. But I'm always just like, Okay,

1:15:13.280 --> 1:15:15.160
<v Speaker 1>but what about the rest of it. Yeah, it's not

1:15:15.200 --> 1:15:19.200
<v Speaker 1>so much smashing the patriarchy. It's more smashing too much

1:15:19.280 --> 1:15:23.479
<v Speaker 1>those two guys, you know, which is also very hard.

1:15:23.560 --> 1:15:27.240
<v Speaker 1>But you know whatever, I'm getting very in the weeds there. Um,

1:15:27.280 --> 1:15:30.080
<v Speaker 1>I guess you know, I'll go for for a four,

1:15:30.120 --> 1:15:32.639
<v Speaker 1>but I can't go higher because when it's when it's

1:15:33.240 --> 1:15:35.840
<v Speaker 1>two straight guys, it's just like, okay, so this is

1:15:35.840 --> 1:15:39.600
<v Speaker 1>a step, but more please. Uh So I'll go for

1:15:39.800 --> 1:15:46.519
<v Speaker 1>and I'm giving them all to that go pro. So yeah,

1:15:46.520 --> 1:15:50.040
<v Speaker 1>what would what would you give it? Um? I think

1:15:50.040 --> 1:15:54.920
<v Speaker 1>I'd give it a solid for because you know, it's

1:15:54.960 --> 1:15:58.720
<v Speaker 1>a good story. It's it's great that it exists in

1:15:58.800 --> 1:16:02.320
<v Speaker 1>this world from you know, Korean stuff like that. But

1:16:02.600 --> 1:16:05.799
<v Speaker 1>just yeah, the sex scenes are so long. They're so long,

1:16:06.800 --> 1:16:09.400
<v Speaker 1>and I was just like, it's too long, and we

1:16:09.479 --> 1:16:14.680
<v Speaker 1>had to see multiple angles of it, and um, you know,

1:16:14.720 --> 1:16:16.720
<v Speaker 1>I feel like, you know, you could have shortened it

1:16:16.760 --> 1:16:18.439
<v Speaker 1>just a little bit, not like, you know, get rid

1:16:18.479 --> 1:16:20.960
<v Speaker 1>of it, but shortened it. But you know, I like

1:16:21.280 --> 1:16:26.400
<v Speaker 1>the story being told in that time of the occupation. Um.

1:16:26.479 --> 1:16:29.360
<v Speaker 1>And you know, their love actually you know, happy ending

1:16:29.640 --> 1:16:32.280
<v Speaker 1>they both get to be together. You know, the men

1:16:32.600 --> 1:16:36.920
<v Speaker 1>they die and everyone is happy who's alive? So I

1:16:37.000 --> 1:16:42.200
<v Speaker 1>give it a solid for amazing. Yeah, well, thank you

1:16:42.240 --> 1:16:47.200
<v Speaker 1>so much for joining us on this journey. Thank you

1:16:47.240 --> 1:16:51.200
<v Speaker 1>for having me. Of course. Do you have anything you'd

1:16:51.240 --> 1:16:54.760
<v Speaker 1>like to plug a social media or anything like that.

1:16:54.960 --> 1:16:57.400
<v Speaker 1>I do not. I do not have social media. It's

1:16:57.400 --> 1:17:00.800
<v Speaker 1>probably it's better that way. Wow, our bravest guess yet,

1:17:03.840 --> 1:17:05.880
<v Speaker 1>that is the healthiest thing I've ever heard in my

1:17:06.040 --> 1:17:14.479
<v Speaker 1>entire life. Congratulations. Yeah, Unfortunately, we're still on social media.

1:17:14.600 --> 1:17:17.479
<v Speaker 1>You can find us at the Bechtel Cast on Twitter

1:17:17.520 --> 1:17:20.280
<v Speaker 1>and Instagram or Bechtel Cast on Twitter and Instagram. Oh

1:17:20.320 --> 1:17:23.960
<v Speaker 1>my god. You can go to our patreon ak Matreon

1:17:24.640 --> 1:17:31.000
<v Speaker 1>at Patreon dot clam dot colmom slash Bechtel Cast. This

1:17:31.000 --> 1:17:33.799
<v Speaker 1>this month on the on the Patreon, we're doing movies

1:17:33.960 --> 1:17:37.000
<v Speaker 1>that have animals in them. I forget why, but we are.

1:17:37.240 --> 1:17:39.639
<v Speaker 1>And so if you want to hear episodes about Stuart

1:17:39.640 --> 1:17:45.400
<v Speaker 1>Little and Babe and Babe the Pig, it's only five

1:17:45.439 --> 1:17:48.160
<v Speaker 1>dollars a month and you can hear whatever that is.

1:17:48.280 --> 1:17:52.000
<v Speaker 1>I mean, Jamie, it's famously Animal June. What are you

1:17:52.040 --> 1:17:56.960
<v Speaker 1>talking about? It's yeah, it's Animal June, which we've observed

1:17:57.320 --> 1:18:01.280
<v Speaker 1>for many, many years. There's all so our T public store,

1:18:01.760 --> 1:18:05.000
<v Speaker 1>T public dot com, slash the Bechdel Cast where you

1:18:05.040 --> 1:18:11.120
<v Speaker 1>can get all of your merchandising needs. And uh with that,

1:18:11.200 --> 1:18:14.240
<v Speaker 1>I'm glad that we all stopped lying to each other

1:18:14.400 --> 1:18:17.919
<v Speaker 1>and tricking each other. Let's get on a boat to Shanghai.

1:18:18.000 --> 1:18:20.599
<v Speaker 1>Let's get out of here. Let's do it. Bye bye