1 00:00:00,960 --> 00:00:04,560 Speaker 1: On the bechdodcast, the questions asked if movies have women 2 00:00:04,680 --> 00:00:07,960 Speaker 1: and them, are all their discussions just boyfriends and husbands, 3 00:00:08,000 --> 00:00:13,080 Speaker 1: or do they have individualism? The patriarchy Zephyn Beast start 4 00:00:13,200 --> 00:00:15,960 Speaker 1: changing with the Bechdelcast. 5 00:00:16,400 --> 00:00:20,439 Speaker 2: Hello listeners, here we are, here we are, and what 6 00:00:20,480 --> 00:00:21,080 Speaker 2: are we doing? 7 00:00:21,160 --> 00:00:21,480 Speaker 3: Well? 8 00:00:21,680 --> 00:00:25,840 Speaker 2: We are unlocking a Matreon episode. Ever heard of it? 9 00:00:26,239 --> 00:00:26,680 Speaker 3: I think? So? 10 00:00:27,200 --> 00:00:31,920 Speaker 2: Okay, great on the movie Pride and Prejudice two thousand 11 00:00:31,960 --> 00:00:32,280 Speaker 2: and five. 12 00:00:33,120 --> 00:00:36,920 Speaker 3: I'm so excited we're doing this. We don't unlock Matreon 13 00:00:37,000 --> 00:00:40,080 Speaker 3: episodes very often. If you're new to the show, we 14 00:00:40,159 --> 00:00:42,800 Speaker 3: have a Patreon aka Matreon where we do two bonus 15 00:00:42,800 --> 00:00:45,600 Speaker 3: episodes every month. Feel free to join if you enjoy 16 00:00:45,640 --> 00:00:49,199 Speaker 3: this episode. But the reason we're unlocking this specific episode 17 00:00:49,200 --> 00:00:51,760 Speaker 3: from a couple of years ago now is it's the 18 00:00:51,880 --> 00:00:53,880 Speaker 3: two thousand and five Pride and Prejudice. It is one 19 00:00:53,880 --> 00:00:56,280 Speaker 3: of the only even though we are a famously book 20 00:00:56,320 --> 00:01:00,880 Speaker 3: hating podcast, we read the damn book oh this time, 21 00:01:01,120 --> 00:01:04,160 Speaker 3: which I mean, you know, really, the return on investment 22 00:01:04,200 --> 00:01:07,360 Speaker 3: is extraordinary in this one. But the reason we decided 23 00:01:07,360 --> 00:01:09,679 Speaker 3: to release it now is because it is a very 24 00:01:09,720 --> 00:01:12,720 Speaker 3: popular request on the main feed and it is being 25 00:01:12,800 --> 00:01:16,720 Speaker 3: re released into theaters to celebrate the twentieth anniversary of 26 00:01:17,040 --> 00:01:20,959 Speaker 3: the film. So we thought, you know, why not now 27 00:01:21,160 --> 00:01:24,200 Speaker 3: and it is. You know, it is a movie near 28 00:01:24,240 --> 00:01:26,800 Speaker 3: and dear to my heart, and we really hope you 29 00:01:26,880 --> 00:01:27,759 Speaker 3: enjoy the episode. 30 00:01:28,080 --> 00:01:31,320 Speaker 2: Indeed, we released this originally as a part of a 31 00:01:31,319 --> 00:01:37,320 Speaker 2: Matreon theme called Jane Arykay a austin August, in which 32 00:01:37,360 --> 00:01:41,360 Speaker 2: we covered two movie adaptations of Jane Austen books, this 33 00:01:41,560 --> 00:01:45,759 Speaker 2: one Pride and Prejudice, as well as Emma Period from 34 00:01:46,000 --> 00:01:51,880 Speaker 2: twenty twenty yep. So yeah, we're unlocking this one. One 35 00:01:51,960 --> 00:01:56,280 Speaker 2: last thing I'd like to plug is I am doing 36 00:01:56,480 --> 00:01:59,880 Speaker 2: a stand up show a little you know, an evening 37 00:02:00,000 --> 00:02:05,080 Speaker 2: with Caitlin Derante and friends in State College, Pennsylvania. Ever 38 00:02:05,160 --> 00:02:07,600 Speaker 2: heard of it? It's where I went. 39 00:02:07,800 --> 00:02:10,440 Speaker 3: Usually say that with very famous cities and not to 40 00:02:10,880 --> 00:02:13,000 Speaker 3: dispar as State College. But I was like, some people 41 00:02:13,040 --> 00:02:13,680 Speaker 3: might say no. 42 00:02:13,680 --> 00:02:16,520 Speaker 2: Some people might say no, Well, it's the home of 43 00:02:17,120 --> 00:02:20,079 Speaker 2: penn State University's main campus, which is where I went 44 00:02:20,240 --> 00:02:23,120 Speaker 2: to school the first time. I rarely talk about it 45 00:02:23,120 --> 00:02:25,280 Speaker 2: because it has nothing to do with my master's degree 46 00:02:25,280 --> 00:02:27,560 Speaker 2: from Boston University. 47 00:02:26,919 --> 00:02:27,320 Speaker 3: For sure. 48 00:02:27,360 --> 00:02:30,280 Speaker 2: But I'm doing a stand up show there as well 49 00:02:30,400 --> 00:02:35,400 Speaker 2: as I'm teaching a stand up workshop a couple days later. 50 00:02:35,480 --> 00:02:41,640 Speaker 2: So this is all on the weekend of April eleventh. 51 00:02:41,800 --> 00:02:44,800 Speaker 2: So the show is on April eleventh, the workshop that 52 00:02:44,840 --> 00:02:49,680 Speaker 2: I'm teaching is on April thirteenth. Tickets for those things 53 00:02:49,840 --> 00:02:53,040 Speaker 2: are on our link tree, as well as the description 54 00:02:53,320 --> 00:02:56,520 Speaker 2: of this episode. And I'd love for you to come 55 00:02:56,560 --> 00:03:00,840 Speaker 2: out if you're in the central Pennsylvania area or wherever, 56 00:03:01,440 --> 00:03:04,160 Speaker 2: do a little road trip. Check out ten States Campus. 57 00:03:04,160 --> 00:03:06,679 Speaker 2: It's pretty, it is very pretty, and then come see 58 00:03:06,680 --> 00:03:07,440 Speaker 2: me do comedy. 59 00:03:08,160 --> 00:03:10,440 Speaker 3: You can't see me that weekend, I'll get my cousin's wedding, 60 00:03:10,560 --> 00:03:12,440 Speaker 3: And as far as I know, tickets aren't john sale 61 00:03:12,560 --> 00:03:15,480 Speaker 3: to the wedding, So go to Caitlyn show. Yeah, I 62 00:03:15,480 --> 00:03:17,399 Speaker 3: don't know. Maybe she'll fit it out later. 63 00:03:17,520 --> 00:03:18,560 Speaker 2: Oh damn hopefully. 64 00:03:18,720 --> 00:03:19,000 Speaker 3: Yeah. 65 00:03:19,040 --> 00:03:22,560 Speaker 2: Also jumping in here separately recording a voice memo because 66 00:03:22,600 --> 00:03:27,239 Speaker 2: I just confirmed another show on April fifteenth. I'm going 67 00:03:27,280 --> 00:03:30,079 Speaker 2: to be in New York City doing a show called 68 00:03:30,240 --> 00:03:34,240 Speaker 2: A Night to Remember with Caitlin Dorante. Because April fifteenth, 69 00:03:34,320 --> 00:03:37,560 Speaker 2: in addition to being the date of this show, is 70 00:03:37,680 --> 00:03:40,400 Speaker 2: also the date Titanic sank so of course, I'm doing 71 00:03:40,440 --> 00:03:44,200 Speaker 2: a Titanic themed stand up show about it at Union 72 00:03:44,200 --> 00:03:47,840 Speaker 2: Hall in Brooklyn with a really great lineup that includes 73 00:03:47,880 --> 00:03:51,080 Speaker 2: a lot of past Bechdel Cast guests, and I'm donating 74 00:03:51,120 --> 00:03:55,200 Speaker 2: proceeds from ticket sales to the Palestinian Children's Relief Fund. 75 00:03:55,680 --> 00:03:58,640 Speaker 2: So please, please please come to this show. It's going 76 00:03:58,720 --> 00:04:02,160 Speaker 2: to be a really fun time again. Tickets to all 77 00:04:02,200 --> 00:04:05,440 Speaker 2: of these events can be found at link Tree slash 78 00:04:05,520 --> 00:04:08,960 Speaker 2: Bechtel Cast. Scoot over there, grab your tickets, have the 79 00:04:08,960 --> 00:04:12,280 Speaker 2: best time, Come say hi after the show's and without 80 00:04:12,320 --> 00:04:17,000 Speaker 2: much further ado, here is our unlocked episode on Pride 81 00:04:17,120 --> 00:04:18,640 Speaker 2: and Prejudice. 82 00:04:18,320 --> 00:04:23,320 Speaker 3: And now Tom wamscans as mister Darcy the Bedel Cast. 83 00:04:24,400 --> 00:04:29,560 Speaker 4: Jamie, you have bewitched me body and soul. Oh I 84 00:04:29,640 --> 00:04:31,120 Speaker 4: love I love you. 85 00:04:33,440 --> 00:04:37,960 Speaker 3: I like, I was getting so emotional. It's really beautiful. 86 00:04:38,160 --> 00:04:43,680 Speaker 3: It's really beautiful. Yeah, sorry, I know, I know, but 87 00:04:43,839 --> 00:04:46,000 Speaker 3: also like I kind of don't know. 88 00:04:46,080 --> 00:04:48,480 Speaker 2: I'm like, wow, I don't know either. 89 00:04:49,120 --> 00:04:53,000 Speaker 3: I truly like it's not there's no perfect love story, 90 00:04:53,040 --> 00:04:56,240 Speaker 3: but this is like, oh my god. Okay, welcome to 91 00:04:56,279 --> 00:04:58,440 Speaker 3: the Pride and Prejudice episode. First of all, I think 92 00:04:58,480 --> 00:05:00,920 Speaker 3: we should just acknowledge at the top we were wrong 93 00:05:00,960 --> 00:05:04,039 Speaker 3: to avoid this for so long, yeah, because we're like, 94 00:05:04,480 --> 00:05:06,680 Speaker 3: I mean, it was a lot of prep. We'll get there. 95 00:05:06,720 --> 00:05:08,960 Speaker 3: But I think that like as far as like effectively 96 00:05:09,000 --> 00:05:13,359 Speaker 3: told love stories about the complexities of love and getting 97 00:05:13,400 --> 00:05:16,600 Speaker 3: to know each other and like learning one another over 98 00:05:16,680 --> 00:05:20,840 Speaker 3: time and having empathy and compassion. And I was just like, 99 00:05:21,160 --> 00:05:25,440 Speaker 3: it's so good. I kept crying, like Darcy's ultimately he's 100 00:05:25,480 --> 00:05:28,240 Speaker 3: an act like that. I still wouldn't have ultimately gone 101 00:05:28,240 --> 00:05:33,719 Speaker 3: for Darcy. No, but I'm lying, well, okay, that's the thing. 102 00:05:33,880 --> 00:05:37,919 Speaker 2: Full of shit. Can watch this movie and be like, wow, 103 00:05:38,520 --> 00:05:43,200 Speaker 2: this tugs at my heart strings, and especially as someone 104 00:05:43,279 --> 00:05:48,520 Speaker 2: who is deeply cynical and is just much like Lizzie 105 00:05:48,560 --> 00:05:50,839 Speaker 2: thinks she's going to be an old maid, I think 106 00:05:50,880 --> 00:05:55,200 Speaker 2: that about myself. So I'm just like love. But then 107 00:05:55,200 --> 00:05:57,400 Speaker 2: I watched this movie and I'm like, maybe love Israel. 108 00:05:57,480 --> 00:05:59,479 Speaker 2: I don't know. But then also there's a lot of 109 00:05:59,480 --> 00:06:02,320 Speaker 2: things about the romance in this movie where I'm like, 110 00:06:02,800 --> 00:06:04,839 Speaker 2: I don't know about this. 111 00:06:05,120 --> 00:06:07,680 Speaker 3: But then then it's like also in the historical context, 112 00:06:07,800 --> 00:06:08,200 Speaker 3: you're like. 113 00:06:08,800 --> 00:06:11,640 Speaker 2: Right, the like well, but then the other half of 114 00:06:11,640 --> 00:06:15,400 Speaker 2: my briend is like I don't care because love nobody. 115 00:06:15,640 --> 00:06:18,080 Speaker 3: I know I got being, like nobody's perfect. After all, 116 00:06:19,240 --> 00:06:22,960 Speaker 3: all you can hope for is growth, and they both 117 00:06:23,000 --> 00:06:27,440 Speaker 3: grew so much it makes me cry. And also, I 118 00:06:27,480 --> 00:06:29,640 Speaker 3: know you still don't watch Succession, But to all of 119 00:06:29,680 --> 00:06:33,159 Speaker 3: the matrons who do watch Succession, this is just a 120 00:06:33,160 --> 00:06:35,520 Speaker 3: little chat but tween me and you, because what a 121 00:06:35,720 --> 00:06:39,640 Speaker 3: fun rewatch this is after you've seen I know I've 122 00:06:39,680 --> 00:06:42,080 Speaker 3: like described this to a million times Kitlin, But mister 123 00:06:42,160 --> 00:06:48,600 Speaker 3: Darcy on Succession plays the most cowardly man from the 124 00:06:48,600 --> 00:06:52,080 Speaker 3: Midwest that you've ever seen in your life. Like he's 125 00:06:52,200 --> 00:06:55,560 Speaker 3: just like a total Like it's hard to but he 126 00:06:55,600 --> 00:07:00,240 Speaker 3: plays a character named like Tom womscans and Okay, you 127 00:07:00,360 --> 00:07:03,479 Speaker 3: just have to see how different he is to fully 128 00:07:04,200 --> 00:07:06,360 Speaker 3: and this is a feminist podcast, and I'm like, Matthew 129 00:07:06,440 --> 00:07:09,200 Speaker 3: mcfattyan is the most talented actor in the world, but 130 00:07:09,360 --> 00:07:11,600 Speaker 3: like he's pretty amazing. 131 00:07:11,800 --> 00:07:13,720 Speaker 2: Is that how you say his name McFadyen. 132 00:07:14,200 --> 00:07:17,160 Speaker 3: Yes, okay, which I only know because I watch all 133 00:07:17,240 --> 00:07:22,080 Speaker 3: his Succession interviews because I'm a dork. He's so good 134 00:07:22,560 --> 00:07:25,280 Speaker 3: and looks so different and it's also like whatever, fifteen 135 00:07:25,360 --> 00:07:28,480 Speaker 3: years later, as Tom womscans that I didn't realize, for 136 00:07:28,560 --> 00:07:31,880 Speaker 3: like the first season of Succession, that he was mister Darcy. 137 00:07:32,560 --> 00:07:32,960 Speaker 2: Whoa. 138 00:07:33,000 --> 00:07:36,880 Speaker 3: Okay, I'm done praising men. But I love Matthew mcfaddyan, 139 00:07:37,840 --> 00:07:41,040 Speaker 3: so pride and prejudice. Okay. We finally did it, and 140 00:07:41,040 --> 00:07:45,000 Speaker 3: and we read the book. Read we read the book book, 141 00:07:45,280 --> 00:07:47,880 Speaker 3: and we liked. Did you like? Did you I like? 142 00:07:48,000 --> 00:07:51,240 Speaker 2: I don't like the book, which I'm sure is like heresy, 143 00:07:51,920 --> 00:07:54,680 Speaker 2: it's blasphemy. I find it. 144 00:07:54,800 --> 00:07:55,480 Speaker 3: Books are boring. 145 00:07:56,640 --> 00:07:57,800 Speaker 2: Books are boring. 146 00:07:57,920 --> 00:08:00,360 Speaker 3: No, I don't even think that's a controversial take point 147 00:08:00,400 --> 00:08:02,480 Speaker 3: in society. Its books are famously boring. 148 00:08:04,120 --> 00:08:08,520 Speaker 2: It is written in language that is old enough that 149 00:08:08,560 --> 00:08:12,000 Speaker 2: I don't fucking understand a single word of it. There 150 00:08:12,000 --> 00:08:14,440 Speaker 2: are too many characters, there's a lot of just like 151 00:08:14,720 --> 00:08:18,280 Speaker 2: meandery story that doesn't really serve much of a function. 152 00:08:18,520 --> 00:08:21,840 Speaker 3: We're not literary critics, okay. 153 00:08:23,320 --> 00:08:26,960 Speaker 2: But I think the movie is a great example of 154 00:08:27,320 --> 00:08:31,560 Speaker 2: like an adaptation that very effectively takes a book that 155 00:08:31,680 --> 00:08:34,600 Speaker 2: I know is beloved, and I know it's great. I 156 00:08:34,679 --> 00:08:37,480 Speaker 2: just didn't understand. I didn't enjoy myself when I was 157 00:08:37,520 --> 00:08:40,280 Speaker 2: reading it. I found it confusing, and I don't know 158 00:08:40,280 --> 00:08:42,400 Speaker 2: who any of the characters are. But I think the 159 00:08:42,440 --> 00:08:45,960 Speaker 2: movie does a really good job of streamlining the story 160 00:08:46,360 --> 00:08:50,640 Speaker 2: and like condensing things and like really focusing the narrative 161 00:08:50,760 --> 00:08:54,600 Speaker 2: into a movie that wonder I've watched four times now. 162 00:08:56,440 --> 00:08:59,880 Speaker 2: Weak it's so like, we'll get there. 163 00:08:59,880 --> 00:09:02,840 Speaker 3: I will say that the reason a lot of the 164 00:09:02,840 --> 00:09:06,000 Speaker 3: reason that the book is kind of feels like it's 165 00:09:06,000 --> 00:09:08,800 Speaker 3: repeating itself constantly and like introducing random people is because 166 00:09:08,840 --> 00:09:12,160 Speaker 3: it was released in three volumes. Oh yeah, that was 167 00:09:12,160 --> 00:09:14,240 Speaker 3: like a regency novel thing where you would get the 168 00:09:14,280 --> 00:09:18,400 Speaker 3: book in three chunks. So that's why I feel like 169 00:09:18,400 --> 00:09:20,800 Speaker 3: at some points it's either repeating yourself or like characters 170 00:09:20,800 --> 00:09:23,040 Speaker 3: that are in one section kind of disappear because you're like, well, 171 00:09:23,080 --> 00:09:25,800 Speaker 3: it's kind of like the second volume of Pride and Prejudice, 172 00:09:25,840 --> 00:09:28,200 Speaker 3: So these characters are here for now and then they're gone. 173 00:09:28,760 --> 00:09:31,320 Speaker 3: I did enjoy listen. I mean we both listened to 174 00:09:31,679 --> 00:09:35,640 Speaker 3: the Rosamond Pike Rosamond Pike, Rosamund Pike. I don't know 175 00:09:35,920 --> 00:09:40,200 Speaker 3: Rosamond Pike audio book, which is a delight. It was 176 00:09:40,240 --> 00:09:44,840 Speaker 3: really I was if matrons. If I'm sounding loopy today, 177 00:09:44,880 --> 00:09:46,680 Speaker 3: it's because I am. I was just in Florida for 178 00:09:46,679 --> 00:09:47,040 Speaker 3: a week. 179 00:09:47,200 --> 00:09:47,840 Speaker 2: You're doing great. 180 00:09:47,880 --> 00:09:50,120 Speaker 3: But I was in as in a hotel room in 181 00:09:50,120 --> 00:09:55,120 Speaker 3: Tallahassee last weekend, listening to listening to the Pride and 182 00:09:55,120 --> 00:09:59,160 Speaker 3: Prejudice audio book on like my portable speaker, and someone 183 00:09:59,280 --> 00:10:02,000 Speaker 3: like banged on the wall and was like, turn it 184 00:10:02,160 --> 00:10:07,160 Speaker 3: down because Rosmund Pike was just wailing. She was wailing 185 00:10:07,200 --> 00:10:09,360 Speaker 3: about you know, I didn't realize that the walls were 186 00:10:09,400 --> 00:10:11,440 Speaker 3: that thin, but it was a super it. So what 187 00:10:11,480 --> 00:10:12,000 Speaker 3: can you do? 188 00:10:12,200 --> 00:10:15,600 Speaker 2: I mean, and she's doing different voices. She's so versatile 189 00:10:15,679 --> 00:10:16,679 Speaker 2: in her performance. 190 00:10:17,080 --> 00:10:21,280 Speaker 3: I love that she loved being in Pride and Prejudice 191 00:10:21,320 --> 00:10:23,440 Speaker 3: so much that she was like, yeah, one hundred percent, 192 00:10:23,559 --> 00:10:26,240 Speaker 3: Like hmm, what a fun way to be, just like 193 00:10:26,320 --> 00:10:30,320 Speaker 3: Jane Austen Cannon. Yeah, anyways, as you were saying, I 194 00:10:30,360 --> 00:10:33,320 Speaker 3: think that this, yeah, this book, this movie. Sorry, because 195 00:10:33,320 --> 00:10:35,560 Speaker 3: it was also adapted as a British mini series that 196 00:10:35,600 --> 00:10:38,760 Speaker 3: I know people love. Uh that I was like, I 197 00:10:38,800 --> 00:10:41,160 Speaker 3: thought I considered watching him, Like I already read a book. 198 00:10:41,200 --> 00:10:42,199 Speaker 3: This is so damn long. 199 00:10:42,840 --> 00:10:46,320 Speaker 2: I did watch the first half of the first episode 200 00:10:47,040 --> 00:10:51,120 Speaker 2: and I do intend to finish it, but it is 201 00:10:51,240 --> 00:10:53,400 Speaker 2: it is very long. Yeah, and I didn't have the 202 00:10:53,440 --> 00:10:55,840 Speaker 2: patience for it, and then time ran out. 203 00:10:56,360 --> 00:10:58,719 Speaker 3: We know what happens in the movie. Okay, like we 204 00:10:58,840 --> 00:11:00,839 Speaker 3: know what happens in the story. But this is the 205 00:11:01,520 --> 00:11:06,800 Speaker 3: Joe Wright two thousand and five adaptation starring I would 206 00:11:06,840 --> 00:11:09,400 Speaker 3: say this is the millennial Pride in Prejudice. The mini 207 00:11:09,400 --> 00:11:12,240 Speaker 3: series is the gen X Pride and Prejudice. Sure, sure, 208 00:11:12,360 --> 00:11:15,319 Speaker 3: this is the millennial Pride and Prejudice. It's Kieran Knightley, 209 00:11:15,480 --> 00:11:20,280 Speaker 3: it's Tom from Succession, It's Donald Sutherland, it's I kind 210 00:11:20,280 --> 00:11:22,480 Speaker 3: of and it was kind of fun. I hadn't seen 211 00:11:22,480 --> 00:11:26,880 Speaker 3: this movie, and well, okay, what's your history with it? 212 00:11:27,200 --> 00:11:31,000 Speaker 3: I loved Pride and Prejudice in middle school. I loved 213 00:11:31,080 --> 00:11:34,360 Speaker 3: Jane Austen in middle school. This was early into my 214 00:11:34,800 --> 00:11:38,839 Speaker 3: you know, look, I'm not like other girls. And I 215 00:11:38,960 --> 00:11:41,400 Speaker 3: was really, do you like books? Because I like book 216 00:11:41,400 --> 00:11:45,199 Speaker 3: and reading, and so I was kind of cultivating. I 217 00:11:45,240 --> 00:11:47,960 Speaker 3: was hacking away at that persona while. I was wearing 218 00:11:48,000 --> 00:11:50,480 Speaker 3: a back brace because I really needed something else to 219 00:11:50,520 --> 00:11:54,880 Speaker 3: be my thing. So, and I will say, if there's 220 00:11:54,920 --> 00:11:57,680 Speaker 3: any twelve year olds looking for something to be their 221 00:11:57,679 --> 00:12:00,000 Speaker 3: thing when they're wearing a back brace, I wouldn't recommen 222 00:12:00,000 --> 00:12:05,080 Speaker 3: and books. It's not much cooler. Books in the opo 223 00:12:05,240 --> 00:12:07,679 Speaker 3: are not going to make you more popular at school. 224 00:12:08,240 --> 00:12:12,760 Speaker 3: I don't know what I was thinking, you know, but 225 00:12:12,760 --> 00:12:16,199 Speaker 3: but I was really into trying to I mean it's 226 00:12:16,280 --> 00:12:19,000 Speaker 3: I was really into it. That's like why Lolita podcast exists. 227 00:12:19,000 --> 00:12:21,880 Speaker 3: I was really into like trying to read books that 228 00:12:21,960 --> 00:12:24,320 Speaker 3: were a little out of my depth, but I just 229 00:12:24,360 --> 00:12:26,960 Speaker 3: wanted to feel like I could read a big old book. Sure, 230 00:12:26,960 --> 00:12:30,559 Speaker 3: so I read Jane Austen novels and I sort of 231 00:12:30,640 --> 00:12:33,280 Speaker 3: understood them. And there are also so many this like 232 00:12:33,360 --> 00:12:35,760 Speaker 3: this Pride and Prejudice came out right around the time 233 00:12:35,760 --> 00:12:37,800 Speaker 3: I would have been trying to read it by myself, 234 00:12:38,040 --> 00:12:41,080 Speaker 3: to the point that I have a really nice memory 235 00:12:41,120 --> 00:12:45,040 Speaker 3: with my dad around this movie because this movie came 236 00:12:45,080 --> 00:12:48,400 Speaker 3: out when I was in like sixth or seventh grade, 237 00:12:48,520 --> 00:12:52,200 Speaker 3: and it was not how fun it was. Oh, I 238 00:12:52,200 --> 00:12:54,640 Speaker 3: guess it was very financially successful. It made one hundred 239 00:12:54,640 --> 00:12:56,120 Speaker 3: and twenty one million dollars, well. 240 00:12:55,960 --> 00:12:58,320 Speaker 2: Off of a twenty eight million dollar budget. Yeah, that's 241 00:12:58,320 --> 00:12:58,760 Speaker 2: really good. 242 00:12:58,920 --> 00:13:01,400 Speaker 3: But uh, it wasn't playing in my area at like 243 00:13:01,440 --> 00:13:05,040 Speaker 3: the big amc Like, it wasn't playing at the big theaters. 244 00:13:05,080 --> 00:13:07,240 Speaker 3: You had to like drive forty five minutes to like 245 00:13:07,280 --> 00:13:11,840 Speaker 3: an independent movie theater to go see it. And I 246 00:13:11,920 --> 00:13:14,520 Speaker 3: really wanted to see it, and I thought my dad 247 00:13:14,600 --> 00:13:16,160 Speaker 3: was like, oh, I'll take you to like the local 248 00:13:16,160 --> 00:13:17,880 Speaker 3: movie theater and we'll go. And then we looked it 249 00:13:17,960 --> 00:13:21,280 Speaker 3: up and it wasn't playing, and originally he was like, sorry, 250 00:13:21,320 --> 00:13:22,600 Speaker 3: I guess you'll just have to wait for it to 251 00:13:22,600 --> 00:13:26,440 Speaker 3: come out on DVD. And I was like okay, And 252 00:13:26,480 --> 00:13:29,200 Speaker 3: then the next day he like woke me up and 253 00:13:29,240 --> 00:13:32,079 Speaker 3: he was like, I've changed my mind. We're gonna drive 254 00:13:32,160 --> 00:13:35,000 Speaker 3: forty five minutes to see the movie, and so he like, 255 00:13:35,640 --> 00:13:37,440 Speaker 3: I know, it was really nice. We went to this 256 00:13:37,520 --> 00:13:39,120 Speaker 3: I need to remember what the name of it was 257 00:13:39,600 --> 00:13:43,199 Speaker 3: in case any of the matrons live in Hangham, Massachusetts. 258 00:13:43,240 --> 00:13:45,000 Speaker 3: But it was like this old. I'd never been to 259 00:13:45,040 --> 00:13:47,079 Speaker 3: a movie theater like it before. It was like this. 260 00:13:47,960 --> 00:13:51,000 Speaker 3: It wasn't like a multiplex cinema. It had like a 261 00:13:51,040 --> 00:13:53,439 Speaker 3: balcony and I remember like, I'd never seen a movie 262 00:13:53,440 --> 00:13:56,640 Speaker 3: theater with a balcony. And it was old and it 263 00:13:56,679 --> 00:13:59,080 Speaker 3: was Pride and Prejudice, and Pride and Prejudice is old, 264 00:13:59,720 --> 00:14:02,800 Speaker 3: and it it was like one of my favorite memory. 265 00:14:02,880 --> 00:14:04,800 Speaker 3: I've like wrote about it in my journal. Its like 266 00:14:04,880 --> 00:14:08,920 Speaker 3: top moments of two thousand and five, going to Fride 267 00:14:08,920 --> 00:14:13,200 Speaker 3: and Prejudice with Dad sat in balcony like it was. 268 00:14:14,000 --> 00:14:16,400 Speaker 3: It's just such a lovely memory. And I loved the movie. 269 00:14:17,040 --> 00:14:19,920 Speaker 3: I used to own it on DVD when I was 270 00:14:19,960 --> 00:14:23,160 Speaker 3: a kid, but I haven't seen it in a long time, 271 00:14:23,800 --> 00:14:27,720 Speaker 3: like paying attention, and I was so relieved because nothing 272 00:14:27,760 --> 00:14:31,800 Speaker 3: that you saw when you were twelve holds up. And 273 00:14:32,320 --> 00:14:35,320 Speaker 3: I really loved watching this movie and I feel like 274 00:14:35,320 --> 00:14:37,440 Speaker 3: I appreciated it even more because now I know a 275 00:14:37,440 --> 00:14:40,160 Speaker 3: lot more about the filmmakers and the actors, and I 276 00:14:40,200 --> 00:14:44,400 Speaker 3: can appreciate like the economy of storyteller, Like that's what 277 00:14:44,440 --> 00:14:47,440 Speaker 3: I say, Yeah, this like but on all fronts, like 278 00:14:47,480 --> 00:14:51,040 Speaker 3: the screenplay trims out characters that you don't like Miss 279 00:14:51,240 --> 00:14:53,200 Speaker 3: like I kind of, and I really like the characters 280 00:14:53,200 --> 00:14:56,720 Speaker 3: that they choose to scale back to, Like Miss Bingley 281 00:14:56,880 --> 00:14:59,120 Speaker 3: is scaled way back from in the book where you 282 00:14:59,160 --> 00:15:01,840 Speaker 3: get the idea where yeah, she's a snob, that's kind 283 00:15:01,880 --> 00:15:03,760 Speaker 3: of all you need to know. She's a snob and 284 00:15:03,800 --> 00:15:07,440 Speaker 3: she's and she's finagling and bageling the couples, right, and 285 00:15:07,480 --> 00:15:09,320 Speaker 3: that's all you need to know. Yeah, the aunt and 286 00:15:09,440 --> 00:15:13,360 Speaker 3: uncle they're nice, that's all you need to know. Really, Wickham, 287 00:15:13,680 --> 00:15:15,840 Speaker 3: he's a snake. That's all you need to know. You 288 00:15:15,880 --> 00:15:18,200 Speaker 3: don't need to spend all this time with Wickham. And 289 00:15:18,240 --> 00:15:20,880 Speaker 3: then on top of that, I kind of forgot how 290 00:15:20,960 --> 00:15:26,160 Speaker 3: much I really loved Joe Wright movies when I was 291 00:15:26,200 --> 00:15:29,200 Speaker 3: like a teenager, because like Kia Knightley was his muse. 292 00:15:29,600 --> 00:15:32,280 Speaker 3: She was in Anna Karanaa, which was okay, but like 293 00:15:32,320 --> 00:15:36,640 Speaker 3: a teammate atonement. This movie confirmed to me that I'm 294 00:15:36,720 --> 00:15:37,880 Speaker 3: gonna go see Sierra. 295 00:15:38,560 --> 00:15:39,680 Speaker 2: I'm going to it. 296 00:15:39,960 --> 00:15:41,720 Speaker 3: I'm gonna I was gonna see it before, but now 297 00:15:41,720 --> 00:15:44,640 Speaker 3: I'm super gonna see it because he like he in 298 00:15:44,720 --> 00:15:47,880 Speaker 3: the in the DP, like they tell so much about 299 00:15:47,920 --> 00:15:51,320 Speaker 3: the characters in just like one shot, like all the 300 00:15:51,360 --> 00:15:53,320 Speaker 3: shots of the house where you get to know the 301 00:15:53,400 --> 00:15:56,080 Speaker 3: characters in like one line of dialect, or like the 302 00:15:56,080 --> 00:15:59,080 Speaker 3: shots of the parties where you like see these incredibly 303 00:15:59,160 --> 00:16:02,720 Speaker 3: choreographed shots where it's like you learn about ten characters 304 00:16:03,120 --> 00:16:07,120 Speaker 3: in the course of one shot, and it's just like beautiful. 305 00:16:06,600 --> 00:16:10,320 Speaker 2: And that's cinema. As per Richard gear In, Chicago, and 306 00:16:10,360 --> 00:16:13,640 Speaker 2: that's Chicago, and that's cinema. 307 00:16:13,800 --> 00:16:17,360 Speaker 3: It's genuinely so good. And then the fact that it's 308 00:16:17,360 --> 00:16:19,160 Speaker 3: like they cut out like I feel like every time 309 00:16:19,200 --> 00:16:24,280 Speaker 3: and we talk about adaptations, it's about oh, and then 310 00:16:24,320 --> 00:16:27,960 Speaker 3: they really inflated this random guy character from the book 311 00:16:28,000 --> 00:16:30,280 Speaker 3: and now he's like a main character. But this movie 312 00:16:30,320 --> 00:16:33,480 Speaker 3: does the opposite. It scales back random guys and gives 313 00:16:33,520 --> 00:16:36,720 Speaker 3: you more sisters. It's still I would say. 314 00:16:36,640 --> 00:16:41,480 Speaker 5: Gives you too much dad, But and I think that 315 00:16:41,480 --> 00:16:44,720 Speaker 5: that is like I think my only major criticism of 316 00:16:44,880 --> 00:16:47,920 Speaker 5: the movie is I feel like, based on what I 317 00:16:48,080 --> 00:16:50,280 Speaker 5: was picking up from the book and then I like 318 00:16:50,400 --> 00:16:54,240 Speaker 5: kind of verified this in a couple of essays, the 319 00:16:54,240 --> 00:16:59,240 Speaker 5: Bennett parents are well intentioned, they love their children. 320 00:16:59,360 --> 00:17:03,040 Speaker 3: But they're not amazing parents. They're very flawed parents, sure, 321 00:17:03,440 --> 00:17:07,600 Speaker 3: and I feel like this movie makes that clear. But 322 00:17:07,720 --> 00:17:12,440 Speaker 3: it gives Donald Sutherland Daddy a redemption arc at the end, 323 00:17:13,200 --> 00:17:16,080 Speaker 3: and you're still supposed to think that the mom is 324 00:17:16,160 --> 00:17:19,560 Speaker 3: like pretty silly and pretty like yeah, And I feel 325 00:17:19,560 --> 00:17:21,800 Speaker 3: like in the book that arc, that arc didn't happen 326 00:17:21,880 --> 00:17:24,000 Speaker 3: because you get that whole Donald Sutherland speech where he 327 00:17:24,240 --> 00:17:26,639 Speaker 3: were and I mean, I was crying because it was 328 00:17:26,680 --> 00:17:29,960 Speaker 3: really nice. But you know that doesn't happen in the book. 329 00:17:29,960 --> 00:17:33,679 Speaker 3: He doesn't go like, I love my daughter so much 330 00:17:33,760 --> 00:17:36,240 Speaker 3: and whatever you want is the right thing. 331 00:17:36,520 --> 00:17:39,520 Speaker 6: Go off, queen, Like there's that a whole scene, right, 332 00:17:40,400 --> 00:17:43,119 Speaker 6: which I wouldn't have minded if Missus Bennett got a 333 00:17:43,200 --> 00:17:45,720 Speaker 6: similar kind of two thousand and five treatment. But I 334 00:17:45,720 --> 00:17:49,720 Speaker 6: felt like Donald Sutherland daddy got this, like got this 335 00:17:49,760 --> 00:17:51,520 Speaker 6: little this little flourish at. 336 00:17:51,480 --> 00:17:54,040 Speaker 3: The end that he doesn't get in the book. And 337 00:17:54,080 --> 00:17:55,800 Speaker 3: it's like, well, do both or do none? 338 00:17:56,240 --> 00:17:59,480 Speaker 2: Right? I definitely have some thoughts about the parents and 339 00:18:00,040 --> 00:18:03,600 Speaker 2: their relationship to each other and their relationship to their daughters. Yeah, 340 00:18:03,640 --> 00:18:06,240 Speaker 2: so we can we'll get into. 341 00:18:06,560 --> 00:18:12,760 Speaker 3: But Jenna Malone is in this movie Sprinkling of Americans 342 00:18:13,240 --> 00:18:17,879 Speaker 3: Sprinkling because I was like, jennam alone, Donald's otherland, Canadian, 343 00:18:18,480 --> 00:18:19,840 Speaker 3: Jenna alone American? 344 00:18:20,200 --> 00:18:22,000 Speaker 2: Right, Well that thing happened where I was like, wait, 345 00:18:22,119 --> 00:18:25,280 Speaker 2: has Jenna Malone secretly been English this whole time? And 346 00:18:25,480 --> 00:18:28,080 Speaker 2: we just didn't know? But she just does a convincing 347 00:18:28,840 --> 00:18:30,880 Speaker 2: English accent, So good for her. 348 00:18:31,160 --> 00:18:33,080 Speaker 3: I think the first time I watched this movie, I 349 00:18:33,160 --> 00:18:38,840 Speaker 3: did not know who Carrie Mulligan or Rosamund Pike were. 350 00:18:39,160 --> 00:18:41,479 Speaker 3: I think I knew who Jennam Malone was because she 351 00:18:41,560 --> 00:18:44,520 Speaker 3: was a child star who was in this movie called 352 00:18:44,680 --> 00:18:46,800 Speaker 3: Stepmom starring Susan Sara. 353 00:18:46,920 --> 00:18:48,840 Speaker 2: Oh, yeah, yeah, I've seen it. I think I think 354 00:18:48,880 --> 00:18:51,760 Speaker 2: early I know about it. Who knows. My brain is 355 00:18:51,760 --> 00:18:53,680 Speaker 2: full of too many movies. I don't know what I've 356 00:18:53,680 --> 00:18:55,879 Speaker 2: seen and what I haven't. 357 00:18:56,280 --> 00:18:58,359 Speaker 3: So I like knew who she but like most of 358 00:18:58,400 --> 00:19:02,160 Speaker 3: the everyone in this movie is famous, like. 359 00:19:02,200 --> 00:19:06,760 Speaker 2: Everyone except for Mary, although maybe I'll bite my tongue. 360 00:19:06,800 --> 00:19:09,639 Speaker 3: She was on West World. Oh she was on West World. 361 00:19:09,680 --> 00:19:12,960 Speaker 2: Okay, yeah, she's not as famous. I have a whole 362 00:19:13,040 --> 00:19:16,040 Speaker 2: like justice for Mary Bennett segment of my notes. 363 00:19:16,200 --> 00:19:20,919 Speaker 3: But I see I liked because I felt like and 364 00:19:20,960 --> 00:19:25,159 Speaker 3: maybe and again, books are long, and I will be 365 00:19:25,160 --> 00:19:27,800 Speaker 3: the first to admit that between Mary, Kitty and Lydia 366 00:19:27,920 --> 00:19:31,320 Speaker 3: like basically the sisters who aren't Jane and Elizabeth, sometimes 367 00:19:31,320 --> 00:19:34,520 Speaker 3: I'd be like, wait, which one is which personality? Like 368 00:19:35,160 --> 00:19:37,480 Speaker 3: it's kind of easy to lose track. But I felt 369 00:19:37,520 --> 00:19:41,119 Speaker 3: like Mary was very visually distinct in the movie. I 370 00:19:41,160 --> 00:19:43,520 Speaker 3: wish that she had more Yes, I wish we just 371 00:19:43,640 --> 00:19:45,719 Speaker 3: knew what happened to her. But that's also kind of like, 372 00:19:46,040 --> 00:19:48,879 Speaker 3: does Jane Austen tell us what happens to Mary? No? 373 00:19:49,440 --> 00:19:53,439 Speaker 2: And I think that the book cares less about the 374 00:19:53,520 --> 00:19:55,440 Speaker 2: Mary character than the movie does. 375 00:19:55,760 --> 00:19:59,000 Speaker 3: What I loved about movie Mary is they kind of 376 00:19:59,080 --> 00:20:02,879 Speaker 3: like style it Stickley speaking in two thousand and five terms. 377 00:20:02,880 --> 00:20:05,080 Speaker 3: They kind of like hot topiced her. They were like, 378 00:20:05,119 --> 00:20:08,120 Speaker 3: she's gone with our goth she's literally because she's kind 379 00:20:08,119 --> 00:20:11,720 Speaker 3: of she reminds me of Lydia from Beetlejuice. 380 00:20:12,640 --> 00:20:16,120 Speaker 2: Well, there's a scene where they're all at the Bingley 381 00:20:16,720 --> 00:20:20,240 Speaker 2: estate and it's Missus Bennett and then the three youngest 382 00:20:20,320 --> 00:20:23,200 Speaker 2: daughters all on a couch together, and the and Missus 383 00:20:23,240 --> 00:20:27,760 Speaker 2: Bennett and Kitty and Lydia are all wearing pastels, you know, 384 00:20:27,840 --> 00:20:31,200 Speaker 2: a lavender of pink, a light green. And then Mary's God, 385 00:20:31,680 --> 00:20:34,120 Speaker 2: she's like in black and dark browns. 386 00:20:34,359 --> 00:20:35,200 Speaker 3: I love her. 387 00:20:35,400 --> 00:20:36,600 Speaker 2: She's the goth sister. 388 00:20:36,920 --> 00:20:39,760 Speaker 3: And I also loved that, Like I don't know, like 389 00:20:39,800 --> 00:20:43,040 Speaker 3: I just all of the characters in the book, but 390 00:20:43,520 --> 00:20:46,440 Speaker 3: like especially in them. I've just been like triply impressed 391 00:20:46,600 --> 00:20:48,560 Speaker 3: with how it's done in the movie because it's like 392 00:20:48,800 --> 00:20:51,399 Speaker 3: less time and less baggage, but you still get I 393 00:20:51,440 --> 00:20:53,760 Speaker 3: feel like an even clearer idea of who the characters are. 394 00:20:54,400 --> 00:20:56,520 Speaker 3: I like that. It's like, even though Mary like comes 395 00:20:56,520 --> 00:20:59,959 Speaker 3: off as very like standoffish and solemn and like alone 396 00:21:00,160 --> 00:21:02,439 Speaker 3: her and she literally is like playing the piano all 397 00:21:02,480 --> 00:21:04,560 Speaker 3: the time. I'm like, oh my god, hot topic, sister, 398 00:21:05,000 --> 00:21:09,560 Speaker 3: but she also like you get to see her express emotion. 399 00:21:09,880 --> 00:21:12,520 Speaker 3: Like she there's that moment in one of those amazing 400 00:21:12,600 --> 00:21:18,280 Speaker 3: shots where she like starts crying and Donald Sutherland, because 401 00:21:18,320 --> 00:21:22,479 Speaker 3: he's like not an emotionally intelligent dad, It's like, oh no, 402 00:21:22,600 --> 00:21:25,960 Speaker 3: I made my daughter cry And this all happens in 403 00:21:26,000 --> 00:21:29,879 Speaker 3: the background of a shot. It's like so amazing. I 404 00:21:29,960 --> 00:21:30,679 Speaker 3: love this movie. 405 00:21:30,880 --> 00:21:34,760 Speaker 2: Yeah, we check in on her, and yeah, to certain people, 406 00:21:34,800 --> 00:21:38,359 Speaker 2: she might seem you know, standoffish or aloof or whatever. 407 00:21:38,400 --> 00:21:42,400 Speaker 2: But it's just because like she's socially awkward. She's misunderstood, 408 00:21:42,800 --> 00:21:46,080 Speaker 2: much like mister Darcy, I guess, except that he's also 409 00:21:46,160 --> 00:21:46,720 Speaker 2: an asshole. 410 00:21:48,600 --> 00:21:52,000 Speaker 3: Mister I mean, mister Darcy. Does he display growth? Yes? 411 00:21:52,840 --> 00:21:55,480 Speaker 3: Does he display enough growth that I would have married him? 412 00:21:55,720 --> 00:21:59,520 Speaker 3: In that moment, I want to say no. I want 413 00:21:59,520 --> 00:22:03,199 Speaker 3: to say no, right, but also I want Elizabeth to 414 00:22:03,240 --> 00:22:07,240 Speaker 3: be so happy it makes me cry. Like I love 415 00:22:07,880 --> 00:22:12,280 Speaker 3: It's it's I feel like Elizabeth Bennett and like Joe March, 416 00:22:12,640 --> 00:22:16,200 Speaker 3: like they're just like just characters that you're just like, Okay, 417 00:22:16,240 --> 00:22:19,280 Speaker 3: I don't necessarily agree. I mean, I I like mister 418 00:22:19,359 --> 00:22:23,560 Speaker 3: Darcy better than random guy that Joe Joe March ends 419 00:22:23,640 --> 00:22:25,160 Speaker 3: up with random professor. 420 00:22:25,720 --> 00:22:25,960 Speaker 2: Yeah. 421 00:22:26,040 --> 00:22:28,720 Speaker 3: Yeah, but but you know you're like, Okay, maybe I 422 00:22:28,720 --> 00:22:31,199 Speaker 3: wouldn't have done the same thing, but you seem happy, 423 00:22:31,840 --> 00:22:33,840 Speaker 3: and you've been through so much, and I want you 424 00:22:33,880 --> 00:22:37,840 Speaker 3: to be happy. I just want Elizabeth Bennett to be happy, busy. 425 00:22:39,080 --> 00:22:44,280 Speaker 3: Oh my god, she loves she loves her tall, awkward bangs. Husband. 426 00:22:45,400 --> 00:22:48,560 Speaker 3: The bangs are a lot. The bangs are a lot. 427 00:22:48,720 --> 00:22:50,199 Speaker 2: Wait on mister Darcy. 428 00:22:50,280 --> 00:22:53,320 Speaker 3: On mister Darcy. Yeah, his hair, his hair. 429 00:22:53,359 --> 00:22:54,920 Speaker 2: His head, his head. 430 00:22:55,080 --> 00:22:57,880 Speaker 3: It's it makes me laugh because it is like there 431 00:22:57,920 --> 00:22:59,880 Speaker 3: are I feel like for the most part, I mean, Joe, 432 00:23:00,040 --> 00:23:02,480 Speaker 3: that's kind of like Joe Wright's thing. He creates these 433 00:23:02,560 --> 00:23:07,320 Speaker 3: very engrossing, visually appealing period pieces. But you can still 434 00:23:07,400 --> 00:23:09,840 Speaker 3: I feel like the one tell that it's two thousand 435 00:23:09,840 --> 00:23:12,280 Speaker 3: and five or the two tells is that Kuran Nightley 436 00:23:12,359 --> 00:23:16,719 Speaker 3: is the lead and mister Darcy's hair is flat ironed 437 00:23:16,800 --> 00:23:20,000 Speaker 3: the whole movie. What is that? Why is his hair 438 00:23:20,080 --> 00:23:23,639 Speaker 3: is straightened into bangs the way that a hot topic 439 00:23:23,720 --> 00:23:25,919 Speaker 3: sister would do. I mean maybe that was also happening 440 00:23:26,000 --> 00:23:29,199 Speaker 3: during the regency era, but I was like, this is 441 00:23:29,200 --> 00:23:32,280 Speaker 3: what scene boys were doing at my middle school. Why 442 00:23:32,359 --> 00:23:34,360 Speaker 3: is why' is sister Darcy doing it? 443 00:23:34,560 --> 00:23:36,800 Speaker 2: I mean, some people's hair just lays like that. 444 00:23:37,080 --> 00:23:39,760 Speaker 3: I don't know, I don't know. We'll have to take 445 00:23:39,800 --> 00:23:43,439 Speaker 3: it up with mcfaddyen. But okay, what's your history with 446 00:23:43,480 --> 00:23:44,480 Speaker 3: Pride and Prejudice? 447 00:23:44,720 --> 00:23:47,560 Speaker 2: I had seen it right around when it came out, 448 00:23:48,520 --> 00:23:52,320 Speaker 2: just that one time, didn't ever read the book, did 449 00:23:52,359 --> 00:23:56,000 Speaker 2: watch Bridget Jones's diary, and I had forgotten that it 450 00:23:56,080 --> 00:23:58,800 Speaker 2: is a very loose adaptation of Pride Prejudice. So when 451 00:23:58,800 --> 00:24:02,520 Speaker 2: I started reading the book, I was like, And then 452 00:24:02,600 --> 00:24:06,159 Speaker 2: to clarify that I have a copy of the book, 453 00:24:07,119 --> 00:24:11,560 Speaker 2: I listened to the Rosamund Pike. Basically I let her 454 00:24:11,680 --> 00:24:14,120 Speaker 2: read it to me as I read along in the book, 455 00:24:14,119 --> 00:24:16,280 Speaker 2: which is how I'm gonna read books from now on. 456 00:24:16,400 --> 00:24:18,800 Speaker 2: Like I never I like, don't know why, I never thought, 457 00:24:18,920 --> 00:24:20,679 Speaker 2: oh my God, to do that before? 458 00:24:21,000 --> 00:24:21,320 Speaker 3: Please? 459 00:24:21,359 --> 00:24:23,080 Speaker 2: And then like, but it's so much easier. 460 00:24:23,280 --> 00:24:26,399 Speaker 3: You use the library a lot, get audiobooks from the library. 461 00:24:26,440 --> 00:24:29,360 Speaker 3: That's literally how I do. Like, I wouldn't be able 462 00:24:29,400 --> 00:24:33,160 Speaker 3: to do any research if I couldn't listen to audiobooks. Period. 463 00:24:33,760 --> 00:24:36,399 Speaker 2: Yeah, I don't know what I was thinking before. So 464 00:24:36,600 --> 00:24:38,840 Speaker 2: that's how I'm gonna I'm just gonna like read along 465 00:24:39,119 --> 00:24:44,480 Speaker 2: as some person reads at me. Also, So anyway, that's 466 00:24:44,520 --> 00:24:46,960 Speaker 2: how I consumed the book. And then as I as 467 00:24:47,000 --> 00:24:49,200 Speaker 2: I was consuming it, I was like, oh, wait a minute, 468 00:24:49,240 --> 00:24:51,879 Speaker 2: this sounds this seems very familiar and sort of like 469 00:24:51,920 --> 00:24:54,320 Speaker 2: what happens in Bridget Jones's diary. And then I was like, right, 470 00:24:54,480 --> 00:24:57,800 Speaker 2: that is an adaptation of that. Okay, So I had 471 00:24:57,840 --> 00:25:01,320 Speaker 2: seen the movie only once. I remembered two scenes from 472 00:25:01,320 --> 00:25:05,040 Speaker 2: it and nothing else. I remember the scene where Darcy 473 00:25:05,280 --> 00:25:10,320 Speaker 2: and Bingley are approaching the house for the first time. 474 00:25:11,520 --> 00:25:13,720 Speaker 2: A frenzy ensues because they're like, oh my god, we 475 00:25:13,760 --> 00:25:15,800 Speaker 2: have to make ourselves look presentable, and then they like 476 00:25:16,000 --> 00:25:19,040 Speaker 2: pinch their cheeks a little bit to like, yeah, basically 477 00:25:19,080 --> 00:25:22,879 Speaker 2: like give themselves some rouge. I distinctly remember that. And 478 00:25:22,920 --> 00:25:24,879 Speaker 2: then the other scene I remember, which is one of 479 00:25:24,920 --> 00:25:27,760 Speaker 2: my favorite scenes in the movie, and this also happens 480 00:25:27,800 --> 00:25:32,159 Speaker 2: in the book where mister Collins has proposed to Elizabeth. 481 00:25:32,960 --> 00:25:36,520 Speaker 2: She has said no, Missus Bennett is like, Lizzie, what 482 00:25:36,560 --> 00:25:38,280 Speaker 2: the hell are you doing? You gotta say yes to 483 00:25:38,320 --> 00:25:40,320 Speaker 2: this guy. I will never speak to you again if 484 00:25:40,359 --> 00:25:44,000 Speaker 2: you don't marry him. And then mister Bennett is like, well, 485 00:25:44,080 --> 00:25:46,600 Speaker 2: that's what your mom says. She'll never see you again 486 00:25:46,720 --> 00:25:48,840 Speaker 2: if you don't marry him, and I'll never see you 487 00:25:48,880 --> 00:25:51,080 Speaker 2: again if you do. And I was like, Bam, I. 488 00:25:51,520 --> 00:25:53,840 Speaker 3: Mean cool, it's a good moment. And it's like that's 489 00:25:54,480 --> 00:25:57,040 Speaker 3: straight from the book baby, Like mm hmm, that's a 490 00:25:57,080 --> 00:26:04,000 Speaker 3: really effectively done scene. And yeah, I love Lizzie God. 491 00:26:04,880 --> 00:26:07,800 Speaker 3: I just like and then, especially like with the historical 492 00:26:07,840 --> 00:26:11,560 Speaker 3: context of like just how I don't know whatever, we'll 493 00:26:11,600 --> 00:26:14,480 Speaker 3: talk about like women in general, I mean, and I 494 00:26:14,520 --> 00:26:19,680 Speaker 3: love that this movie focuses on relationships between women quite 495 00:26:19,720 --> 00:26:22,160 Speaker 3: a bit. Yeah, quite a bit. I mean, the book 496 00:26:22,160 --> 00:26:24,080 Speaker 3: obviously does as well, but it also kind of goes 497 00:26:24,080 --> 00:26:26,520 Speaker 3: off on these tangents. I feel like there's like I 498 00:26:26,560 --> 00:26:29,399 Speaker 3: was getting so sick of Wickham because it's like you 499 00:26:29,440 --> 00:26:31,520 Speaker 3: find out he's a snake and then he's just still 500 00:26:31,560 --> 00:26:34,480 Speaker 3: around and you're like, who cares, We're done with him, 501 00:26:34,760 --> 00:26:39,440 Speaker 3: he's a scammer. But the fact that it's like it's 502 00:26:39,480 --> 00:26:43,199 Speaker 3: hard to reject anybody, but also like it wasn't just 503 00:26:43,240 --> 00:26:46,520 Speaker 3: a rejection she was doing. It was like there were 504 00:26:46,840 --> 00:26:50,679 Speaker 3: ties to her future, and there's ties to her like 505 00:26:51,000 --> 00:26:58,159 Speaker 3: security physically, mentally, emotionally, and financially, financially, her family is 506 00:26:58,200 --> 00:27:00,840 Speaker 3: all tied up in it as well, Like the stakes 507 00:27:00,880 --> 00:27:06,159 Speaker 3: were so high, but she acted to her values. She's like, 508 00:27:06,200 --> 00:27:10,399 Speaker 3: I'm not gonna marry this fucking asshole who I Also, 509 00:27:10,720 --> 00:27:12,479 Speaker 3: I think that they added and I thought this was 510 00:27:12,480 --> 00:27:15,359 Speaker 3: like a smart choice. I'm pretty sure in the book, 511 00:27:15,440 --> 00:27:18,440 Speaker 3: does mister Collins say like, oh, I want to marry 512 00:27:18,520 --> 00:27:21,119 Speaker 3: Jane and then they're like, oh, you can't, but you 513 00:27:21,119 --> 00:27:23,960 Speaker 3: can marry Lizy. And then he's like, oh, okay, does 514 00:27:23,960 --> 00:27:25,879 Speaker 3: he say that? I mean, I feel like he definitely 515 00:27:25,960 --> 00:27:28,200 Speaker 3: like proposes to her. She says no, but I didn't 516 00:27:28,200 --> 00:27:29,760 Speaker 3: think that there was a moment where he was like, 517 00:27:29,840 --> 00:27:31,879 Speaker 3: Jane's my pick and they're like, sorry. 518 00:27:33,000 --> 00:27:35,080 Speaker 2: Well, here's the thing about books is that I don't 519 00:27:35,080 --> 00:27:37,400 Speaker 2: remember them, even though I read this one a week ago, 520 00:27:37,560 --> 00:27:38,840 Speaker 2: So I have no fucking idea. 521 00:27:39,560 --> 00:27:41,920 Speaker 3: I'm pretty sure, I mean, and feel free and briden 522 00:27:41,960 --> 00:27:44,400 Speaker 3: prejudice had feel free to sound off in the comments, 523 00:27:45,160 --> 00:27:48,720 Speaker 3: but I'm pretty sure that that doesn't happen. But again, 524 00:27:48,760 --> 00:27:51,679 Speaker 3: it's like it's that's a really effective story point for 525 00:27:51,760 --> 00:27:54,240 Speaker 3: the movie to make it clear that it's like, yeah, 526 00:27:54,359 --> 00:27:58,240 Speaker 3: she should not marry this fucking guy. 527 00:27:58,640 --> 00:28:12,200 Speaker 2: Yeah he sucks. Mm hmm. Should I do the recap? 528 00:28:12,880 --> 00:28:16,640 Speaker 3: Yeah? Okay, I love this story me too. 529 00:28:17,640 --> 00:28:22,639 Speaker 2: Okay. We are in the late eighteenth century, which is 530 00:28:22,680 --> 00:28:25,680 Speaker 2: a slight deviation from the book because the book takes 531 00:28:25,680 --> 00:28:27,920 Speaker 2: place I think in like eighteen twelve. 532 00:28:28,640 --> 00:28:30,520 Speaker 3: Yeah, like at the time it was like the book 533 00:28:30,600 --> 00:28:33,040 Speaker 3: was released or like, right, this is a modern book. 534 00:28:33,280 --> 00:28:36,000 Speaker 2: Eighteen thirteen something when it came out is when it 535 00:28:36,119 --> 00:28:39,960 Speaker 2: was published. Yeah, the movie, and this is like based 536 00:28:39,960 --> 00:28:44,520 Speaker 2: on some choices from Joe Wright, the director. He said 537 00:28:44,560 --> 00:28:47,240 Speaker 2: it back, I want to say, like maybe twenty or 538 00:28:47,320 --> 00:28:51,200 Speaker 2: thirty years so it's like late seventeen hundred's rural England. 539 00:28:51,960 --> 00:28:55,680 Speaker 2: We meet Elizabeth Bennett that's Karen Knightley of course, and 540 00:28:56,280 --> 00:29:01,440 Speaker 2: her family, her elder sister Jane that's Rosamond, and her 541 00:29:01,560 --> 00:29:07,040 Speaker 2: younger sister's kitty, Carrie. Mulligan, Lydia is Jennam alone and 542 00:29:07,440 --> 00:29:11,760 Speaker 2: Mary who I didn't write down that actor because I'm 543 00:29:11,760 --> 00:29:12,400 Speaker 2: a rude bit. 544 00:29:12,560 --> 00:29:14,440 Speaker 3: Wow, I love her. You're like, she's the only one 545 00:29:14,440 --> 00:29:15,480 Speaker 3: who's not famous. 546 00:29:15,760 --> 00:29:16,560 Speaker 2: Justice for Mary. 547 00:29:16,800 --> 00:29:17,760 Speaker 3: I don't know what her name is. 548 00:29:17,800 --> 00:29:18,560 Speaker 2: I don't recognize her. 549 00:29:19,800 --> 00:29:23,640 Speaker 3: Riley, thank you so much. She was in West World. Okay. 550 00:29:23,680 --> 00:29:27,520 Speaker 2: Anyways, so they are all eves dropping on their mother, 551 00:29:27,840 --> 00:29:34,160 Speaker 2: Missus Bennett played by Brenda Blethin, telling their father, mister 552 00:29:34,200 --> 00:29:36,280 Speaker 2: Bennett played by Donald Sutherland. 553 00:29:36,400 --> 00:29:41,920 Speaker 3: Mister Bennett, she's the most British person that's ever lived. 554 00:29:42,240 --> 00:29:47,920 Speaker 2: Yes, so she's telling her husband, her husband that a 555 00:29:48,240 --> 00:29:53,000 Speaker 2: rich young man and mister Bingley, mister Bingley has bought 556 00:29:53,040 --> 00:29:58,000 Speaker 2: a nearby estate and also he's single, and they're all 557 00:29:58,040 --> 00:30:01,880 Speaker 2: anticipating that one of the Bennett girls will marry mister Bingley, 558 00:30:02,280 --> 00:30:06,120 Speaker 2: who will be coming to a ball that's being thrown. 559 00:30:06,520 --> 00:30:08,640 Speaker 2: I don't know the following evening or sometime soon. 560 00:30:09,160 --> 00:30:11,880 Speaker 3: I will say, of all the men in the story, 561 00:30:12,360 --> 00:30:14,600 Speaker 3: if I had to get married to one of them, 562 00:30:14,880 --> 00:30:18,800 Speaker 3: one hundred percent, mister Bingley, what a sweetie, so sweetye, 563 00:30:18,840 --> 00:30:22,440 Speaker 3: a pushover, not the maybe not the brightest crayon in 564 00:30:22,480 --> 00:30:26,480 Speaker 3: the box, but like, but what a sweetie. The way 565 00:30:26,520 --> 00:30:29,600 Speaker 3: he looks at Jane, He's like, I love her so much. 566 00:30:30,160 --> 00:30:32,520 Speaker 3: But then mister Darcy's like, don't marry her, and he's 567 00:30:32,560 --> 00:30:34,800 Speaker 3: like okay, Like you're like, okay, come on. 568 00:30:35,400 --> 00:30:38,280 Speaker 2: The part where he's like, I'm not a very good reader. 569 00:30:38,760 --> 00:30:41,720 Speaker 2: I can read, and I'm not suggesting you can't read. 570 00:30:41,800 --> 00:30:45,120 Speaker 2: Outside He's so cute. 571 00:30:45,280 --> 00:30:48,719 Speaker 3: I loved mister Bingley. Also, he kind of disappeared too. 572 00:30:48,800 --> 00:30:51,040 Speaker 3: I don't know what happened to him. Oh my gosh, wait, 573 00:30:51,120 --> 00:30:53,640 Speaker 3: this is weat Sorry, I'm just on his Wikipedia page. 574 00:30:53,760 --> 00:30:57,200 Speaker 3: The actor Simon Woods. Hmm. So he's a writer now, 575 00:30:57,480 --> 00:31:00,760 Speaker 3: but he he dated Rosamond Pike for two thousand to 576 00:31:00,840 --> 00:31:03,400 Speaker 3: two thousand and two, so not when this came out. 577 00:31:03,520 --> 00:31:06,880 Speaker 3: Oh yes. And then now he's married to a man 578 00:31:06,960 --> 00:31:12,400 Speaker 3: named Christopher Bailey who is like a fashion ceo. Okay, 579 00:31:12,440 --> 00:31:15,000 Speaker 3: and he has two daughters and now he writes plays. 580 00:31:15,080 --> 00:31:17,719 Speaker 3: But I was like, that's so bizarre that, like he 581 00:31:17,840 --> 00:31:21,600 Speaker 3: dated Rosamund Pike and then they played lovers like three 582 00:31:21,680 --> 00:31:22,760 Speaker 3: years after they broke up. 583 00:31:23,160 --> 00:31:24,160 Speaker 2: Love that they're. 584 00:31:24,000 --> 00:31:28,840 Speaker 3: Still cute together. I love mister Bingley. Yeah, he's so 585 00:31:30,000 --> 00:31:32,000 Speaker 3: I would have such a crush on mister Bingley. You're like, 586 00:31:32,040 --> 00:31:33,800 Speaker 3: it's okay, I believe you can read. 587 00:31:34,520 --> 00:31:39,920 Speaker 2: Right, Okay. So at the ball, everyone is dancing, they're 588 00:31:39,960 --> 00:31:44,360 Speaker 2: having a merry time. Then this mister Bingley shows up 589 00:31:44,600 --> 00:31:49,120 Speaker 2: along with his sister Caroline and his friend mister Darcy. 590 00:31:50,000 --> 00:31:53,360 Speaker 2: That's Matthew mcfadian. Is that how you say it? Fadien 591 00:31:53,520 --> 00:31:59,200 Speaker 2: Fati mcfadian, who is very rich, even richer than Bingley, 592 00:31:59,800 --> 00:32:04,720 Speaker 2: and who Elizabeth thinks looks miserable and unpleasant, and he does, 593 00:32:05,200 --> 00:32:07,680 Speaker 2: and he does. He is thought to be too proud 594 00:32:08,200 --> 00:32:09,600 Speaker 2: and prejudiced. 595 00:32:11,120 --> 00:32:15,240 Speaker 3: He's so emo. He's like everyone's like hi, mister Jarcy. 596 00:32:15,320 --> 00:32:19,240 Speaker 3: He's like l no, No, I'm like, dude, you're twenty eight, 597 00:32:19,520 --> 00:32:21,520 Speaker 3: Like he can you just say hello? 598 00:32:22,400 --> 00:32:22,560 Speaker 6: Right? 599 00:32:23,200 --> 00:32:26,080 Speaker 2: But then I'm like, maybe he's got social anxiety. Maybe 600 00:32:26,120 --> 00:32:26,960 Speaker 2: he's got. 601 00:32:27,160 --> 00:32:30,480 Speaker 3: Well he says he has social anxiety, right, yeah, yeah, 602 00:32:30,520 --> 00:32:32,600 Speaker 3: I mean obviously not a discussion back then, but like 603 00:32:32,640 --> 00:32:35,560 Speaker 3: he but I feel like it's implied that it's like 604 00:32:36,040 --> 00:32:39,440 Speaker 3: he has social anxiety and then deals with it by 605 00:32:40,400 --> 00:32:43,040 Speaker 3: acting like he's too good for everyone, and that's like 606 00:32:43,080 --> 00:32:46,560 Speaker 3: his cope. Because there's that scene where it's like he 607 00:32:46,640 --> 00:32:50,280 Speaker 3: basically tells Elizabeth like I have a hard time talking 608 00:32:50,360 --> 00:32:53,240 Speaker 3: to new people, right, and then she's kind of like, fuck, 609 00:32:53,280 --> 00:32:56,240 Speaker 3: you leave me alone, And I'm like, well, given the 610 00:32:56,240 --> 00:32:59,200 Speaker 3: fat how he's treated her, I get it. But also 611 00:32:59,240 --> 00:33:02,440 Speaker 3: he is yeah, he like totally cops to being socially 612 00:33:02,480 --> 00:33:03,600 Speaker 3: anxious for sure. 613 00:33:03,880 --> 00:33:09,160 Speaker 2: Yeah, But then I'm like, is he neurodivergent? Possibly? We 614 00:33:09,200 --> 00:33:12,720 Speaker 2: don't know. They didn't understand these things back then, right, 615 00:33:12,840 --> 00:33:16,400 Speaker 2: maybe something's going on as someone who especially like earlier 616 00:33:16,400 --> 00:33:20,000 Speaker 2: in my life, people would make snap judgments about me 617 00:33:20,080 --> 00:33:23,400 Speaker 2: because I was like socially anxious or uncomfortable, and I 618 00:33:23,440 --> 00:33:25,800 Speaker 2: was like, sure, no, I'm actually nice. So I just 619 00:33:25,840 --> 00:33:28,200 Speaker 2: found all that relatable. But then also like he insults 620 00:33:28,240 --> 00:33:30,400 Speaker 2: her as he's proposing to her, So I'm like, actually, 621 00:33:30,440 --> 00:33:31,840 Speaker 2: maybe he's an asshole. 622 00:33:31,800 --> 00:33:33,760 Speaker 3: But also like many things, and I feel like that's 623 00:33:33,760 --> 00:33:36,560 Speaker 3: a lot of the take like we can't say obviously, 624 00:33:37,040 --> 00:33:39,560 Speaker 3: but like in this story, I feel like the fact 625 00:33:39,600 --> 00:33:42,400 Speaker 3: that we can even have that conversation about a two 626 00:33:42,520 --> 00:33:46,680 Speaker 3: hundred year old story is really cool because this is 627 00:33:46,720 --> 00:33:50,520 Speaker 3: a story where two things can be true all the time, 628 00:33:50,600 --> 00:33:54,880 Speaker 3: where it's like, yes, mister Darcy obviously has a level 629 00:33:54,920 --> 00:33:57,800 Speaker 3: of social anxiety that he admits to in the book 630 00:33:57,840 --> 00:34:02,320 Speaker 3: and the movie, but he also acts behind people's backs 631 00:34:02,440 --> 00:34:05,640 Speaker 3: and is a total jerk in ways that is completely 632 00:34:05,760 --> 00:34:08,480 Speaker 3: unrelated to his social anxiety and has everything to do 633 00:34:08,560 --> 00:34:13,319 Speaker 3: with his like class bullshit. So this is just like, 634 00:34:13,960 --> 00:34:15,360 Speaker 3: I don't know, I just think it's really cool that 635 00:34:15,400 --> 00:34:17,840 Speaker 3: it's like we can have that discussion and then also 636 00:34:17,960 --> 00:34:21,120 Speaker 3: be like but there were also moments in this story 637 00:34:21,120 --> 00:34:25,160 Speaker 3: where he was straight up being an elitist jerk, which 638 00:34:25,200 --> 00:34:28,080 Speaker 3: he later admitted and was like, and now I have 639 00:34:28,120 --> 00:34:35,520 Speaker 3: to make things right because growth. Oh, mister Darcy, Yes, okay. 640 00:34:35,560 --> 00:34:37,839 Speaker 2: So he shows up at the ball and he and 641 00:34:37,880 --> 00:34:42,480 Speaker 2: Elizabeth share a look, but then Elizabeth overhears mister Darcy 642 00:34:42,520 --> 00:34:46,839 Speaker 2: say about her that she's tolerable but not pretty enough 643 00:34:46,880 --> 00:34:50,239 Speaker 2: to tempt him, which then she uses as ammunition in 644 00:34:50,280 --> 00:34:53,799 Speaker 2: a little like mic drop comment to him later on. 645 00:34:54,960 --> 00:34:57,520 Speaker 2: This is the beginning of the like will they won't 646 00:34:57,560 --> 00:34:59,560 Speaker 2: they romantic tension between them. 647 00:35:00,120 --> 00:35:03,120 Speaker 3: I love that shot, where like after Lizzie, which is 648 00:35:03,120 --> 00:35:06,040 Speaker 3: this is like most of her mic dropped moments, not all, 649 00:35:06,120 --> 00:35:08,080 Speaker 3: but like a lot of them are added in for 650 00:35:08,160 --> 00:35:10,680 Speaker 3: the movie, and so she kind of Mic drops him, 651 00:35:10,719 --> 00:35:13,240 Speaker 3: she repeats back the thing that she overheard him saying 652 00:35:13,280 --> 00:35:15,719 Speaker 3: about her, and then there's like this long shot of 653 00:35:15,719 --> 00:35:18,360 Speaker 3: her walking away and you almost like I just almost 654 00:35:18,440 --> 00:35:24,280 Speaker 3: wanted like a music cue there of like ahh may moment, 655 00:35:24,560 --> 00:35:28,080 Speaker 3: like she's like strutting away, like there's music playing, but 656 00:35:28,120 --> 00:35:31,080 Speaker 3: it's like it's still a fucking harpist chord. 657 00:35:32,480 --> 00:35:36,440 Speaker 2: Right right. I did find those moments very cathartic. 658 00:35:36,760 --> 00:35:38,920 Speaker 3: They're fun, yeah, And I feel like it didn't like 659 00:35:39,000 --> 00:35:42,399 Speaker 3: in the way that some when some older stories have 660 00:35:42,560 --> 00:35:45,680 Speaker 3: like those like modern flourishes added, they really stick out 661 00:35:45,680 --> 00:35:49,520 Speaker 3: because you're like, this doesn't feel consistent. But like with Lizzie, 662 00:35:49,840 --> 00:35:52,400 Speaker 3: that's so who she is in the book, that like 663 00:35:52,560 --> 00:35:55,320 Speaker 3: adding those moments feels very consistent with who. 664 00:35:55,160 --> 00:35:59,719 Speaker 2: She is, right, yes, Okay. So then meanwhile, Elizabeth's sister 665 00:35:59,800 --> 00:36:03,760 Speaker 2: j and mister Bingley seemed to be taking a liking 666 00:36:03,840 --> 00:36:07,319 Speaker 2: to each other. Then Jane is invited to dine at 667 00:36:07,360 --> 00:36:10,960 Speaker 2: mister Bingley's estate, where she has to stay for a 668 00:36:11,000 --> 00:36:13,879 Speaker 2: few days after developing a cold on the way there, 669 00:36:14,520 --> 00:36:18,080 Speaker 2: which missus Bennett basically orchestrates. 670 00:36:18,640 --> 00:36:21,640 Speaker 3: I was like, that's evil, genius. She's like, no, you 671 00:36:21,719 --> 00:36:23,759 Speaker 3: have to ride a horse, so you get sick, so 672 00:36:23,800 --> 00:36:28,240 Speaker 3: you fall in love. You're like, mom, that's evil. 673 00:36:28,160 --> 00:36:32,640 Speaker 2: Which mister Bennett, He's like, your skills for matchmaking are 674 00:36:33,120 --> 00:36:33,920 Speaker 2: a cult. 675 00:36:33,719 --> 00:36:35,759 Speaker 3: Missus Bennett. I mean, there's a lot to be said 676 00:36:35,760 --> 00:36:37,880 Speaker 3: about her. I know, we'll get to it, but there 677 00:36:37,880 --> 00:36:40,279 Speaker 3: are very few moments in the story where you get 678 00:36:40,280 --> 00:36:42,600 Speaker 3: to be like, all right, I guess she pulled that 679 00:36:42,640 --> 00:36:44,480 Speaker 3: one off, and like that was one of the few 680 00:36:44,520 --> 00:36:49,239 Speaker 3: moments where it's unconventional what she does. But does it 681 00:36:49,280 --> 00:36:52,040 Speaker 3: not work out for the best, you know? And then 682 00:36:52,080 --> 00:36:54,320 Speaker 3: she's like, no one dies of a cult. That's fine. 683 00:36:54,560 --> 00:36:56,839 Speaker 3: You're like Jesus. 684 00:36:58,080 --> 00:37:01,640 Speaker 2: Right, right. So Elizabeth also goes to the estate to 685 00:37:02,000 --> 00:37:07,040 Speaker 2: look after Jane while she's ill, and there she and 686 00:37:07,080 --> 00:37:12,719 Speaker 2: mister Darcy interact. They are mostly nagging each other and 687 00:37:13,000 --> 00:37:15,240 Speaker 2: they seem to hate each other, but also they seem 688 00:37:15,280 --> 00:37:16,600 Speaker 2: to secretly love each other. 689 00:37:17,280 --> 00:37:20,880 Speaker 3: Maybe mister Darcy keeps smirking and you're just like, he 690 00:37:20,960 --> 00:37:23,320 Speaker 3: just keeps looking at her, like he ha ha ha. 691 00:37:24,000 --> 00:37:25,640 Speaker 3: I'm like, do you know you love her yet? 692 00:37:25,840 --> 00:37:26,160 Speaker 1: Do you? 693 00:37:26,560 --> 00:37:28,840 Speaker 3: He does? He does, He totally does. 694 00:37:29,160 --> 00:37:32,080 Speaker 2: Because like when she leaves, he like helps her into 695 00:37:32,120 --> 00:37:35,680 Speaker 2: the carriage and like there's you know, just a spark 696 00:37:35,719 --> 00:37:37,480 Speaker 2: when they touch hands. It's a whole thing. 697 00:37:37,760 --> 00:37:38,120 Speaker 3: Oh. 698 00:37:38,160 --> 00:37:42,279 Speaker 2: So then Elizabeth and Jane return home, and when they do, 699 00:37:42,840 --> 00:37:46,000 Speaker 2: the Bennetts get news of a cousin, mister Collins, coming 700 00:37:46,000 --> 00:37:50,040 Speaker 2: to visit. He is to inherit their estate after mister 701 00:37:50,080 --> 00:37:55,360 Speaker 2: Bennett dies, since they only had daughters and women can't 702 00:37:55,520 --> 00:37:59,800 Speaker 2: own property during this time, or there are certain circumstances 703 00:38:00,080 --> 00:38:03,640 Speaker 2: in which you can, maybe, but it doesn't apply to 704 00:38:03,680 --> 00:38:05,320 Speaker 2: them them. I don't really understand. 705 00:38:05,560 --> 00:38:08,160 Speaker 3: I honestly, we didn't do. I mean, we already read 706 00:38:08,160 --> 00:38:11,200 Speaker 3: a book, so don't yell at us like I appreciate 707 00:38:11,280 --> 00:38:15,840 Speaker 3: how like Jane Austen, she doesn't like Russian novel style layout, 708 00:38:16,000 --> 00:38:18,839 Speaker 3: like and here are the rules for forty pages of 709 00:38:18,920 --> 00:38:21,719 Speaker 3: like what this actually meant? Because it seems like there 710 00:38:21,760 --> 00:38:24,920 Speaker 3: are circumstances in which women can own property, but this 711 00:38:25,080 --> 00:38:27,799 Speaker 3: isn't one of them, right for whatever reason. All you 712 00:38:27,840 --> 00:38:29,520 Speaker 3: need to know is, like this is not one of 713 00:38:29,600 --> 00:38:32,640 Speaker 3: Like mister Collins is getting it right for reason. 714 00:38:32,440 --> 00:38:35,720 Speaker 2: For reasons because Lady Catherine de Bergh owns her estate, 715 00:38:35,840 --> 00:38:37,520 Speaker 2: I think, but she's girl boss. 716 00:38:37,560 --> 00:38:40,719 Speaker 3: But maybe that's because all the men died like it's possible, Yeah, 717 00:38:41,080 --> 00:38:43,680 Speaker 3: because she's rich. It could because like all the guys 718 00:38:43,680 --> 00:38:45,719 Speaker 3: who used to own it died Like we just don't know, 719 00:38:45,880 --> 00:38:49,319 Speaker 3: simply don't know. But either way, the Bennett's sisters are 720 00:38:49,320 --> 00:38:51,400 Speaker 3: shit out of luck and they have to give it 721 00:38:51,440 --> 00:38:52,800 Speaker 3: to their rude cousin. 722 00:38:53,239 --> 00:38:57,759 Speaker 2: Yes, and mister Collins intends on marrying one of the 723 00:38:57,760 --> 00:39:02,480 Speaker 2: Bennett daughters because cousins be marrying each other in the 724 00:39:02,520 --> 00:39:07,960 Speaker 2: olden dates, not in this case, thank goodness. Elizabeth seems 725 00:39:08,000 --> 00:39:12,920 Speaker 2: like the best option for him. Meanwhile, the military is 726 00:39:12,960 --> 00:39:17,400 Speaker 2: stationed in town and a lieutenant or a lieutenant Wickham 727 00:39:17,920 --> 00:39:20,839 Speaker 2: also takes a liking to Elizabeth. They have some fun 728 00:39:20,880 --> 00:39:22,400 Speaker 2: banter about ribbons. 729 00:39:22,680 --> 00:39:23,160 Speaker 3: Oh my god. 730 00:39:23,280 --> 00:39:27,800 Speaker 2: We learn that Wickham has an unpleasant history with mister Darcy, 731 00:39:28,600 --> 00:39:31,640 Speaker 2: where Wickham tells Elizabeth that he and mister Darcy grew 732 00:39:31,719 --> 00:39:36,320 Speaker 2: up together, that Darcy denied an inheritance that was promised 733 00:39:36,360 --> 00:39:39,239 Speaker 2: to him because Darcy was jealous that his father loved 734 00:39:39,280 --> 00:39:40,919 Speaker 2: Wickham more than his own son. 735 00:39:41,239 --> 00:39:45,040 Speaker 3: Two things. This is such a I think, like on 736 00:39:45,320 --> 00:39:49,520 Speaker 3: Jane Austen's part, such a like insightful dynamic that I 737 00:39:49,560 --> 00:39:52,440 Speaker 3: feel like you don't see very often of like but 738 00:39:52,520 --> 00:39:54,719 Speaker 3: something that like I've definitely experienced. They feel like it's 739 00:39:54,760 --> 00:39:58,160 Speaker 3: a pretty common experience of like being so taken in 740 00:39:58,200 --> 00:40:02,600 Speaker 3: by a very charismatic person who's talking shit that it 741 00:40:02,680 --> 00:40:05,040 Speaker 3: isn't until you are like forced to take a step 742 00:40:05,080 --> 00:40:09,200 Speaker 3: out of their like charisma to be like, wait a second, 743 00:40:09,880 --> 00:40:12,920 Speaker 3: this person's full of shit, Like right, it's so and 744 00:40:13,040 --> 00:40:16,440 Speaker 3: like Wickham is such a classic example of that. Also, 745 00:40:16,960 --> 00:40:20,680 Speaker 3: my dad when we saw that movie, I got mad 746 00:40:20,719 --> 00:40:25,200 Speaker 3: at him in the theater because he made fun of 747 00:40:25,239 --> 00:40:28,479 Speaker 3: that ribbon scene in the theater and I got really 748 00:40:28,520 --> 00:40:32,160 Speaker 3: embarrassed because he was like joking about how they were, 749 00:40:32,200 --> 00:40:34,759 Speaker 3: like there's that shot where like Karen Knightley is like 750 00:40:34,800 --> 00:40:39,760 Speaker 3: peeking from behind the ribbons and he's like, oh, come hither, 751 00:40:39,920 --> 00:40:42,320 Speaker 3: but don't, but come hither but don't. 752 00:40:42,560 --> 00:40:47,000 Speaker 2: And I was like, Dad, stop, Mike, don't make fun. 753 00:40:49,680 --> 00:40:55,399 Speaker 2: Karen Knightley's awesome, Okay. So Wickham tells Elizabeth this, So 754 00:40:55,440 --> 00:40:58,880 Speaker 2: now Elizabeth thinks that mister Darcy is even more awful 755 00:40:59,040 --> 00:41:02,360 Speaker 2: than she thought he was before. Then the Bennett Ladies 756 00:41:02,400 --> 00:41:06,280 Speaker 2: go to another ball at mister Bingley's estate, where Elizabeth 757 00:41:06,360 --> 00:41:09,400 Speaker 2: hopes to see mister Wickham, but he is nowhere to 758 00:41:09,440 --> 00:41:14,040 Speaker 2: be found. Who is there is the dreadful mister Collins, 759 00:41:14,160 --> 00:41:19,719 Speaker 2: who wants to dance with Elizabeth, and so does mister Darcy. 760 00:41:21,080 --> 00:41:24,400 Speaker 2: So they dance and she confronts him about being awful 761 00:41:24,760 --> 00:41:26,640 Speaker 2: and he's like, you don't even know me. 762 00:41:27,520 --> 00:41:28,520 Speaker 3: I love them. 763 00:41:31,200 --> 00:41:35,360 Speaker 2: A short time later, mister Collins proposes to Elizabeth, which 764 00:41:35,480 --> 00:41:39,040 Speaker 2: she force fully declines, and this is the scene where 765 00:41:39,080 --> 00:41:41,040 Speaker 2: her mother is like, I'll never talk to you again 766 00:41:41,080 --> 00:41:44,200 Speaker 2: if you don't accept his proposal, and her father is like, 767 00:41:44,320 --> 00:41:46,200 Speaker 2: I'll never talk to you again if you do. 768 00:41:46,520 --> 00:41:49,960 Speaker 3: Another great Across the boyd Lizzie scene where and I 769 00:41:49,960 --> 00:41:53,680 Speaker 3: feel like this is like a feminist hero moment that's 770 00:41:53,719 --> 00:41:57,719 Speaker 3: built into the book where you know, like there's this 771 00:41:57,840 --> 00:42:00,680 Speaker 3: dynamic at this time where some times you would get 772 00:42:00,680 --> 00:42:02,880 Speaker 3: denied once and it just meant, oh, I have to 773 00:42:02,920 --> 00:42:05,520 Speaker 3: try hard, or I have to keep pushing, pushing, pushing 774 00:42:05,600 --> 00:42:08,560 Speaker 3: no means yes, but also like this is a game, 775 00:42:08,680 --> 00:42:12,200 Speaker 3: this is a dance and Lizzie in the book, and 776 00:42:12,239 --> 00:42:15,560 Speaker 3: then also I thought Curinate is so good in that scene. 777 00:42:15,760 --> 00:42:19,920 Speaker 3: She's like I'm not fucking around, Like yeah, no, I 778 00:42:19,960 --> 00:42:22,000 Speaker 3: don't want to marry you. I would be miserable. You 779 00:42:22,040 --> 00:42:26,000 Speaker 3: would be miserable, Like I'm not doing it, and don't 780 00:42:26,080 --> 00:42:28,520 Speaker 3: tell me that no means yes, and don't not take 781 00:42:28,560 --> 00:42:31,080 Speaker 3: me seriously. I just I love that scene. 782 00:42:32,040 --> 00:42:36,400 Speaker 2: There are some things that I'm realizing upon like reading 783 00:42:36,640 --> 00:42:39,719 Speaker 2: the book that like, and I mean, who knows when 784 00:42:39,800 --> 00:42:43,840 Speaker 2: the mentality started of I think no actually means yes 785 00:42:44,200 --> 00:42:47,560 Speaker 2: and if you say no, you're just being coy and 786 00:42:47,560 --> 00:42:50,960 Speaker 2: flirty and playing hard to get. But I was surprised 787 00:42:51,000 --> 00:42:54,759 Speaker 2: that something that I perceive as a modern bit of 788 00:42:54,920 --> 00:42:59,440 Speaker 2: misogyny is not just a modern thing and it was 789 00:42:59,480 --> 00:43:00,520 Speaker 2: happening for two. 790 00:43:00,520 --> 00:43:04,200 Speaker 3: Hundred years ago, right right, and like Lizzie, and it's 791 00:43:04,239 --> 00:43:06,359 Speaker 3: like it's I CA have to keep reminding myself as 792 00:43:06,360 --> 00:43:09,000 Speaker 3: I'm like listening to the book of like that's an 793 00:43:09,000 --> 00:43:12,960 Speaker 3: impressive thing to do right now. And the fact that 794 00:43:13,000 --> 00:43:16,080 Speaker 3: Lizzy was doing it in eighteen twelve when it was like, 795 00:43:16,520 --> 00:43:19,920 Speaker 3: I mean, just like the decision is like fifty times 796 00:43:19,960 --> 00:43:23,120 Speaker 3: as big and she still stands her ground and is like, no, 797 00:43:23,239 --> 00:43:25,800 Speaker 3: I said I don't want to marry you. I don't 798 00:43:25,800 --> 00:43:28,239 Speaker 3: want to marry you, right, and then she has to 799 00:43:28,280 --> 00:43:32,200 Speaker 3: do that a second time. Did mister Darcy I was like, 800 00:43:32,280 --> 00:43:35,759 Speaker 3: oh god, I just love Lizzie so much. I love her. 801 00:43:36,360 --> 00:43:37,120 Speaker 2: She's an icon. 802 00:43:37,280 --> 00:43:39,640 Speaker 3: That scene in the Rain, We'll get there, but that 803 00:43:39,760 --> 00:43:45,279 Speaker 3: scene in the rain, oh the music, Oh yeah, that 804 00:43:45,320 --> 00:43:47,759 Speaker 3: scene is though. That's what stuck with me. The first 805 00:43:47,760 --> 00:43:49,720 Speaker 3: time I saw the movie was like, the first rejection 806 00:43:49,840 --> 00:43:51,399 Speaker 3: scene is so good. 807 00:43:51,800 --> 00:43:56,120 Speaker 2: Yeah, I love it. So mister Bingley and mister Darcy 808 00:43:56,440 --> 00:44:01,880 Speaker 2: then leave I think mister Bingley's estate without mister Bingley 809 00:44:02,040 --> 00:44:05,800 Speaker 2: proposing to Jane, which comes as a surprise to everyone, 810 00:44:06,400 --> 00:44:10,880 Speaker 2: and Elizabeth thinks that mister Bingley's sister, Caroline is trying 811 00:44:10,920 --> 00:44:16,360 Speaker 2: to persuade him to not marry her and to I 812 00:44:16,400 --> 00:44:20,279 Speaker 2: think marry mister Darcy's sister instead. Is that the thing? 813 00:44:20,680 --> 00:44:23,520 Speaker 3: Yeah, yeah, Like they're this this whole like the Bingley 814 00:44:23,640 --> 00:44:25,960 Speaker 3: Darcy thing. It seems like, oh, we're gonna marry each 815 00:44:26,000 --> 00:44:29,160 Speaker 3: other's sisters. Is this quote unquote smartest thing to do 816 00:44:29,320 --> 00:44:32,680 Speaker 3: to keep rich people with rich people? Because miss miss 817 00:44:32,680 --> 00:44:36,600 Speaker 3: Bingley is you know, I mean, this feels like an 818 00:44:36,640 --> 00:44:41,120 Speaker 3: aggressive statement, but she's throwing herself at mister Darcy and clearly, 819 00:44:42,000 --> 00:44:44,319 Speaker 3: I mean at the beginning of the movie and the book, 820 00:44:44,400 --> 00:44:46,120 Speaker 3: you're like, oh, they kind of deserve each other. They're 821 00:44:46,120 --> 00:44:49,960 Speaker 3: both fucking miserable people who have all these prejudice, who 822 00:44:50,040 --> 00:44:53,240 Speaker 3: have all these like rude, evil class. 823 00:44:53,200 --> 00:44:55,200 Speaker 2: All these prides and prejudices. 824 00:44:55,880 --> 00:44:58,000 Speaker 3: I was gonna, yeah, like they have all these I'm like, 825 00:44:58,080 --> 00:45:01,440 Speaker 3: you know what, fine, get married, miserable and rich, see 826 00:45:01,480 --> 00:45:04,680 Speaker 3: if I care, right, But then mister Darcy grows and 827 00:45:04,719 --> 00:45:07,440 Speaker 3: then the book Miss Bingley, it's like implied in the 828 00:45:07,480 --> 00:45:11,440 Speaker 3: space of two sentences, eventually grows a little bit at 829 00:45:11,440 --> 00:45:11,799 Speaker 3: the end. 830 00:45:12,200 --> 00:45:13,479 Speaker 2: I forgot about that part too. 831 00:45:13,760 --> 00:45:16,359 Speaker 3: Anyway, Yeah, they're like and eventually she kind of grew 832 00:45:16,480 --> 00:45:18,839 Speaker 3: up and that was nice. You're like, all right, good 833 00:45:18,880 --> 00:45:19,160 Speaker 3: for her. 834 00:45:19,920 --> 00:45:23,920 Speaker 2: So yeah, Elizabeth's friend Charlotte, who we've seen in the 835 00:45:23,960 --> 00:45:26,400 Speaker 2: movie before, but she is just not showing up in 836 00:45:26,480 --> 00:45:27,040 Speaker 2: my recap. 837 00:45:27,080 --> 00:45:27,640 Speaker 3: I love her. 838 00:45:28,000 --> 00:45:31,880 Speaker 2: Charlotte ends up marrying mister Collins and Elizabeth goes to 839 00:45:31,960 --> 00:45:37,320 Speaker 2: visit them, where Elizabeth meets Lady Catherine de Bergh aka 840 00:45:37,800 --> 00:45:38,960 Speaker 2: Dame Judy. 841 00:45:38,800 --> 00:45:41,879 Speaker 3: Dench oh and she is making a meal of her 842 00:45:41,920 --> 00:45:42,640 Speaker 3: three scenes. 843 00:45:43,360 --> 00:45:48,919 Speaker 2: So the director Joe Wright convinced Judy Dench to play 844 00:45:48,960 --> 00:45:52,920 Speaker 2: this character by writing her a letter that said, quote, 845 00:45:53,360 --> 00:45:56,000 Speaker 2: I love it when you play a bitch, please come 846 00:45:56,080 --> 00:46:00,560 Speaker 2: and be a bitch for me. End of letter, and 847 00:46:00,680 --> 00:46:02,839 Speaker 2: Judi Dench was like, sold, I'm there. 848 00:46:03,280 --> 00:46:08,279 Speaker 3: I love that. That makes me so happy. Oh yeah, 849 00:46:08,360 --> 00:46:09,600 Speaker 3: I'm smiling. I'm smiling. 850 00:46:09,680 --> 00:46:14,759 Speaker 2: That rocks. So Elizabeth meets Lady Catherine de Bergh as 851 00:46:14,800 --> 00:46:18,239 Speaker 2: well as her daughter and her nephew who is guess who, 852 00:46:18,719 --> 00:46:22,840 Speaker 2: mister Darcy. Oh, and we get to know Lady Catherine 853 00:46:22,840 --> 00:46:26,920 Speaker 2: a little bit. She is very emphasis on the prejudice 854 00:46:27,160 --> 00:46:31,239 Speaker 2: part of pride and prejudice because she's extremely rich and 855 00:46:31,320 --> 00:46:33,320 Speaker 2: elitist and classist. 856 00:46:33,719 --> 00:46:36,360 Speaker 3: Yeah, they wanted her to play a bit Caitlyn, and 857 00:46:36,719 --> 00:46:37,600 Speaker 3: she did, and. 858 00:46:37,520 --> 00:46:41,200 Speaker 2: She did it. So then mister Darcy and Elizabeth have 859 00:46:41,440 --> 00:46:46,960 Speaker 2: a few awkward encounters. Again, it's clear that he loves her, 860 00:46:47,120 --> 00:46:49,000 Speaker 2: and he seems to want to tell her something or 861 00:46:49,040 --> 00:46:52,160 Speaker 2: maybe ask her something. But then she finds out that 862 00:46:52,320 --> 00:46:55,800 Speaker 2: he quote unquote saved his friend mister Bingley from getting 863 00:46:55,800 --> 00:46:58,759 Speaker 2: married to the wrong person because she came from an 864 00:46:58,840 --> 00:47:04,000 Speaker 2: unsuitable family. And he is talking about mister Bingley not 865 00:47:04,000 --> 00:47:07,880 Speaker 2: proposing to Jane and the Bennett family being unsuitable. So 866 00:47:07,920 --> 00:47:13,520 Speaker 2: now Elizabeth hates mister Darcy even more. But then Darcy 867 00:47:13,640 --> 00:47:18,640 Speaker 2: professes his love for Elizabeth, despite his better judgment, despite 868 00:47:18,640 --> 00:47:25,080 Speaker 2: his family's expectations, and rain the rain. It's happening in 869 00:47:25,120 --> 00:47:25,479 Speaker 2: the rain. 870 00:47:25,719 --> 00:47:30,120 Speaker 3: It's a big deal, and it's happening despite his family's expectations, 871 00:47:30,280 --> 00:47:34,399 Speaker 3: despite the inferiority of her birth, despite his rank and circumstance. 872 00:47:34,920 --> 00:47:39,200 Speaker 2: He asks her to marry him, and she's like, what 873 00:47:39,280 --> 00:47:42,239 Speaker 2: the hell? What about how you separated my sister from 874 00:47:42,239 --> 00:47:45,120 Speaker 2: the man she loves. What about how you think I'm 875 00:47:45,360 --> 00:47:48,560 Speaker 2: gross and poor and that my family is rude and improper? 876 00:47:48,880 --> 00:47:55,880 Speaker 2: What about how you ruin mister Wickham's life. I love Lizzie. 877 00:47:56,560 --> 00:47:58,800 Speaker 2: And he's like, well, yes, some of that is true, 878 00:47:59,480 --> 00:48:01,520 Speaker 2: except some of it isn't and you don't know what 879 00:48:01,560 --> 00:48:04,080 Speaker 2: you're talking about. Bye, and then he leaves. 880 00:48:04,400 --> 00:48:07,919 Speaker 3: He literally is like Facebook two thousand and eight. It's complicated, 881 00:48:08,120 --> 00:48:13,000 Speaker 3: like he's it's uh, Lizzy is doing things that I 882 00:48:13,120 --> 00:48:18,160 Speaker 3: can't do in relationships right now, like she is. Just 883 00:48:18,520 --> 00:48:21,640 Speaker 3: that scene is so satisfied, like and it's so well 884 00:48:21,680 --> 00:48:25,000 Speaker 3: acted between both of them because you can you can 885 00:48:25,080 --> 00:48:28,120 Speaker 3: see mister Darcy go in with his pride and pride, 886 00:48:28,160 --> 00:48:31,000 Speaker 3: I mean he goes in vulnerable to begin with, but 887 00:48:31,120 --> 00:48:35,879 Speaker 3: then when he's shot down like McFadyen, I mean, he's 888 00:48:35,960 --> 00:48:39,600 Speaker 3: killing it, like he's so he's like surprised, and then 889 00:48:39,640 --> 00:48:43,680 Speaker 3: he's like so hurt because he really loves her, but 890 00:48:43,800 --> 00:48:48,520 Speaker 3: she's right, and like, how dare he come at her? Like, hey, 891 00:48:48,560 --> 00:48:52,480 Speaker 3: I've it, you know, against all odds, I want to 892 00:48:52,520 --> 00:48:55,280 Speaker 3: marry you. And she's like, well fuck you, Like I'm 893 00:48:55,800 --> 00:48:57,479 Speaker 3: I'm awesome, Like I just. 894 00:48:58,160 --> 00:48:59,480 Speaker 2: I love her, she's great. 895 00:48:59,520 --> 00:49:02,880 Speaker 3: That scene fucked me up, Oh my god. And the 896 00:49:02,920 --> 00:49:06,080 Speaker 3: fact that like I feel like that's just Joe Wright 897 00:49:06,440 --> 00:49:08,839 Speaker 3: magic where he's like, and we're gonna just gonna put 898 00:49:08,880 --> 00:49:11,080 Speaker 3: it in the rain just for because I don't I mean, 899 00:49:11,080 --> 00:49:12,880 Speaker 3: I don't remember if that's I think that scene was 900 00:49:12,920 --> 00:49:16,160 Speaker 3: inside Yeah, yeah, you're sure, Oh put it in the 901 00:49:16,200 --> 00:49:19,239 Speaker 3: fucking rain. And then at the end of that scene, 902 00:49:19,280 --> 00:49:21,759 Speaker 3: you're like, are they gonna kiss? Right? 903 00:49:22,040 --> 00:49:25,399 Speaker 2: They like kind of move there, they like move toward 904 00:49:25,480 --> 00:49:28,000 Speaker 2: each other as if to be like, well, I know 905 00:49:28,120 --> 00:49:31,880 Speaker 2: we just screamed at each other, but should we kiss? 906 00:49:32,280 --> 00:49:35,040 Speaker 3: But then they don't. They don't know, and they, i mean, 907 00:49:35,080 --> 00:49:36,960 Speaker 3: they really make you wait for the kiss. The way 908 00:49:36,960 --> 00:49:39,200 Speaker 3: that this movie ends is not how the book ends, right. 909 00:49:39,239 --> 00:49:42,000 Speaker 3: The way that this movie ends. You know, this movie 910 00:49:42,080 --> 00:49:46,399 Speaker 3: came out almost seventeen years ago, and I think about it, 911 00:49:46,520 --> 00:49:51,560 Speaker 3: m miss Dascy. Oh anyways, sorry. Continue. 912 00:49:51,920 --> 00:49:56,720 Speaker 2: So he leaves after getting his proposal rejected, and shortly 913 00:49:56,760 --> 00:50:00,040 Speaker 2: thereafter he gives Elizabeth a letter in which Darcy he 914 00:50:00,160 --> 00:50:05,760 Speaker 2: explains that Wickham is actually a degenerate gambler, and Darcy 915 00:50:05,840 --> 00:50:08,120 Speaker 2: only did what he did with Bingley and Jane because 916 00:50:08,160 --> 00:50:10,960 Speaker 2: he thought he was looking out for a friend, because 917 00:50:10,960 --> 00:50:15,680 Speaker 2: he perceived Jane to be indifferent towards Bingley, because no 918 00:50:15,719 --> 00:50:19,879 Speaker 2: one understands who anyone actually is, because people just make 919 00:50:19,920 --> 00:50:22,040 Speaker 2: snack judgments in this movie, in this book. 920 00:50:22,760 --> 00:50:25,640 Speaker 3: No, And he was so like and again you can 921 00:50:25,800 --> 00:50:28,880 Speaker 3: see it on his face. When Elizabeth's like she's shy. 922 00:50:29,120 --> 00:50:30,960 Speaker 3: Yeah that it cuts back to Darcy and he's like 923 00:50:31,080 --> 00:50:33,680 Speaker 3: like oh, because you can see him register like, oh 924 00:50:33,800 --> 00:50:36,120 Speaker 3: I'm shy. Oh I shouldn't. 925 00:50:36,120 --> 00:50:38,120 Speaker 2: I should have seen this, I should have understood. 926 00:50:38,280 --> 00:50:42,399 Speaker 3: Oh I intimately understand what she was doing, and yet 927 00:50:42,480 --> 00:50:46,520 Speaker 3: I judged her anyways, like oh this it's a great story. 928 00:50:46,840 --> 00:50:51,080 Speaker 2: Yeah, okay, So now Elizabeth has all these second thoughts, 929 00:50:51,280 --> 00:50:53,879 Speaker 2: maybe Darcy is not that bad of a guy. After all, 930 00:50:54,920 --> 00:50:57,760 Speaker 2: and then her sister Jane comes back home from London. 931 00:50:58,400 --> 00:51:03,600 Speaker 2: Her sister Lydia goes to Brighton with the Forster family, 932 00:51:03,719 --> 00:51:06,360 Speaker 2: who I guess are people that we're supposed to know 933 00:51:06,360 --> 00:51:06,799 Speaker 2: who they are. 934 00:51:07,440 --> 00:51:08,960 Speaker 3: I don't think we need I think I think that 935 00:51:09,040 --> 00:51:11,280 Speaker 3: this movie is just like they're like, she's away, Yeah, yeah, 936 00:51:11,320 --> 00:51:11,760 Speaker 3: she's away. 937 00:51:12,160 --> 00:51:14,560 Speaker 2: So then Elizabeth goes with her aunt and uncle to 938 00:51:14,719 --> 00:51:18,240 Speaker 2: Darcy's estate because it's open to visitors, which is wild 939 00:51:18,280 --> 00:51:18,480 Speaker 2: to me. 940 00:51:18,920 --> 00:51:23,400 Speaker 3: I know, it's like rich people houses are literally just museums. 941 00:51:24,480 --> 00:51:24,879 Speaker 2: But I get. 942 00:51:24,920 --> 00:51:27,280 Speaker 3: I mean, I guess that's true if some places still, 943 00:51:27,320 --> 00:51:29,480 Speaker 3: but I feel like the rich people don't actually live 944 00:51:29,480 --> 00:51:31,760 Speaker 3: there anymore, Like they wouldn't just be like, oh, whoops, 945 00:51:31,800 --> 00:51:33,680 Speaker 3: I didn't realize you were hanging today. 946 00:51:33,960 --> 00:51:36,680 Speaker 2: They must be so rich in their house, so big 947 00:51:36,719 --> 00:51:39,440 Speaker 2: that they can just have an entirely separate part of 948 00:51:39,480 --> 00:51:42,280 Speaker 2: their house where they actually live in, and then another 949 00:51:42,480 --> 00:51:44,879 Speaker 2: part where it's like, yeah, you can come and look 950 00:51:44,920 --> 00:51:48,440 Speaker 2: at my fancy couch and statues. Fine. 951 00:51:49,280 --> 00:51:51,799 Speaker 3: That was one of my favorite shots in the whole movie, though, 952 00:51:52,160 --> 00:51:56,719 Speaker 3: when when Elizabeth, I mean spoiler, you're about to hit 953 00:51:56,719 --> 00:51:59,000 Speaker 3: it in the recap where she's like walking around, walking around, 954 00:51:59,000 --> 00:52:02,120 Speaker 3: and then it turns out Darcy is there, and then 955 00:52:02,160 --> 00:52:06,600 Speaker 3: there's like this Hitchcock zoom on her where she's like ooh, 956 00:52:06,960 --> 00:52:08,759 Speaker 3: and it like zooms in on her, and then she 957 00:52:08,840 --> 00:52:13,040 Speaker 3: runs away. And I just love how many different sides 958 00:52:13,040 --> 00:52:15,319 Speaker 3: of Lizzy's personality you see, because I feel like so 959 00:52:15,480 --> 00:52:19,360 Speaker 3: often with these like feminist hero characters, which Lizzy Bennett 960 00:52:19,400 --> 00:52:24,520 Speaker 3: is like in the fucking Mount Rushmore of feminist hero characters, 961 00:52:25,080 --> 00:52:28,760 Speaker 3: but you also get to see these like moments where 962 00:52:28,760 --> 00:52:31,839 Speaker 3: she's like vulnerable and she's kind of like that whole 963 00:52:31,880 --> 00:52:34,400 Speaker 3: sequence in the book. And then also I feel like 964 00:52:34,400 --> 00:52:37,839 Speaker 3: it kind of telegraphs clearly in the movie, like yes, 965 00:52:38,040 --> 00:52:40,120 Speaker 3: she's like gonna stick to her guns no matter what. 966 00:52:40,360 --> 00:52:44,400 Speaker 3: Her values are very clear and very strong. But also 967 00:52:44,560 --> 00:52:47,000 Speaker 3: she's like, I don't know. I like that she like 968 00:52:47,320 --> 00:52:49,799 Speaker 3: still has like an imagination and is like, but what 969 00:52:49,840 --> 00:52:51,879 Speaker 3: if what would it what would it be like if 970 00:52:51,880 --> 00:52:55,080 Speaker 3: I like lived here? And right entertains the thought and 971 00:52:55,120 --> 00:52:59,400 Speaker 3: you get like that intimate moment of someone alone that 972 00:53:00,160 --> 00:53:03,600 Speaker 3: I feel like with most like feminist characters and most heroes, 973 00:53:03,640 --> 00:53:05,719 Speaker 3: you only see the side of them that is like 974 00:53:06,000 --> 00:53:09,319 Speaker 3: very like, these are my values and I don't. 975 00:53:09,520 --> 00:53:14,319 Speaker 2: I don't need no love and support in my life. 976 00:53:14,520 --> 00:53:17,879 Speaker 3: Right right, that's like I'm literally a superhero. And it's 977 00:53:17,920 --> 00:53:22,719 Speaker 3: like Lizzy Bennett could be by herself and sustain and 978 00:53:22,760 --> 00:53:25,239 Speaker 3: be fine, and we know that, but it's also it's 979 00:53:25,280 --> 00:53:28,680 Speaker 3: also I don't know, just like it's so cool and 980 00:53:28,719 --> 00:53:32,240 Speaker 3: refreshing to see I mean, fucking two hundred year old story, 981 00:53:32,280 --> 00:53:36,360 Speaker 3: but like to see her have those like moments alone 982 00:53:36,440 --> 00:53:38,680 Speaker 3: of like, well, what would it be Like It's not 983 00:53:38,760 --> 00:53:41,680 Speaker 3: like she's saying I'm going to do this, but just 984 00:53:41,719 --> 00:53:44,680 Speaker 3: to see her kind of like process and consider what 985 00:53:44,719 --> 00:53:46,799 Speaker 3: that life would be like for her and then to 986 00:53:46,840 --> 00:53:49,560 Speaker 3: be taken off guard by him and then be like 987 00:53:49,760 --> 00:53:52,440 Speaker 3: ool and like just have a moment of like, oh shit, 988 00:53:52,600 --> 00:53:55,120 Speaker 3: I'm sorry, I didn't I thought your house was a museum. 989 00:53:55,520 --> 00:53:59,799 Speaker 3: And so like I love that scene where she's she 990 00:54:00,160 --> 00:54:02,880 Speaker 3: is just like fully panicking and it's like I just 991 00:54:02,880 --> 00:54:05,239 Speaker 3: didn't think you would be at your house and he's like, 992 00:54:05,840 --> 00:54:11,239 Speaker 3: well house, So like it's I just love it. 993 00:54:11,560 --> 00:54:14,080 Speaker 2: Yeah, that's a great scene. They're both so awkward. Okay, 994 00:54:14,080 --> 00:54:16,719 Speaker 2: So yeah, we're about to get there where Elizabeth goes 995 00:54:16,800 --> 00:54:20,239 Speaker 2: to Darcy's estate and Darcy doesn't appear to be there, 996 00:54:20,280 --> 00:54:22,560 Speaker 2: or she doesn't think he's there, but he's returned a 997 00:54:22,640 --> 00:54:25,359 Speaker 2: day early from where he was and she runs into 998 00:54:25,440 --> 00:54:28,239 Speaker 2: him and it's really awkward, but they seem to be 999 00:54:28,320 --> 00:54:30,520 Speaker 2: getting along a little bit better than usual, or at 1000 00:54:30,600 --> 00:54:33,440 Speaker 2: least they're just like, you know, propriety is getting the 1001 00:54:33,440 --> 00:54:34,040 Speaker 2: better of them. 1002 00:54:34,160 --> 00:54:38,320 Speaker 3: He's so happy to see her, Yes, he's so happy 1003 00:54:38,400 --> 00:54:40,080 Speaker 3: to see her. He's like, wait a second, you're at 1004 00:54:40,080 --> 00:54:41,240 Speaker 3: my freaking house. 1005 00:54:42,400 --> 00:54:46,160 Speaker 2: And he's being like, so are you staying nearby? And 1006 00:54:46,200 --> 00:54:50,120 Speaker 2: she's like, yes, I'm at this exact tavern or whatever, 1007 00:54:50,280 --> 00:54:52,920 Speaker 2: and he's like cool, cool, cool, good to know. And 1008 00:54:52,960 --> 00:54:55,480 Speaker 2: then he does show up there later, but just to 1009 00:54:55,520 --> 00:55:00,120 Speaker 2: invite Elizabeth and her aunt uncle to dinner the next day. 1010 00:55:00,320 --> 00:55:03,160 Speaker 3: I didn't feel like of I mean, there are things 1011 00:55:03,160 --> 00:55:05,000 Speaker 3: to talk about with the relationship, but I didn't ever 1012 00:55:05,040 --> 00:55:09,239 Speaker 3: feel like he was like stockery creepy, right he was. 1013 00:55:09,280 --> 00:55:11,440 Speaker 3: I feel like he was very respectful and when she 1014 00:55:11,640 --> 00:55:16,279 Speaker 3: set boundaries, he would like really take the note to 1015 00:55:16,280 --> 00:55:17,680 Speaker 3: the point where it's like at the end he's like, 1016 00:55:17,719 --> 00:55:20,799 Speaker 3: if you say no, I'll walk away right, Oh you'll 1017 00:55:20,840 --> 00:55:24,759 Speaker 3: never see me again. Yeah, no worries like, of all 1018 00:55:24,840 --> 00:55:26,680 Speaker 3: the men in the story, I feel like Darcy has 1019 00:55:26,719 --> 00:55:32,200 Speaker 3: the best understanding of boundaries because Collins is like, yeah, sure, no, right, 1020 00:55:32,280 --> 00:55:33,480 Speaker 3: of course you would have married me. 1021 00:55:33,800 --> 00:55:37,120 Speaker 2: Yeah no means yes actually yeah. 1022 00:55:36,960 --> 00:55:40,759 Speaker 3: Right, And Darcy's like, he's like almost extreme. He's like, 1023 00:55:41,360 --> 00:55:44,279 Speaker 3: I can't be your friend. There's no in between. You 1024 00:55:44,320 --> 00:55:46,160 Speaker 3: will never see me again and it will. 1025 00:55:46,080 --> 00:55:50,920 Speaker 2: Be like I died, you know, right, right right, yeah, okay, 1026 00:55:50,960 --> 00:55:55,279 Speaker 2: So he introduces Elizabeth to his sister Georgiana, but then 1027 00:55:55,360 --> 00:55:58,720 Speaker 2: Elizabeth receives a letter from Jane saying that their sister 1028 00:55:58,840 --> 00:56:03,680 Speaker 2: Lydia has run off with mister Wickham, that son of 1029 00:56:03,680 --> 00:56:04,120 Speaker 2: a gun. 1030 00:56:04,560 --> 00:56:11,200 Speaker 3: Lydia. Yeah, Lydia drives me up a wall, but also 1031 00:56:11,840 --> 00:56:15,000 Speaker 3: she's young. I feel, Okay, this is something that every 1032 00:56:15,080 --> 00:56:19,480 Speaker 3: time there is like a parenting issue brought up with 1033 00:56:19,520 --> 00:56:22,080 Speaker 3: the Bennetts. And I don't mean to like it's hard. 1034 00:56:22,239 --> 00:56:24,160 Speaker 3: I mean and it speaks to the strength of the 1035 00:56:24,239 --> 00:56:28,160 Speaker 3: story that this is hard, because everyone in this story 1036 00:56:28,239 --> 00:56:31,120 Speaker 3: is very complicated and has like multiple things going on. 1037 00:56:31,600 --> 00:56:34,200 Speaker 3: But I do feel like, you know, missus Bennett is 1038 00:56:34,320 --> 00:56:37,680 Speaker 3: so made to look so silly by the story, and 1039 00:56:37,719 --> 00:56:41,080 Speaker 3: she is like not kind to her children, I don't 1040 00:56:41,120 --> 00:56:43,240 Speaker 3: mean to say that she's a perfect mother in disguise, 1041 00:56:43,320 --> 00:56:45,839 Speaker 3: like she's not. But I feel like a lot of 1042 00:56:45,960 --> 00:56:48,719 Speaker 3: where her anxiety comes from, or where some of her 1043 00:56:48,719 --> 00:56:52,040 Speaker 3: anxiety comes from, is anytime people talk about like, oh, 1044 00:56:52,080 --> 00:56:55,640 Speaker 3: the Bennett sisters are being reared so poorly, the onus 1045 00:56:55,719 --> 00:57:00,680 Speaker 3: is put very much on her versus mister Bennett, and 1046 00:57:00,800 --> 00:57:04,000 Speaker 3: so like when Lydia runs off, I feel like missus 1047 00:57:04,040 --> 00:57:07,600 Speaker 3: Bennett always has an outsized reaction to when one of 1048 00:57:07,640 --> 00:57:10,479 Speaker 3: the daughters is being harshly judged. But I do feel 1049 00:57:10,520 --> 00:57:13,560 Speaker 3: like that's also connected to when whenever you hear like 1050 00:57:13,600 --> 00:57:16,920 Speaker 3: one of the richer characters, especially like Lady Catherine is 1051 00:57:17,040 --> 00:57:20,080 Speaker 3: the person who does that the most in that really 1052 00:57:20,080 --> 00:57:23,920 Speaker 3: aggressive dinner conversation. Mister Bennett doesn't even come up in 1053 00:57:23,960 --> 00:57:27,920 Speaker 3: those conversations. It's like, oh, your mother fucked up, like 1054 00:57:28,000 --> 00:57:31,480 Speaker 3: your mother failed, and like that's where it's not like 1055 00:57:32,200 --> 00:57:36,000 Speaker 3: it's not conceivable in this class at this time that 1056 00:57:36,080 --> 00:57:38,360 Speaker 3: it's like, if you have five daughters, they're all going 1057 00:57:38,360 --> 00:57:43,240 Speaker 3: to be very different, which clearly Jane Austen knows because 1058 00:57:43,240 --> 00:57:45,640 Speaker 3: she had wrote five daughters, and she wrote them to 1059 00:57:45,720 --> 00:57:49,760 Speaker 3: all have very different personalities. But like in the eyes 1060 00:57:49,800 --> 00:57:52,720 Speaker 3: of this like class and this story, it's like, oh, 1061 00:57:52,800 --> 00:57:57,760 Speaker 3: if any daughter does anything wrong, it's like a failure 1062 00:57:57,800 --> 00:58:01,040 Speaker 3: of the mother. And so it's like missus Bennett very 1063 00:58:01,080 --> 00:58:03,200 Speaker 3: much has a victim complex, and I feel like she 1064 00:58:03,400 --> 00:58:06,480 Speaker 3: doesn't take accountability for when she does fuck up. But 1065 00:58:06,520 --> 00:58:09,320 Speaker 3: also I was trying to like stay cognizant of the 1066 00:58:09,360 --> 00:58:12,840 Speaker 3: fact that like mister Bennett is so dismissive of stuff 1067 00:58:13,080 --> 00:58:15,120 Speaker 3: in a lot of cases. But it's also like because 1068 00:58:15,200 --> 00:58:18,320 Speaker 3: he doesn't carry the blame for most of it like 1069 00:58:18,560 --> 00:58:19,400 Speaker 3: his wife does. 1070 00:58:19,680 --> 00:58:23,680 Speaker 2: Right, Yeah, I have complicated feelings about missus Bennett in particular. Well, 1071 00:58:23,720 --> 00:58:27,120 Speaker 2: I guess both parents, but like, sure, she is such 1072 00:58:27,640 --> 00:58:31,760 Speaker 2: a product of her environment. Yeah, totally, and again which 1073 00:58:31,800 --> 00:58:37,200 Speaker 2: is a like such a rigid patriarchal structure, and which 1074 00:58:37,280 --> 00:58:39,520 Speaker 2: gets commented on here and there in the movie, Like 1075 00:58:39,520 --> 00:58:42,160 Speaker 2: there's a scene where she's you know, talking about one 1076 00:58:42,200 --> 00:58:44,160 Speaker 2: of I forget which one, but it's like one of 1077 00:58:44,200 --> 00:58:47,040 Speaker 2: the daughters getting married, and Elizabeth is like, is that 1078 00:58:47,120 --> 00:58:49,400 Speaker 2: all you think about or is that all you talk about, 1079 00:58:49,440 --> 00:58:51,280 Speaker 2: like us getting married? And she's like, well, when you 1080 00:58:51,320 --> 00:58:54,280 Speaker 2: have five daughters, like come back to me. And then 1081 00:58:54,320 --> 00:58:58,640 Speaker 2: you'll understand, like you'll you'll understand because of the circumstances 1082 00:58:58,680 --> 00:59:03,360 Speaker 2: of like back in this time, women needed, like literally 1083 00:59:03,720 --> 00:59:07,720 Speaker 2: needed a marriage in most cases to secure any stability 1084 00:59:07,760 --> 00:59:10,680 Speaker 2: in their life financially or else because because again, women 1085 00:59:10,720 --> 00:59:15,520 Speaker 2: were considered property. They couldn't own anything, like, they had 1086 00:59:16,080 --> 00:59:20,880 Speaker 2: no opportunities for making their own way in the world 1087 00:59:21,200 --> 00:59:24,240 Speaker 2: because of how few rights women had back then. So 1088 00:59:24,680 --> 00:59:26,840 Speaker 2: that's like where her concern comes from. 1089 00:59:27,480 --> 00:59:30,120 Speaker 3: But then it's also like at the expense of her 1090 00:59:30,240 --> 00:59:34,919 Speaker 3: daughter's personalities and desires and wants, and so it's like, yeah, 1091 00:59:35,040 --> 00:59:38,200 Speaker 3: it's it's so uh, like the story is so good. 1092 00:59:38,240 --> 00:59:40,720 Speaker 3: It's so complicated because you can like put yourself in 1093 00:59:40,760 --> 00:59:42,680 Speaker 3: her head and be like, I understand why she's doing 1094 00:59:42,680 --> 00:59:45,840 Speaker 3: what she's doing, but like, obviously this is not the 1095 00:59:45,880 --> 00:59:48,320 Speaker 3: way to do it. But then also I don't think 1096 00:59:48,360 --> 00:59:51,000 Speaker 3: that she I have like more issues with mister Bennett 1097 00:59:51,000 --> 00:59:53,040 Speaker 3: than I was expecting to, because I also don't think 1098 00:59:53,040 --> 00:59:58,000 Speaker 3: that like mister Bennett is so disinterested in how his 1099 00:59:58,120 --> 01:00:01,120 Speaker 3: wife is processing things where he kind of like he 1100 01:00:01,200 --> 01:00:06,080 Speaker 3: loves her, but he like tolerates her like a joke, right, 1101 01:00:06,320 --> 01:00:09,640 Speaker 3: Like he's he's like, oh, you do this, this is you, 1102 01:00:09,920 --> 01:00:12,200 Speaker 3: and it's like, but do you ever think of like 1103 01:00:12,200 --> 01:00:14,040 Speaker 3: like like you were saying, she's such a product of 1104 01:00:14,040 --> 01:00:17,440 Speaker 3: her environment, and I feel like she like if they 1105 01:00:17,480 --> 01:00:21,440 Speaker 3: were working more as a team, then she may not 1106 01:00:21,600 --> 01:00:26,080 Speaker 3: be so you know, inclined to be pushy with her 1107 01:00:26,200 --> 01:00:28,240 Speaker 3: kids because it's like, well, if they were working as 1108 01:00:28,280 --> 01:00:32,439 Speaker 3: a as a team, then you know, like unfortunately, because 1109 01:00:32,440 --> 01:00:35,040 Speaker 3: of the gender dynamics at this time, mister Bennett could 1110 01:00:35,040 --> 01:00:38,120 Speaker 3: act in his daughter's best interest. And like they just 1111 01:00:38,160 --> 01:00:41,080 Speaker 3: act like it's a rough marriage. I mean, I just 1112 01:00:41,120 --> 01:00:43,800 Speaker 3: get the feeling that that's a rough marriage. And it's 1113 01:00:43,800 --> 01:00:47,960 Speaker 3: like it's not. It's not loveless. Marriage is complicated. Relationships 1114 01:00:47,960 --> 01:00:49,960 Speaker 3: are complicated. Like it's not like I do believe that 1115 01:00:50,000 --> 01:00:52,800 Speaker 3: they love each other, they care about each other, but 1116 01:00:53,000 --> 01:00:57,200 Speaker 3: their dynamic is like not beneficial to their kids at all. 1117 01:00:57,440 --> 01:01:00,720 Speaker 3: And I think that mister Bennett is like like I 1118 01:01:00,720 --> 01:01:04,560 Speaker 3: feel like negligent is maybe an overstatement, but like he's 1119 01:01:04,600 --> 01:01:08,440 Speaker 3: just just dismissed a lot. He's checked out. Yeah, like 1120 01:01:08,480 --> 01:01:11,800 Speaker 3: he's like, oh I'm I'm reading, so I can't I 1121 01:01:11,840 --> 01:01:14,160 Speaker 3: can't think about anyone's feelings. And it's like, well, that 1122 01:01:14,200 --> 01:01:16,960 Speaker 3: puts a lot on your wife. And also that means 1123 01:01:17,040 --> 01:01:20,520 Speaker 3: that like that not only puts a lot on your wife, 1124 01:01:21,080 --> 01:01:24,920 Speaker 3: it also you know, because of how the society is structured, 1125 01:01:25,400 --> 01:01:28,280 Speaker 3: if things don't work out, he's not going to bear 1126 01:01:28,360 --> 01:01:30,960 Speaker 3: the brunt of the criticism like she will. And so 1127 01:01:31,000 --> 01:01:35,040 Speaker 3: I feel like it's inconsiderate of him to his spouse 1128 01:01:35,960 --> 01:01:38,800 Speaker 3: to be so checked out because it's like she's gonna 1129 01:01:38,800 --> 01:01:41,640 Speaker 3: have to take the shit. And then he's also like, oh, 1130 01:01:41,760 --> 01:01:45,840 Speaker 3: you're so silly, You're so like and she is, but 1131 01:01:45,960 --> 01:01:49,160 Speaker 3: like I feel like she's like it's it's a combination. 1132 01:01:49,280 --> 01:01:51,040 Speaker 3: But like I feel like part of the reason why 1133 01:01:51,080 --> 01:01:57,840 Speaker 3: she acts so silly, quote unquote is because she's acting alone, 1134 01:01:58,160 --> 01:02:01,760 Speaker 3: Like she's acting basically like a single parent right to 1135 01:02:02,520 --> 01:02:04,520 Speaker 3: help her kids out, and like it's coming from this 1136 01:02:04,600 --> 01:02:07,760 Speaker 3: place of anxiety and in partially a selfish way for 1137 01:02:07,840 --> 01:02:11,240 Speaker 3: sure of like, what's going to happen to our family 1138 01:02:11,320 --> 01:02:15,440 Speaker 3: if this fucking random guy who is obsessed with Judy 1139 01:02:15,600 --> 01:02:19,560 Speaker 3: Dench can just take our property at any time? And 1140 01:02:19,560 --> 01:02:22,040 Speaker 3: I feel like that is like referenced in the movie 1141 01:02:22,120 --> 01:02:25,480 Speaker 3: and the book, but like it's implied that Collins can 1142 01:02:25,600 --> 01:02:29,360 Speaker 3: just take the house whenever he wants, and so I 1143 01:02:29,480 --> 01:02:34,600 Speaker 3: understand through the time why missus Bennett would be like, 1144 01:02:35,160 --> 01:02:38,160 Speaker 3: we have to secure something better than mister Collins in 1145 01:02:38,240 --> 01:02:41,560 Speaker 3: this family at some point. Otherwise mister Collins can just 1146 01:02:41,680 --> 01:02:45,080 Speaker 3: like displace us from our home and we would be 1147 01:02:45,160 --> 01:02:49,800 Speaker 3: without a home, which mister Bennett seems I would say 1148 01:02:49,840 --> 01:02:55,080 Speaker 3: weirdly indifferent about. Yeah. I was like, well, you would 1149 01:02:55,080 --> 01:02:56,680 Speaker 3: also be displaced. 1150 01:02:56,920 --> 01:03:00,720 Speaker 2: Well, no, because he would be dead. Oh, it's my understanding. 1151 01:03:00,720 --> 01:03:02,840 Speaker 2: And again I don't understand all of the nuances of 1152 01:03:02,880 --> 01:03:05,600 Speaker 2: this era in terms of like who inherits what and 1153 01:03:05,640 --> 01:03:08,120 Speaker 2: when and who can and cannot own property, blah blah blah. 1154 01:03:08,360 --> 01:03:10,480 Speaker 2: But I think the movie pretty clearly lays out that 1155 01:03:11,280 --> 01:03:17,240 Speaker 2: when mister Bennett dies, that's when mister Collins will inherit. Okay, Okay, 1156 01:03:17,240 --> 01:03:20,920 Speaker 2: so they have to secure marriages for the daughters prior 1157 01:03:20,960 --> 01:03:22,320 Speaker 2: to mister Bennett dying. 1158 01:03:22,440 --> 01:03:25,440 Speaker 3: Wait I didn't even ca yeah, because they keep referencing 1159 01:03:25,480 --> 01:03:27,040 Speaker 3: oh my god. Okay, so that makes. 1160 01:03:26,920 --> 01:03:31,240 Speaker 2: Him even worse. Like I don't know, right, I am. 1161 01:03:31,160 --> 01:03:34,800 Speaker 3: Not like, I don't think either of them are amazing parents, 1162 01:03:34,800 --> 01:03:38,200 Speaker 3: but I do think that mister Bennett is worse because 1163 01:03:38,240 --> 01:03:41,880 Speaker 3: I'm like, if I'm mister Bennett, and I have five 1164 01:03:42,160 --> 01:03:46,760 Speaker 3: children and a spouse who, by the rules of the time, 1165 01:03:47,440 --> 01:03:52,640 Speaker 3: will be displaced if I die. Before I die, I'm 1166 01:03:52,640 --> 01:03:55,800 Speaker 3: gonna want to make sure they're good, right, I know, 1167 01:03:56,160 --> 01:03:59,040 Speaker 3: But he's the opposite. And then and so I that's 1168 01:03:59,120 --> 01:04:01,560 Speaker 3: part of the reason why I know we're still in 1169 01:04:01,600 --> 01:04:04,200 Speaker 3: the recap, but also we're kind of doing we're kind 1170 01:04:04,200 --> 01:04:06,120 Speaker 3: of doing the whole episode right now. Yeah, but like 1171 01:04:06,640 --> 01:04:09,880 Speaker 3: that's part of the reason why I got kind of 1172 01:04:09,920 --> 01:04:14,520 Speaker 3: annoyed that the movie and this felt kind of studio notes, ye, 1173 01:04:14,600 --> 01:04:18,520 Speaker 3: and it kind of felt like my guess is, like, well, 1174 01:04:18,520 --> 01:04:21,160 Speaker 3: Donald Sutherland took the role, don't make him look mean. 1175 01:04:21,480 --> 01:04:26,000 Speaker 3: And the reason I guess that was because Donald Sutherland 1176 01:04:26,320 --> 01:04:30,200 Speaker 3: was in a stage adaptation of Lolita in which he 1177 01:04:30,280 --> 01:04:34,520 Speaker 3: played Humbert Humbert, and he demanded that Humbert Humbard be 1178 01:04:34,600 --> 01:04:39,520 Speaker 3: more sympathetic because he didn't want to appear unsympathetic in public. 1179 01:04:40,120 --> 01:04:43,880 Speaker 3: So this is a thing for like Donald Sutherland specifically 1180 01:04:44,400 --> 01:04:48,400 Speaker 3: where he will accept a role of I mean, obviously, 1181 01:04:48,440 --> 01:04:51,320 Speaker 3: like mister Bennett isn't Humbert Humbert, but like not the 1182 01:04:51,360 --> 01:04:55,160 Speaker 3: most sympathetic character in the world, sure, and then demand 1183 01:04:55,400 --> 01:05:00,240 Speaker 3: that the character be retrofitted to be more sympathetic. I 1184 01:05:00,320 --> 01:05:02,120 Speaker 3: just like, I know that this is a thing with 1185 01:05:02,200 --> 01:05:04,440 Speaker 3: Donald Sutherland, so I wouldn't be surprised if this is 1186 01:05:04,440 --> 01:05:06,760 Speaker 3: a studio it's thing, but I feel like it's it's 1187 01:05:06,800 --> 01:05:12,240 Speaker 3: actually like pretty fucking selfish of mister Bennett too, Yeah, 1188 01:05:12,720 --> 01:05:15,280 Speaker 3: to be so checked out and then then but then 1189 01:05:15,320 --> 01:05:18,600 Speaker 3: to get that like little flourish of like and I 1190 01:05:18,640 --> 01:05:22,640 Speaker 3: love my daughter so much, like at the end, it's like, well, 1191 01:05:22,680 --> 01:05:26,480 Speaker 3: that's interesting because two months ago you were willing to 1192 01:05:27,040 --> 01:05:31,960 Speaker 3: have your entire family be possibly displaced if one fucking 1193 01:05:32,160 --> 01:05:35,600 Speaker 3: random guy gets in a bad mood one day and 1194 01:05:35,640 --> 01:05:39,800 Speaker 3: you're not accountable for that, Like, fuck you. Sorry, I'm 1195 01:05:39,840 --> 01:05:41,200 Speaker 3: anti mister Bennett. 1196 01:05:42,240 --> 01:05:46,480 Speaker 2: My thought is, and I completely agree with you, and 1197 01:05:46,640 --> 01:05:49,600 Speaker 2: we are able to like see these things about him 1198 01:05:49,680 --> 01:05:55,680 Speaker 2: and his choices and behavior and identify them as awful. However, 1199 01:05:55,840 --> 01:06:01,200 Speaker 2: I think that this type of thing was so normalized 1200 01:06:01,480 --> 01:06:04,760 Speaker 2: in this era that no one even sure batted an 1201 01:06:04,760 --> 01:06:07,680 Speaker 2: eyelash about it. Everyone's just like, well, yeah, this is 1202 01:06:07,720 --> 01:06:10,720 Speaker 2: a woman's role in society to be a mother and 1203 01:06:10,760 --> 01:06:14,200 Speaker 2: to be the primary caregiver for her children, especially in 1204 01:06:14,280 --> 01:06:18,480 Speaker 2: terms of emotional support and worrying about their future and 1205 01:06:19,040 --> 01:06:23,320 Speaker 2: teaching daughters how to be quote unquote proper women and 1206 01:06:23,440 --> 01:06:27,600 Speaker 2: how to find husbands. That's what women and mothers do, 1207 01:06:28,360 --> 01:06:32,760 Speaker 2: and because of rigid gender roles, men weren't expected to 1208 01:06:32,880 --> 01:06:35,360 Speaker 2: have to deal with anything like that. Yeah, and then 1209 01:06:35,520 --> 01:06:39,640 Speaker 2: just the way society was structured, the way that the 1210 01:06:39,680 --> 01:06:45,840 Speaker 2: patriarchy was such a crushing presence. No one thought to 1211 01:06:46,000 --> 01:06:49,200 Speaker 2: criticize that or question it or think it was weird 1212 01:06:49,480 --> 01:06:53,360 Speaker 2: or to expect anything else. Yeah, well not no one, 1213 01:06:53,400 --> 01:06:55,960 Speaker 2: but like most people, I would say, it was just 1214 01:06:56,000 --> 01:06:58,720 Speaker 2: like such the norm. So again, like we're looking at 1215 01:06:58,720 --> 01:07:01,840 Speaker 2: this stuff with our like twenty two and I'm not 1216 01:07:01,920 --> 01:07:03,960 Speaker 2: like this is not in defense of like mister Bennett 1217 01:07:04,040 --> 01:07:06,120 Speaker 2: or anything like that, but like, no, I think that 1218 01:07:06,360 --> 01:07:10,120 Speaker 2: the movie portrays it this way because like that was 1219 01:07:10,800 --> 01:07:13,760 Speaker 2: realistic for the time, and that was just like the 1220 01:07:13,800 --> 01:07:15,840 Speaker 2: norm and expectation of the time. 1221 01:07:16,120 --> 01:07:18,800 Speaker 3: I totally agree with you, you know, I God, I'm 1222 01:07:18,840 --> 01:07:21,760 Speaker 3: so glad. God I love pride and prejudice. Like, I'm 1223 01:07:21,800 --> 01:07:25,160 Speaker 3: so happy we're like having these discussions because I totally 1224 01:07:25,160 --> 01:07:28,400 Speaker 3: agree with you. And then I feel like it does 1225 01:07:28,520 --> 01:07:32,440 Speaker 3: in a way that Jane Austen seemed uniquely aware of 1226 01:07:33,560 --> 01:07:38,720 Speaker 3: right in a way that like possibly Joe Wright and 1227 01:07:39,280 --> 01:07:44,640 Speaker 3: Deborah Mogok or possibly studio knows, you don't know whatever 1228 01:07:44,760 --> 01:07:49,240 Speaker 3: Donald Sutherland's agents, possibly, but in a way that even 1229 01:07:49,320 --> 01:07:52,200 Speaker 3: in two thousand and five wasn't totally clear, where they 1230 01:07:52,280 --> 01:07:56,920 Speaker 3: like turn up the sympathy knob for mister Bennett in 1231 01:07:56,960 --> 01:07:59,200 Speaker 3: a way that I mean, at least for me as 1232 01:07:59,280 --> 01:08:03,120 Speaker 3: a as a twelve year old viewer, I was like, oh, 1233 01:08:03,320 --> 01:08:05,160 Speaker 3: dads are like and this is something that we talk 1234 01:08:05,200 --> 01:08:07,320 Speaker 3: about on the show all the time, and it's it's 1235 01:08:07,360 --> 01:08:09,600 Speaker 3: complicated by the fact that it's such an old story, 1236 01:08:09,640 --> 01:08:14,480 Speaker 3: but like, the dads are more sympathetic than mom's trope 1237 01:08:15,000 --> 01:08:17,639 Speaker 3: that comes up all the time, you know, without any 1238 01:08:17,680 --> 01:08:22,960 Speaker 3: context of like why a father's role may be considered 1239 01:08:23,400 --> 01:08:28,519 Speaker 3: considerably easier and less complicated than a mother's role because 1240 01:08:28,560 --> 01:08:31,719 Speaker 3: of the systemic forces being pushed against a mother. Right, 1241 01:08:31,800 --> 01:08:34,639 Speaker 3: And I feel like this du like it almost felt 1242 01:08:34,680 --> 01:08:37,800 Speaker 3: like Jane Austen for me in the way that the 1243 01:08:37,840 --> 01:08:41,280 Speaker 3: final draft of the movie, however that happened. I felt 1244 01:08:41,320 --> 01:08:47,400 Speaker 3: like Jane Austen had it more right than the movie 1245 01:08:47,439 --> 01:08:49,920 Speaker 3: and that in a way that I think the movie 1246 01:08:50,040 --> 01:08:54,759 Speaker 3: mostly gets everything and like kind of trims the fat 1247 01:08:54,840 --> 01:08:57,439 Speaker 3: and like really just makes it a good two hour 1248 01:08:57,640 --> 01:09:01,799 Speaker 3: experience right right, And this movie didn't feel too long. Weirdly, 1249 01:09:02,280 --> 01:09:05,400 Speaker 3: I know, it was like, oh, two hours and that 1250 01:09:05,520 --> 01:09:06,080 Speaker 3: was all I. 1251 01:09:06,000 --> 01:09:08,720 Speaker 2: Needed, unlike every movie in theaters right now, because they're 1252 01:09:08,720 --> 01:09:11,040 Speaker 2: all two and a half hours and I'm just sitting 1253 01:09:11,080 --> 01:09:12,880 Speaker 2: there being like, you could have cut this, you could 1254 01:09:12,880 --> 01:09:14,760 Speaker 2: have cut that. Why is this shot so long? But 1255 01:09:15,080 --> 01:09:18,000 Speaker 2: like this, I have no patience these days. 1256 01:09:18,200 --> 01:09:20,800 Speaker 3: This movie is like kind of perfect. But like one 1257 01:09:20,840 --> 01:09:24,200 Speaker 3: of the ways that I didn't I the addition of 1258 01:09:24,320 --> 01:09:27,400 Speaker 3: the sympathetic dad. I felt like Jane Austen was more 1259 01:09:27,479 --> 01:09:30,040 Speaker 3: on the nose where she didn't offer that kind of 1260 01:09:30,160 --> 01:09:35,320 Speaker 3: absolution to either parent. But what I thought was interesting 1261 01:09:35,439 --> 01:09:38,320 Speaker 3: was like in the movie there is like this element 1262 01:09:38,960 --> 01:09:43,280 Speaker 3: of Lizzy specifically. And this also feels like just because 1263 01:09:43,320 --> 01:09:46,200 Speaker 3: we're doing an Emma episode next and I've been listening 1264 01:09:46,240 --> 01:09:49,679 Speaker 3: to the Emma audiobook and Emma's my favorite Jane Austen 1265 01:09:49,800 --> 01:09:55,280 Speaker 3: novel and it's also clueless, So like all I have 1266 01:09:55,400 --> 01:10:00,479 Speaker 3: to say, like Jane Austen heroins will often, you know, 1267 01:10:00,600 --> 01:10:04,120 Speaker 3: take on other people's problems to avoid dealing with their own, 1268 01:10:04,360 --> 01:10:08,559 Speaker 3: a problem that you know persists for people to this day, 1269 01:10:09,400 --> 01:10:12,880 Speaker 3: but I did think it was like a recognizable thing 1270 01:10:12,920 --> 01:10:15,680 Speaker 3: that like in the movie and in the book, Elizabeth 1271 01:10:15,720 --> 01:10:20,280 Speaker 3: is very often taking on the problems of her relatives 1272 01:10:21,560 --> 01:10:27,200 Speaker 3: for like very urgent reasons, but also to avoid confronting 1273 01:10:27,240 --> 01:10:31,000 Speaker 3: her own feelings. She's like, well, I'm busy because Jane 1274 01:10:31,080 --> 01:10:34,720 Speaker 3: and Bangley, or like I'm busy because my mom is 1275 01:10:34,760 --> 01:10:38,720 Speaker 3: embarrassing us, or I'm busy because my dad is completely 1276 01:10:38,800 --> 01:10:41,519 Speaker 3: checked out, and we do at least like you do 1277 01:10:41,600 --> 01:10:44,439 Speaker 3: get to see that scene where Lizzie goes to her 1278 01:10:44,520 --> 01:10:47,519 Speaker 3: dad and is like, are you looking out for Lydia 1279 01:10:47,680 --> 01:10:52,679 Speaker 3: at all? Like, and I think that, like there's us 1280 01:10:52,720 --> 01:10:56,519 Speaker 3: five years ago maybe wouldn't have understood this completely, but like, 1281 01:10:57,000 --> 01:10:58,960 Speaker 3: you know, she goes to her dad and she's like, 1282 01:10:59,400 --> 01:11:02,519 Speaker 3: Lydia is like ruining the reputation of the family by 1283 01:11:02,680 --> 01:11:06,520 Speaker 3: just like kind of running wild, which is an inherently 1284 01:11:06,640 --> 01:11:11,679 Speaker 3: sexist statement, but in the context of the time, Lizzie 1285 01:11:11,720 --> 01:11:14,800 Speaker 3: is trying to look out for Lydia and her sisters 1286 01:11:14,920 --> 01:11:19,120 Speaker 3: and the entire family and is like, I felt like, 1287 01:11:19,280 --> 01:11:22,479 Speaker 3: at her core like criticizing her father for being like, 1288 01:11:22,640 --> 01:11:26,320 Speaker 3: why are you doing nothing? Why are you so indifferent 1289 01:11:26,560 --> 01:11:30,519 Speaker 3: every day of your life? Right? And it literally is 1290 01:11:30,640 --> 01:11:32,880 Speaker 3: just because it's like you're saying, like he's like, well, 1291 01:11:32,960 --> 01:11:36,400 Speaker 3: when I die, who gives a shit? And it's like, well, okay, 1292 01:11:36,439 --> 01:11:39,759 Speaker 3: so you just like keep telegraphing to the whole family 1293 01:11:40,160 --> 01:11:43,479 Speaker 3: that you don't give a shit about them because your 1294 01:11:43,520 --> 01:11:47,240 Speaker 3: whole family is women, and because of the time and 1295 01:11:47,320 --> 01:11:52,000 Speaker 3: place that you live, they will be endangered and displaced 1296 01:11:52,080 --> 01:11:54,240 Speaker 3: if you spend this time doing nothing. And I feel 1297 01:11:54,240 --> 01:11:57,880 Speaker 3: like that's what Lizzie is trying to say, and she 1298 01:11:58,000 --> 01:12:00,280 Speaker 3: can't quite get through to him, and it's like so, 1299 01:12:00,840 --> 01:12:03,599 Speaker 3: but but like, yeah, I don't know whatever she's parenting 1300 01:12:03,640 --> 01:12:05,879 Speaker 3: her parents and then which. 1301 01:12:05,640 --> 01:12:09,000 Speaker 2: We all end up doing at some point as adults, I. 1302 01:12:08,960 --> 01:12:12,040 Speaker 3: Know, but Lizzie's twenty. I'm like, oh my god, could 1303 01:12:12,040 --> 01:12:15,240 Speaker 3: she like live for two seconds. 1304 01:12:14,320 --> 01:12:19,720 Speaker 2: She's middle aged by eighteenth or nineteenth century standards. 1305 01:12:19,680 --> 01:12:24,920 Speaker 3: She's forty five basically Okay, sorry, we haven't finished the recap, 1306 01:12:25,280 --> 01:12:27,560 Speaker 3: but I feel like we've had a lot of parent discussions. 1307 01:12:27,600 --> 01:12:31,920 Speaker 2: So that's good, that's true. Yes, indeed, so Elizabeth receives 1308 01:12:31,960 --> 01:12:35,200 Speaker 2: the letter from Jane saying that their sister has run 1309 01:12:35,240 --> 01:12:40,519 Speaker 2: off with mister Wickham. Elizabeth is devastated. Elizabeth returns home, 1310 01:12:40,640 --> 01:12:44,360 Speaker 2: where her mother is crying about their family being ruined 1311 01:12:44,400 --> 01:12:46,680 Speaker 2: because a young woman running away with a man that 1312 01:12:46,680 --> 01:12:49,920 Speaker 2: she's not married to is very improper and could ruin 1313 01:12:49,960 --> 01:12:53,320 Speaker 2: the reputation of the entire family. But then the family 1314 01:12:53,360 --> 01:12:56,439 Speaker 2: gets news that Lydia has been found and that she 1315 01:12:56,680 --> 01:13:00,160 Speaker 2: and mister Wickham are married, and it seems that their 1316 01:13:00,240 --> 01:13:04,559 Speaker 2: uncle found them and squared everything away. But Elizabeth learns 1317 01:13:04,680 --> 01:13:08,200 Speaker 2: that it was actually mister Darcy who paid for the 1318 01:13:08,240 --> 01:13:11,120 Speaker 2: wedding and fixed the whole situation, and then he. 1319 01:13:11,120 --> 01:13:15,040 Speaker 3: Goes, I hope you know it's all for you, And 1320 01:13:15,080 --> 01:13:17,360 Speaker 3: then I wrote it down to my notes that mister 1321 01:13:17,439 --> 01:13:21,639 Speaker 3: Darcy's love language is acts of service. It literally, I mean, 1322 01:13:21,880 --> 01:13:24,800 Speaker 3: which is I mean? Honestly, I wouldn't even hand it 1323 01:13:24,800 --> 01:13:28,639 Speaker 3: to him on that one, because every rich guy's love 1324 01:13:28,720 --> 01:13:33,200 Speaker 3: language is acts of service. That's the least effort love language, right, 1325 01:13:33,439 --> 01:13:34,759 Speaker 3: give me a fucking break. 1326 01:13:34,960 --> 01:13:37,479 Speaker 2: Sorry, No, it's true anyways, Okay, yeah. 1327 01:13:37,800 --> 01:13:38,679 Speaker 3: Guys are awesome. 1328 01:13:40,760 --> 01:13:43,400 Speaker 2: Then the family learns that mister Bingley is returning to 1329 01:13:43,400 --> 01:13:47,920 Speaker 2: town he and Darcy pay a visit to the Bennetts. 1330 01:13:48,400 --> 01:13:51,320 Speaker 2: Bingley is clearly working up the nerve to propose to Jane, 1331 01:13:51,920 --> 01:13:53,479 Speaker 2: but he can't go it through with it, and then 1332 01:13:53,520 --> 01:13:56,080 Speaker 2: he leaves, but then he comes back and finally follows 1333 01:13:56,080 --> 01:13:58,880 Speaker 2: through on the proposal. Jane says, he. 1334 01:13:58,920 --> 01:14:05,000 Speaker 3: Goes yes, yes, a thousand times, a thousand times, and 1335 01:14:05,080 --> 01:14:05,799 Speaker 3: she's so happy. 1336 01:14:06,520 --> 01:14:09,080 Speaker 2: And this is yet another thing that Darcy seems to 1337 01:14:09,240 --> 01:14:14,240 Speaker 2: have fixed, which he fucked up before and which Elizabeth 1338 01:14:14,280 --> 01:14:19,200 Speaker 2: confronted him about. Then Lady Catherine de Bergh pays Elizabeth 1339 01:14:19,280 --> 01:14:22,040 Speaker 2: a visit. She seems to think that Elizabeth and Darcy 1340 01:14:22,080 --> 01:14:25,719 Speaker 2: are engaged, and she will not hear of it because 1341 01:14:26,000 --> 01:14:29,879 Speaker 2: she thinks that Elizabeth sucks and is undeserving of Darcy. 1342 01:14:30,240 --> 01:14:33,320 Speaker 2: And Elizabeth is like, actually, you're the one who sucks. 1343 01:14:33,479 --> 01:14:37,120 Speaker 2: Now get out what very ball or move love? 1344 01:14:37,160 --> 01:14:38,600 Speaker 3: It very exciting. 1345 01:14:39,040 --> 01:14:41,040 Speaker 2: Then Darcy shows up and he's like. 1346 01:14:41,520 --> 01:14:44,599 Speaker 4: You have bewitched me body and soul, and I still 1347 01:14:44,600 --> 01:14:45,000 Speaker 4: love you? 1348 01:14:45,680 --> 01:14:47,360 Speaker 2: Is there any chance that really like me? 1349 01:14:48,800 --> 01:14:52,000 Speaker 3: You're sorry, you're just like really doing a great job. 1350 01:14:52,920 --> 01:14:54,440 Speaker 2: His I mean his delivery. 1351 01:14:54,880 --> 01:14:57,360 Speaker 4: You have bewitched me body and soul, and you're like. 1352 01:14:57,400 --> 01:15:00,840 Speaker 3: Oh, maaty and you're like, oh, oh my god, give 1353 01:15:00,840 --> 01:15:06,280 Speaker 3: me a just give me one kiss. See what happens 1354 01:15:06,320 --> 01:15:07,439 Speaker 3: if you give me just one. 1355 01:15:08,160 --> 01:15:09,880 Speaker 2: So he's like, I understand if you still hate me, 1356 01:15:09,960 --> 01:15:13,080 Speaker 2: but is there any chance that now you might like me? 1357 01:15:13,640 --> 01:15:17,360 Speaker 2: And she's like, actually, yes, I love you. Let's nuzzle 1358 01:15:17,400 --> 01:15:17,800 Speaker 2: each other. 1359 01:15:18,360 --> 01:15:22,400 Speaker 3: They do nosies. It's they do noses and like a 1360 01:15:22,439 --> 01:15:25,920 Speaker 3: perfectly choreographed shot in the sunlight, and you're just like, 1361 01:15:26,160 --> 01:15:31,760 Speaker 3: I am gonna die. It's so sweet, and it's like 1362 01:15:32,360 --> 01:15:35,599 Speaker 3: it's so rare that like an enemy is to lover's 1363 01:15:35,680 --> 01:15:39,080 Speaker 3: story feels I feel like, I mean, I feel like, 1364 01:15:39,120 --> 01:15:41,160 Speaker 3: you know, with any enemy as a lover story, there's 1365 01:15:41,200 --> 01:15:45,000 Speaker 3: always gonna be a few hitches, sure, but this is 1366 01:15:45,640 --> 01:15:48,519 Speaker 3: in the upper percentile. It is like as close to 1367 01:15:48,600 --> 01:15:53,320 Speaker 3: earned as you can get, because it's like it's time, 1368 01:15:53,960 --> 01:15:58,080 Speaker 3: it's growth. I still think that like Darcy doesn't fully 1369 01:15:58,120 --> 01:16:00,559 Speaker 3: deserve her. I like to think that he's spends the 1370 01:16:00,600 --> 01:16:03,759 Speaker 3: rest of his life working towards deserving her more. 1371 01:16:04,120 --> 01:16:07,080 Speaker 2: Yes, but which I think it ends on a note 1372 01:16:07,080 --> 01:16:08,559 Speaker 2: that that seems very likely. 1373 01:16:09,040 --> 01:16:11,960 Speaker 3: Yeah, oh damn, I'm gonna cry. 1374 01:16:12,240 --> 01:16:15,200 Speaker 2: I just okay. So they're nuzzling each other, and then 1375 01:16:15,240 --> 01:16:18,479 Speaker 2: they get their blessing to marry each other from mister Bennett, 1376 01:16:18,600 --> 01:16:21,960 Speaker 2: and then Elizabeth and Darcy get married off screen, and 1377 01:16:22,000 --> 01:16:25,759 Speaker 2: the movie ends with them enjoying a romantic evening together 1378 01:16:26,000 --> 01:16:29,360 Speaker 2: and like deciding which pet names they should have, and. 1379 01:16:29,280 --> 01:16:31,720 Speaker 3: Then he gives her a little kiss. Oh they love 1380 01:16:32,000 --> 01:16:39,040 Speaker 3: little tiny faith kisses. Missus Darcy's missus, Darsy's dosy Like, 1381 01:16:39,120 --> 01:16:42,519 Speaker 3: it's just oh my god, that I mean, twelve years 1382 01:16:42,560 --> 01:16:46,000 Speaker 3: old Backbraize, never been kissed in my life. I was like, 1383 01:16:46,280 --> 01:16:50,839 Speaker 3: I'm looking forward to this. I guess what, it doesn't happen. 1384 01:16:51,000 --> 01:17:06,240 Speaker 2: It didn't happen. Yeah, well, no, that's life. Okay, that's 1385 01:17:06,240 --> 01:17:08,639 Speaker 2: so what have we not already covered? 1386 01:17:09,000 --> 01:17:11,080 Speaker 3: Oh? Boy? I feel like we kind of covered the 1387 01:17:11,120 --> 01:17:12,080 Speaker 3: parents at this point. 1388 01:17:12,360 --> 01:17:13,840 Speaker 2: Yeah, and we've talked. 1389 01:17:13,560 --> 01:17:16,400 Speaker 3: A lot about Lizzie and Dark, but I guess, let's like, 1390 01:17:16,520 --> 01:17:19,120 Speaker 3: put a bow on Lizzia and Darcy. Is there other 1391 01:17:19,160 --> 01:17:22,439 Speaker 3: stuff that you wanted to talk about with Lizzie and Darcy. 1392 01:17:22,479 --> 01:17:27,000 Speaker 3: I just felt like we're so accustomed to seeing stories 1393 01:17:27,120 --> 01:17:33,080 Speaker 3: where men never apologize, never acknowledged that they were wrong 1394 01:17:33,560 --> 01:17:38,840 Speaker 3: to do something, and this dynamic because of who Lizzie 1395 01:17:38,880 --> 01:17:43,360 Speaker 3: is demands like she will not engage with him until 1396 01:17:43,439 --> 01:17:48,479 Speaker 3: he acknowledges like I disrespected you, I disrespected your family, 1397 01:17:49,240 --> 01:17:52,759 Speaker 3: And I genuinely was like I have to take notes 1398 01:17:52,800 --> 01:17:56,080 Speaker 3: from her, Like she disconnects from him for long periods 1399 01:17:56,080 --> 01:17:58,599 Speaker 3: of time because she's like, well, you know, like it's 1400 01:17:58,640 --> 01:18:01,960 Speaker 3: clear that she there's something going on there. But she's 1401 01:18:02,120 --> 01:18:04,519 Speaker 3: just like, but if you're not being respectful to the 1402 01:18:04,560 --> 01:18:08,240 Speaker 3: most important people in my life, my sister, specifically her 1403 01:18:08,280 --> 01:18:11,920 Speaker 3: relationship with Jane, and like judging my family and being 1404 01:18:12,000 --> 01:18:15,200 Speaker 3: a classiest asshole, and it's like, it doesn't matter if 1405 01:18:15,240 --> 01:18:18,400 Speaker 3: there's like an attraction between us, it's never gonna happen. 1406 01:18:18,560 --> 01:18:21,479 Speaker 3: Like they're are just like her boundaries are so firm 1407 01:18:21,600 --> 01:18:25,800 Speaker 3: with the people that she loves, and I just I 1408 01:18:25,840 --> 01:18:28,840 Speaker 3: just love that, Like I just that's amazing in any 1409 01:18:28,880 --> 01:18:31,879 Speaker 3: era and I and I and I love that, Darcy, 1410 01:18:32,560 --> 01:18:36,840 Speaker 3: does you know her? Her being so firm and who 1411 01:18:36,880 --> 01:18:40,680 Speaker 3: she is in some ways kind of pushes him to 1412 01:18:40,840 --> 01:18:43,719 Speaker 3: have to grow because he's like, oh, well, I really 1413 01:18:43,720 --> 01:18:45,559 Speaker 3: want to be in this woman's life, but she's not 1414 01:18:45,600 --> 01:18:48,720 Speaker 3: going to interact with me unless I like look at 1415 01:18:48,760 --> 01:18:53,920 Speaker 3: the darkest parts of myself basically, but then he does, 1416 01:18:54,120 --> 01:18:56,160 Speaker 3: I mean, and it's like it's he's not one hundred 1417 01:18:56,160 --> 01:18:59,040 Speaker 3: percent by the end of the story. But I just 1418 01:18:59,040 --> 01:19:02,439 Speaker 3: feel like that's a rare dynamic to see portrayed in 1419 01:19:02,520 --> 01:19:07,240 Speaker 3: any story of like a woman really holding her own 1420 01:19:07,640 --> 01:19:10,760 Speaker 3: in what her values are and a man and this 1421 01:19:10,840 --> 01:19:13,719 Speaker 3: is you know, obviously this is a very heterosexual story 1422 01:19:13,760 --> 01:19:19,080 Speaker 3: in heterosexual time in terms of popular storytelling, right, But 1423 01:19:19,160 --> 01:19:25,439 Speaker 3: like he is forced to look at himself and improve 1424 01:19:25,520 --> 01:19:29,200 Speaker 3: and do better and like and then actually like is 1425 01:19:29,280 --> 01:19:32,000 Speaker 3: on the way to that by the end of the story. Like, 1426 01:19:32,080 --> 01:19:36,200 Speaker 3: I just it's, yeah, it's shocking for twenty twenty two. 1427 01:19:36,880 --> 01:19:40,920 Speaker 2: I know most men won't do that, you know, And 1428 01:19:41,000 --> 01:19:44,800 Speaker 2: he was true. This is another thing I have complicated 1429 01:19:44,800 --> 01:19:48,080 Speaker 2: feelings about because on one hand, I mean, I love 1430 01:19:48,080 --> 01:19:53,040 Speaker 2: Elizabeth Bennett. She's smart, she's funny, she's got a quick wit, 1431 01:19:53,200 --> 01:19:56,000 Speaker 2: she isn't afraid to speak her mind. In a time 1432 01:19:56,040 --> 01:19:59,640 Speaker 2: period and in a culture where these things were not 1433 01:19:59,680 --> 01:20:01,200 Speaker 2: really valued of women. 1434 01:20:01,160 --> 01:20:03,639 Speaker 3: Dangerous to speak your mind in this time if you're well, 1435 01:20:03,680 --> 01:20:05,400 Speaker 3: you could be fucked for life. 1436 01:20:05,320 --> 01:20:09,439 Speaker 2: Right, And despite those things, like she still has strong 1437 01:20:09,479 --> 01:20:14,360 Speaker 2: convictions and strong opinions, and she voices them, and she's 1438 01:20:14,520 --> 01:20:17,040 Speaker 2: so good at comebacks to a point where I'm like, 1439 01:20:17,080 --> 01:20:21,120 Speaker 2: I gotta take notes about that, because her comeback game 1440 01:20:21,200 --> 01:20:25,120 Speaker 2: is amazing. She's like not really sold on the idea 1441 01:20:25,360 --> 01:20:28,680 Speaker 2: of not necessarily romantic love, because she says at one 1442 01:20:28,680 --> 01:20:31,920 Speaker 2: point like only the deepest, strongest love would drive me 1443 01:20:32,520 --> 01:20:35,679 Speaker 2: to matrimony, and therefore I think I'll end up an 1444 01:20:35,720 --> 01:20:42,200 Speaker 2: old maid because men are humorless poppy cocks slash men 1445 01:20:42,280 --> 01:20:46,000 Speaker 2: are either eaten up with arrogance or stupidity. If they 1446 01:20:46,040 --> 01:20:48,640 Speaker 2: are amiable, they are so easily led they have no 1447 01:20:48,720 --> 01:20:50,920 Speaker 2: minds of their own whatsoever. So she does not have 1448 01:20:50,960 --> 01:20:55,280 Speaker 2: a very high opinion of men in general. Mister Darcy 1449 01:20:55,320 --> 01:21:00,960 Speaker 2: comes along. He seems like just like all the other boys, 1450 01:21:01,040 --> 01:21:05,920 Speaker 2: like too proud, and you know he's prejudiced to prejudice. 1451 01:21:06,479 --> 01:21:09,800 Speaker 2: He seems miserable. She notices it right away, or at 1452 01:21:09,880 --> 01:21:13,520 Speaker 2: least that's her perception of him, that's her first impression. 1453 01:21:14,280 --> 01:21:16,960 Speaker 2: Then then there's a scene where he talks about how 1454 01:21:16,960 --> 01:21:21,160 Speaker 2: he hardly knows any accomplished women because by his standards, 1455 01:21:21,200 --> 01:21:24,320 Speaker 2: a woman has to have a thorough knowledge of you know, 1456 01:21:24,520 --> 01:21:28,559 Speaker 2: music and drawing and dancing in languages and she has 1457 01:21:28,680 --> 01:21:33,120 Speaker 2: to improve her mind by extensive reading, which Elizabeth does do. 1458 01:21:33,320 --> 01:21:36,000 Speaker 2: She loves books, and I wonder if Jane Austen was 1459 01:21:36,040 --> 01:21:39,040 Speaker 2: kind of the first sort of perpetrators of the trope. 1460 01:21:39,920 --> 01:21:42,200 Speaker 2: Girl is not like the other girls because she likes 1461 01:21:42,600 --> 01:21:46,960 Speaker 2: books anyway, So he's like kind of carrying on about 1462 01:21:47,240 --> 01:21:49,680 Speaker 2: you know, I would only consider a woman who has 1463 01:21:49,680 --> 01:21:52,639 Speaker 2: all these qualities, and she's like, how do you even 1464 01:21:52,760 --> 01:21:55,880 Speaker 2: know any women like that? And he's like, okay, I 1465 01:21:55,880 --> 01:21:59,000 Speaker 2: guess you hate women. And then she's like, no, you 1466 01:21:59,160 --> 01:22:02,519 Speaker 2: just have ridiculous high standards, which she doesn't actually really say, 1467 01:22:02,560 --> 01:22:05,960 Speaker 2: but I feel like that's what's implied in that conversation. 1468 01:22:06,600 --> 01:22:09,280 Speaker 2: So like we learn about his just kind of I 1469 01:22:09,320 --> 01:22:13,360 Speaker 2: guess prejudice against women, his like standards that are too high. 1470 01:22:13,479 --> 01:22:15,800 Speaker 2: But meanwhile he's like falling in love with her, so 1471 01:22:16,240 --> 01:22:17,040 Speaker 2: you know, he's confused. 1472 01:22:17,080 --> 01:22:20,599 Speaker 3: But also I feel like he's doing the thing that like, 1473 01:22:21,280 --> 01:22:23,559 Speaker 3: I mean, and again it's like I feel like it's 1474 01:22:23,680 --> 01:22:26,439 Speaker 3: rewarded in the context that he's doing it, where it's like, oh, 1475 01:22:26,439 --> 01:22:28,400 Speaker 3: his standards are very high, but he's doing the thing 1476 01:22:28,439 --> 01:22:31,960 Speaker 3: that people do of all genders, where they set standards 1477 01:22:32,240 --> 01:22:34,880 Speaker 3: so high that they're unattainable and they never need to 1478 01:22:34,920 --> 01:22:37,960 Speaker 3: emotionally engage with someone because they're like, well, no one's 1479 01:22:38,000 --> 01:22:40,080 Speaker 3: going to be good enough for me, so I guess 1480 01:22:40,120 --> 01:22:42,640 Speaker 3: I'm just going to be alone forever. And it's like, well, no, 1481 01:22:42,720 --> 01:22:43,799 Speaker 3: you're actually just scared. 1482 01:22:44,800 --> 01:22:46,479 Speaker 2: Wow, it's true. 1483 01:22:46,640 --> 01:22:49,479 Speaker 3: He's he's scared. He's scared, but it's like because of 1484 01:22:49,520 --> 01:22:53,120 Speaker 3: his class and his gender, he's rewarded as like, oh, 1485 01:22:53,240 --> 01:22:56,160 Speaker 3: you're being but if you put that attitude into so 1486 01:22:56,280 --> 01:22:59,719 Speaker 3: many other people of that era, it would be received 1487 01:22:59,760 --> 01:23:00,360 Speaker 3: so didly. 1488 01:23:00,840 --> 01:23:01,000 Speaker 7: Right. 1489 01:23:01,479 --> 01:23:07,719 Speaker 2: Yes, So there's that conversation, and then after she calls 1490 01:23:07,760 --> 01:23:12,280 Speaker 2: him out several times for being unpleasant and too proud 1491 01:23:12,360 --> 01:23:16,080 Speaker 2: and all of this and too prejudice, he like seems 1492 01:23:16,160 --> 01:23:18,599 Speaker 2: to start to see the error of his ways, and 1493 01:23:18,760 --> 01:23:22,840 Speaker 2: she is like maybe not intentionally on her part, but 1494 01:23:22,960 --> 01:23:26,920 Speaker 2: like he does seem to be displaying growth and he's 1495 01:23:27,000 --> 01:23:31,160 Speaker 2: doing some self reflecting and being like wow, maybe. 1496 01:23:30,800 --> 01:23:33,440 Speaker 3: And it's like active, it's not accidental. 1497 01:23:34,320 --> 01:23:36,600 Speaker 2: But then the like the midpoint rolls around of the 1498 01:23:36,640 --> 01:23:40,519 Speaker 2: movie where he proposes, and in his proposal he's like, wow, 1499 01:23:41,280 --> 01:23:43,599 Speaker 2: everything's telling me that I shouldn't be in love with you. 1500 01:23:43,720 --> 01:23:47,880 Speaker 2: Because I am so proud and prejudiced, but I love 1501 01:23:47,920 --> 01:23:50,200 Speaker 2: you anyway. And she's like, Okay, well that was the 1502 01:23:50,240 --> 01:23:53,640 Speaker 2: worst proposal I've ever heard. You were so mean to 1503 01:23:53,680 --> 01:23:56,719 Speaker 2: me and my family just then, and you also ruined 1504 01:23:56,760 --> 01:24:02,719 Speaker 2: my sister's life and you're mean. And he's like, well, 1505 01:24:03,120 --> 01:24:06,720 Speaker 2: I guess I have more growing to do. So then 1506 01:24:06,720 --> 01:24:07,840 Speaker 2: he goes and grows some more. 1507 01:24:08,600 --> 01:24:13,040 Speaker 3: I just I really like, I love it. I love it. 1508 01:24:13,680 --> 01:24:15,160 Speaker 3: Elizabeth is amazing. 1509 01:24:16,160 --> 01:24:20,720 Speaker 2: Yes, what I admire about this is her behavior. I'm 1510 01:24:20,760 --> 01:24:23,840 Speaker 2: still not very sold on, like and I don't think 1511 01:24:23,840 --> 01:24:28,120 Speaker 2: you are either, but like Darcy being completely deserving of 1512 01:24:28,560 --> 01:24:32,639 Speaker 2: kind of the redemption that he gets in Elizabeth's eyes, No, 1513 01:24:33,200 --> 01:24:37,040 Speaker 2: I agree, but also like a redemption by like whatever, 1514 01:24:37,240 --> 01:24:42,000 Speaker 2: like eighteen hundreds or late seventeen hundred's standards probably didn't 1515 01:24:42,000 --> 01:24:46,360 Speaker 2: have to be that significant because the bar for men's 1516 01:24:46,400 --> 01:24:49,160 Speaker 2: behavior was low. 1517 01:24:49,560 --> 01:24:52,880 Speaker 3: And I also think it's like a lesson in I 1518 01:24:52,920 --> 01:24:56,120 Speaker 3: don't know, I mean, I felt like, let me know 1519 01:24:56,160 --> 01:24:58,720 Speaker 3: how you feel about this. I felt like, I don't 1520 01:24:58,760 --> 01:25:03,200 Speaker 3: even think Elizabeth was saying at the end of the story, like, 1521 01:25:03,800 --> 01:25:07,479 Speaker 3: I think Darcy is exactly where he needs to be. 1522 01:25:07,640 --> 01:25:11,800 Speaker 3: He's a fully formed person. I think that her conditions 1523 01:25:11,880 --> 01:25:16,320 Speaker 3: for being to marry him was like that she believed 1524 01:25:16,400 --> 01:25:19,840 Speaker 3: that he could get there and was like, like he 1525 01:25:19,920 --> 01:25:23,040 Speaker 3: had displayed that, like I am willing to do the 1526 01:25:23,080 --> 01:25:26,360 Speaker 3: work and the self introspection and the like questioning my 1527 01:25:26,920 --> 01:25:31,640 Speaker 3: prides and prejudices to be a better person, which I 1528 01:25:31,640 --> 01:25:34,840 Speaker 3: think is like, you know, and obviously this isn't like 1529 01:25:34,880 --> 01:25:37,640 Speaker 3: a blanket statement, but in a serious relationship, I think 1530 01:25:37,680 --> 01:25:41,040 Speaker 3: that that's the thing is like, very often it's like, 1531 01:25:41,520 --> 01:25:44,640 Speaker 3: you know, if you're waiting for someone to arrive at 1532 01:25:44,680 --> 01:25:47,120 Speaker 3: you fully formed, you could be waiting for a very 1533 01:25:47,160 --> 01:25:50,040 Speaker 3: long time, and that's fine. But I think for a 1534 01:25:50,040 --> 01:25:54,880 Speaker 3: lot of people it is often enough for it to 1535 01:25:54,920 --> 01:25:58,040 Speaker 3: be like, Okay, no, you're not fully formed, but you 1536 01:25:58,200 --> 01:26:02,760 Speaker 3: know that, and you're willing to continue working, and it's 1537 01:26:02,800 --> 01:26:06,280 Speaker 3: not like my burden to get you to where you 1538 01:26:06,320 --> 01:26:08,360 Speaker 3: need to be. You're a work in progress and you're 1539 01:26:08,400 --> 01:26:10,080 Speaker 3: getting to where you need to. And it seems like 1540 01:26:10,880 --> 01:26:13,559 Speaker 3: that's sort of where they both are, and like part 1541 01:26:13,600 --> 01:26:17,320 Speaker 3: of the reason why they connect is because like, and 1542 01:26:17,360 --> 01:26:19,200 Speaker 3: I feel like it's made more explicit in the in 1543 01:26:19,240 --> 01:26:22,400 Speaker 3: the movie, in that scene that makes me cry, even 1544 01:26:22,439 --> 01:26:25,320 Speaker 3: though I have issues with mister Bennett. But the way 1545 01:26:25,320 --> 01:26:27,479 Speaker 3: that Lizzie talks in that scene where she's just like, 1546 01:26:28,240 --> 01:26:32,080 Speaker 3: we're so similar, like we which I feel like is 1547 01:26:32,120 --> 01:26:34,719 Speaker 3: her way of acknowledging like we're both works in progress. 1548 01:26:34,920 --> 01:26:38,160 Speaker 3: I do think that the way that they're they are similar. 1549 01:26:38,600 --> 01:26:43,600 Speaker 3: The context is different because like Darcy's prides and prejudices 1550 01:26:43,720 --> 01:26:47,080 Speaker 3: are more impactful because of the time they're living in 1551 01:26:47,479 --> 01:26:52,160 Speaker 3: and less sympathetic than Lizzie's because Lizzie's prides and prejudices 1552 01:26:52,240 --> 01:26:55,519 Speaker 3: are against the rich, so it's kind of easier to 1553 01:26:55,560 --> 01:26:59,040 Speaker 3: get on her side totally. Darcy's prides and prejudices are 1554 01:26:59,040 --> 01:27:02,479 Speaker 3: against the poorest. So they're similar impulses, but they're you know, 1555 01:27:02,600 --> 01:27:07,479 Speaker 3: weaponized very differently with very different results. So yeah, I 1556 01:27:07,520 --> 01:27:10,559 Speaker 3: feel like, maybe, you know, that's not fully examined, But 1557 01:27:10,680 --> 01:27:15,640 Speaker 3: I do believe that Lizzie thinks, and I want to 1558 01:27:15,800 --> 01:27:19,080 Speaker 3: believe it based on his behavior that it's like he's 1559 01:27:19,120 --> 01:27:22,920 Speaker 3: not perfect, but he's demonstrated a lot of growth, and 1560 01:27:23,000 --> 01:27:26,679 Speaker 3: I think that he's willing to continue working to deserve 1561 01:27:27,600 --> 01:27:29,880 Speaker 3: being with me, and I think that that is like 1562 01:27:29,960 --> 01:27:35,639 Speaker 3: a very beautiful, empathetic thing. I don't know, I agree, 1563 01:27:35,720 --> 01:27:36,880 Speaker 3: that's just how I feel today. 1564 01:27:37,400 --> 01:27:44,760 Speaker 2: Sure right, ask me again tomorrow. Elizabeth being prejudice in 1565 01:27:44,800 --> 01:27:47,439 Speaker 2: a cool way where she's like, fuck the rich, eat 1566 01:27:47,479 --> 01:27:50,599 Speaker 2: the rich, right, I do find and again this might 1567 01:27:50,680 --> 01:27:55,160 Speaker 2: just be demonstrative of my lack of understanding of culture 1568 01:27:55,360 --> 01:27:59,000 Speaker 2: at the time. I'm not a history scholar, believe it 1569 01:27:59,120 --> 01:28:01,040 Speaker 2: or not. Listener of the Bechdel cast. 1570 01:28:01,439 --> 01:28:04,000 Speaker 3: Brave of you to admit, thank you so much. 1571 01:28:05,560 --> 01:28:07,760 Speaker 2: So they're always talking about how poor they are, the 1572 01:28:07,800 --> 01:28:11,120 Speaker 2: Bennett family, but then they live in a huge mansion 1573 01:28:11,160 --> 01:28:12,440 Speaker 2: and have a bunch of servants. 1574 01:28:13,280 --> 01:28:16,599 Speaker 3: So that was a So that's something that comes up 1575 01:28:16,640 --> 01:28:20,840 Speaker 3: a lot because I was also like, explain this to me, 1576 01:28:21,680 --> 01:28:24,960 Speaker 3: uh yeah, like I don't fully have an understanding of that. 1577 01:28:25,040 --> 01:28:27,840 Speaker 3: I do know that, it's like that also seemed to 1578 01:28:27,880 --> 01:28:32,080 Speaker 3: be based on my slight research because I didn't I mean, 1579 01:28:32,120 --> 01:28:35,479 Speaker 3: and we're I fully intend to do more Jane Austen 1580 01:28:35,560 --> 01:28:37,880 Speaker 3: research before I am a episode, but I just did 1581 01:28:37,880 --> 01:28:39,519 Speaker 3: not have time before this episode. 1582 01:28:39,600 --> 01:28:40,240 Speaker 2: That's okay. 1583 01:28:40,320 --> 01:28:43,639 Speaker 3: But my understanding, just have a brief Jane Austen overview, 1584 01:28:43,680 --> 01:28:46,439 Speaker 3: is that Jane Austen very much presented herself as like 1585 01:28:47,000 --> 01:28:50,559 Speaker 3: an underdog, like I'm poor, but like, and I feel 1586 01:28:50,600 --> 01:28:52,479 Speaker 3: like people people still do this all the time today. 1587 01:28:52,520 --> 01:28:55,920 Speaker 3: They're like, I'm poor, and then you're like, you're like 1588 01:28:56,560 --> 01:28:59,719 Speaker 3: a really famous person's daughter, Like what are you talking about? 1589 01:29:00,280 --> 01:29:03,320 Speaker 3: You know, like they're like, I'm so relatable, like and 1590 01:29:03,360 --> 01:29:06,400 Speaker 3: I'm thinking of five people. But I you know, I 1591 01:29:06,560 --> 01:29:08,360 Speaker 3: respect women, so I'm not gonna say that. But like, 1592 01:29:09,000 --> 01:29:13,880 Speaker 3: you know, my understanding is that the class difference that's 1593 01:29:13,920 --> 01:29:17,120 Speaker 3: being examined here that isn't like fully made clear in 1594 01:29:17,680 --> 01:29:20,720 Speaker 3: either the book or the movie, partially because of where 1595 01:29:20,800 --> 01:29:23,840 Speaker 3: Jane Austen was coming from, being like I'm poor, which 1596 01:29:23,880 --> 01:29:26,280 Speaker 3: was her way of saying I'm upper middle class and 1597 01:29:26,360 --> 01:29:28,839 Speaker 3: everyone else around me is fabulously wealthy. 1598 01:29:29,680 --> 01:29:30,080 Speaker 2: That is what. 1599 01:29:30,360 --> 01:29:34,880 Speaker 3: There's a class difference, but it's like not because it's 1600 01:29:34,880 --> 01:29:38,880 Speaker 3: like in the whole book, you meet one working class 1601 01:29:39,000 --> 01:29:44,479 Speaker 3: character and it's Darcy's head servant, and she all she 1602 01:29:44,520 --> 01:29:46,559 Speaker 3: can talk about is how much she loves Darcy. Like 1603 01:29:46,600 --> 01:29:48,920 Speaker 3: this is not a working class story at all. And 1604 01:29:48,960 --> 01:29:51,479 Speaker 3: I feel like the Bennetts, You're totally like, I agree, 1605 01:29:51,640 --> 01:29:54,400 Speaker 3: Like the Bennetts are presented as like we're so poor, 1606 01:29:54,720 --> 01:29:57,400 Speaker 3: but this is a story between like the middle to 1607 01:29:57,479 --> 01:30:00,720 Speaker 3: upper middle class versus fucking. 1608 01:30:00,560 --> 01:30:04,680 Speaker 2: Elon the welse, you know, right, yeah, yeah, So the 1609 01:30:04,720 --> 01:30:09,400 Speaker 2: information I've gathered is that Darcy earns ten thousand dollars 1610 01:30:09,439 --> 01:30:13,080 Speaker 2: a year or ten thousand pounds, sorry, ten thousand pounds 1611 01:30:13,080 --> 01:30:18,400 Speaker 2: a year, which is the equivalent of somewhere million between. Well, 1612 01:30:18,439 --> 01:30:21,799 Speaker 2: it's between. It's between six hundred and seven hundred thousand 1613 01:30:21,840 --> 01:30:24,839 Speaker 2: pounds per year, which is a significant income. 1614 01:30:25,240 --> 01:30:27,280 Speaker 3: That's a lot of money, for. 1615 01:30:27,200 --> 01:30:30,519 Speaker 2: Sure, But I don't think they're like billionaire status, or 1616 01:30:30,560 --> 01:30:32,080 Speaker 2: if anyone even was back then. 1617 01:30:32,439 --> 01:30:35,799 Speaker 3: Yeah, actually fuck him. 1618 01:30:36,040 --> 01:30:39,720 Speaker 2: The Bennett family according to my research, and maybe this 1619 01:30:39,880 --> 01:30:42,160 Speaker 2: was mentioned in the book, but I think they bring 1620 01:30:42,240 --> 01:30:45,920 Speaker 2: in an income of two thousand pounds a year, which 1621 01:30:45,960 --> 01:30:49,120 Speaker 2: is slightly less than half of what Bingley brings in, 1622 01:30:49,160 --> 01:30:51,519 Speaker 2: which is five thousand pounds a year. So yeah, based 1623 01:30:51,520 --> 01:30:56,360 Speaker 2: on that, they seem middle class, I would say the Bennetts. 1624 01:30:56,000 --> 01:30:59,280 Speaker 3: Which like fine, I yeah, I feel like that's almost 1625 01:30:59,280 --> 01:31:01,840 Speaker 3: like a Jane Austin an issue too, because like. 1626 01:31:02,120 --> 01:31:05,080 Speaker 2: But then, but again, according to my research, Jane Austen 1627 01:31:06,400 --> 01:31:10,439 Speaker 2: was fairly poor her entire life and didn't become famous 1628 01:31:10,520 --> 01:31:13,639 Speaker 2: until after her death, which was at like age forty 1629 01:31:13,680 --> 01:31:15,880 Speaker 2: one or something like that. She died quite young and 1630 01:31:16,080 --> 01:31:20,640 Speaker 2: wasn't famous or wealthy, and I think was like I 1631 01:31:20,680 --> 01:31:23,959 Speaker 2: think again, according to some some of the resources I consulted, 1632 01:31:24,240 --> 01:31:27,479 Speaker 2: was living below the poverty line her entire life. 1633 01:31:28,200 --> 01:31:31,479 Speaker 3: I totally, I mean I didn't do the Jane Austen 1634 01:31:31,560 --> 01:31:35,320 Speaker 3: life prep, so I totally, yeah, you're right, thank. 1635 01:31:35,120 --> 01:31:37,360 Speaker 2: You so much. That's so I am a scholar after all. 1636 01:31:37,479 --> 01:31:41,000 Speaker 3: Wow, that's so interesting because it's like most of her 1637 01:31:41,040 --> 01:31:45,680 Speaker 3: stories are so of the upper class, and it's like 1638 01:31:45,760 --> 01:31:49,439 Speaker 3: not even really a criticism of her, because it's also like, 1639 01:31:49,720 --> 01:31:52,360 Speaker 3: I mean, it's funny, like we were talking about Succession 1640 01:31:52,400 --> 01:31:56,679 Speaker 3: at the beginning of this episode, where like forever and 1641 01:31:57,080 --> 01:31:59,080 Speaker 3: there's a lot of criticism on it, and like there 1642 01:31:59,120 --> 01:32:02,599 Speaker 3: are I still believe there's not enough like stories about 1643 01:32:02,600 --> 01:32:06,200 Speaker 3: the working class, and particularly like fun and engaging stories 1644 01:32:06,240 --> 01:32:08,400 Speaker 3: about the working class, where it's so often you get 1645 01:32:08,400 --> 01:32:11,639 Speaker 3: working class stories that are just trauma porn and everyone's like, well, 1646 01:32:11,680 --> 01:32:14,200 Speaker 3: we're bummed out, and it's like, well, yeah, no shit, 1647 01:32:14,439 --> 01:32:17,240 Speaker 3: Like rich people are having all the fun in movies too, 1648 01:32:17,479 --> 01:32:19,280 Speaker 3: like fuck you. 1649 01:32:18,640 --> 01:32:20,920 Speaker 2: You know, but except for that scene in Titanic when 1650 01:32:21,040 --> 01:32:23,599 Speaker 2: they're the poor people are having fun dancing below deck 1651 01:32:23,640 --> 01:32:24,719 Speaker 2: and the rich people are hopping. 1652 01:32:24,720 --> 01:32:28,280 Speaker 3: They all died two days later. They're all like we 1653 01:32:28,320 --> 01:32:30,599 Speaker 3: all we like, you can't have that scene without having 1654 01:32:30,640 --> 01:32:33,479 Speaker 3: to watch all of those characters individually drowned. So like 1655 01:32:33,560 --> 01:32:35,719 Speaker 3: it's it, it cancels out. 1656 01:32:36,640 --> 01:32:37,200 Speaker 2: Fair point. 1657 01:32:37,320 --> 01:32:41,520 Speaker 8: Yeah, But but but I'll have to say, like Succession, 1658 01:32:41,720 --> 01:32:45,320 Speaker 8: that's the current show about like rich people fucking around 1659 01:32:45,720 --> 01:32:48,840 Speaker 8: and having complicated interpersonal relationships that. 1660 01:32:48,760 --> 01:32:52,760 Speaker 3: Matthew mcfatdy and is also in that, like people across 1661 01:32:52,920 --> 01:32:57,120 Speaker 3: class lines really enjoy because that has been so much 1662 01:32:57,160 --> 01:33:00,160 Speaker 3: of how the history of storytelling has been. It's like, 1663 01:33:00,200 --> 01:33:02,880 Speaker 3: you know, kings and queens and rich people like that's 1664 01:33:02,920 --> 01:33:05,559 Speaker 3: been so many of the famous story and that's like 1665 01:33:05,600 --> 01:33:09,479 Speaker 3: something that I think is like up for examination of, 1666 01:33:09,520 --> 01:33:12,240 Speaker 3: like why can't we have more working class heroes without 1667 01:33:12,280 --> 01:33:16,120 Speaker 3: it being tragedy poor? And I think that's like something 1668 01:33:16,160 --> 01:33:19,719 Speaker 3: that I hope is you know, there there are stories 1669 01:33:19,760 --> 01:33:22,640 Speaker 3: where that's the case, but it's still a lot of 1670 01:33:22,720 --> 01:33:23,680 Speaker 3: rich people, you know. 1671 01:33:23,960 --> 01:33:24,360 Speaker 2: Yeah. 1672 01:33:24,479 --> 01:33:26,360 Speaker 3: I just wish it was like maybe made a little 1673 01:33:26,360 --> 01:33:29,200 Speaker 3: clearer in the book as well, because they they're always 1674 01:33:29,360 --> 01:33:32,719 Speaker 3: because I do like get how upper middle class people 1675 01:33:32,800 --> 01:33:36,200 Speaker 3: are often saying I'm poor when they're around rich people 1676 01:33:36,240 --> 01:33:39,120 Speaker 3: all the time. But it's also like you're an author 1677 01:33:39,520 --> 01:33:42,800 Speaker 3: or you're a filmmaker, you can contextualize that and not 1678 01:33:42,920 --> 01:33:45,639 Speaker 3: just have the only working class person in the entire 1679 01:33:45,720 --> 01:33:48,559 Speaker 3: movie talk about how much you love rich people. And 1680 01:33:48,600 --> 01:33:50,719 Speaker 3: I've never I've never. 1681 01:33:50,560 --> 01:33:54,600 Speaker 2: Seen oh Downton Abby. 1682 01:33:54,800 --> 01:33:58,400 Speaker 3: Yes, but that that's something that does that well, right, 1683 01:33:58,479 --> 01:33:59,920 Speaker 3: like that that is. 1684 01:34:00,160 --> 01:34:02,559 Speaker 2: Really well, it's been a few years since I've seen it, 1685 01:34:02,600 --> 01:34:06,360 Speaker 2: but yeah, it basically pays equal attention and equal screen 1686 01:34:06,400 --> 01:34:09,320 Speaker 2: time and characterization and all of that stuff to the 1687 01:34:09,400 --> 01:34:15,120 Speaker 2: upper class you know, aristocracy people and the working class 1688 01:34:15,200 --> 01:34:17,880 Speaker 2: servants who work for the rich people. 1689 01:34:18,240 --> 01:34:20,120 Speaker 3: Hell yeah, so okay. 1690 01:34:19,920 --> 01:34:24,000 Speaker 2: Whereas in this movie and like you know, this this story, 1691 01:34:24,120 --> 01:34:27,320 Speaker 2: it is really only concerned about the lives and affairs 1692 01:34:27,439 --> 01:34:31,160 Speaker 2: of people of like, you know, these higher economic classes 1693 01:34:31,520 --> 01:34:35,760 Speaker 2: and anyone of significantly lower class, like the servants who 1694 01:34:35,800 --> 01:34:40,040 Speaker 2: we see like working in the Bennett house. Uh, they're 1695 01:34:40,080 --> 01:34:42,120 Speaker 2: given no characterization. 1696 01:34:41,680 --> 01:34:44,760 Speaker 3: Like who are they? Yeah, yeah, they're I mean, they're 1697 01:34:44,800 --> 01:34:47,720 Speaker 3: basically viewed as like status and property, which is like 1698 01:34:48,240 --> 01:34:52,000 Speaker 3: again complicated when you consider the fact that like a 1699 01:34:52,040 --> 01:34:56,919 Speaker 3: lot of what the Bennetts are the Bennett's sisters in particular, 1700 01:34:57,000 --> 01:34:58,880 Speaker 3: are pushing up against is like I don't want to 1701 01:34:58,880 --> 01:35:02,280 Speaker 3: be viewed as property. But then there's also you're in 1702 01:35:02,360 --> 01:35:06,000 Speaker 3: the middle class, so you do view other people as property, 1703 01:35:06,280 --> 01:35:09,559 Speaker 3: but you resent being considered as property by people above you, 1704 01:35:10,240 --> 01:35:13,000 Speaker 3: Like where's your empathy for the people below you? And 1705 01:35:13,080 --> 01:35:18,519 Speaker 3: I don't have have like read I think like how 1706 01:35:18,560 --> 01:35:21,519 Speaker 3: many Jane Okay, wait, let me pull up Okay, I've 1707 01:35:21,520 --> 01:35:25,639 Speaker 3: read one, two, three, four out of like seven Jane 1708 01:35:25,600 --> 01:35:29,000 Speaker 3: Austen novels, I don't really remember, Like if there is 1709 01:35:29,080 --> 01:35:33,800 Speaker 3: one particular Jane Austen book that tackles this particularly, that's 1710 01:35:33,800 --> 01:35:36,160 Speaker 3: really interesting that she she would have had an intimate 1711 01:35:36,240 --> 01:35:40,439 Speaker 3: understanding of the poorer classes. But I also think that 1712 01:35:40,479 --> 01:35:43,679 Speaker 3: there's something to be said for like in this time, 1713 01:35:44,080 --> 01:35:47,160 Speaker 3: especially because she had to write under pseudonyms. Right, did 1714 01:35:47,240 --> 01:35:50,240 Speaker 3: stories about poor people sell in the eighteen hundreds? 1715 01:35:51,240 --> 01:35:56,600 Speaker 7: Maybe not Oliver Twist Oliver Twist Poor, but that was 1716 01:35:56,640 --> 01:35:59,200 Speaker 7: written by a man, So you know, it's like it's 1717 01:35:59,840 --> 01:36:03,799 Speaker 7: we clearly don't have enough knowledge to make any definiteness statement. 1718 01:36:04,120 --> 01:36:07,439 Speaker 2: I guess where the more effective class discussion comes in 1719 01:36:07,560 --> 01:36:13,840 Speaker 2: for this story is the recognition on Jane Austen's part 1720 01:36:14,200 --> 01:36:19,080 Speaker 2: that in this society, women had so few options and 1721 01:36:19,400 --> 01:36:23,200 Speaker 2: so few rights and opportunities that one of the only 1722 01:36:23,240 --> 01:36:27,200 Speaker 2: ways that they could secure any hope for survival was 1723 01:36:27,280 --> 01:36:32,639 Speaker 2: to marry a man, and therefore the goal for many 1724 01:36:32,720 --> 01:36:37,320 Speaker 2: women becomes find the man with the highest income. Because 1725 01:36:37,360 --> 01:36:39,080 Speaker 2: part of me is like, wow, this is a movie 1726 01:36:39,280 --> 01:36:43,080 Speaker 2: almost entirely about women talking about who should I marry, 1727 01:36:43,160 --> 01:36:45,280 Speaker 2: who can I marry? Who was the richest guy? Did? 1728 01:36:45,280 --> 01:36:48,479 Speaker 2: Like so much of that where like just coming at 1729 01:36:48,520 --> 01:36:51,439 Speaker 2: it from like a very surface level, like Bechdel test 1730 01:36:51,640 --> 01:36:54,040 Speaker 2: point of view, is like, oh, that doesn't feel great, 1731 01:36:54,360 --> 01:36:58,360 Speaker 2: but considering the historical context and you know, just the 1732 01:36:58,479 --> 01:37:02,960 Speaker 2: nuances of well, yeah, but women were considered lesser than 1733 01:37:03,040 --> 01:37:09,160 Speaker 2: men and living in this very oppressive structure and had 1734 01:37:09,560 --> 01:37:14,559 Speaker 2: very few options, and the most realistic one and the 1735 01:37:14,560 --> 01:37:20,439 Speaker 2: most feasible one for most women was to try to marry. Well, 1736 01:37:20,720 --> 01:37:23,919 Speaker 2: so you can't fault them for that because that's literally 1737 01:37:24,040 --> 01:37:25,240 Speaker 2: just survival. 1738 01:37:26,400 --> 01:37:28,760 Speaker 3: And yeah, that's that's sort of like that's something that 1739 01:37:28,800 --> 01:37:34,719 Speaker 3: I feel like is growth moment in terms of how 1740 01:37:35,360 --> 01:37:41,280 Speaker 3: we have taken the approach to this show over the years, 1741 01:37:41,320 --> 01:37:43,600 Speaker 3: Like I feel like there was a time in the 1742 01:37:43,640 --> 01:37:45,519 Speaker 3: show where we'd be like, they're talking about marriage the 1743 01:37:45,560 --> 01:37:48,280 Speaker 3: whole time, but it's like in this time and in 1744 01:37:48,320 --> 01:37:51,479 Speaker 3: this story, when they're talking about marriage, the subtext is 1745 01:37:51,520 --> 01:37:54,840 Speaker 3: they're talking about survival, right, and they're talking about like 1746 01:37:55,080 --> 01:37:58,760 Speaker 3: there are no you know, Like it's very I don't know, 1747 01:37:58,880 --> 01:38:01,760 Speaker 3: I don't know why. I'm just like twenty seventeen, Like 1748 01:38:01,800 --> 01:38:04,000 Speaker 3: it's very twenty seventeen to be like, well, why didn't 1749 01:38:04,040 --> 01:38:05,960 Speaker 3: they start a small business? 1750 01:38:06,080 --> 01:38:10,559 Speaker 9: It's like, yeah, they should have become girl bosses, right, right, 1751 01:38:10,640 --> 01:38:14,720 Speaker 9: like in extraordinary circumstances, like obviously, like there there are 1752 01:38:14,760 --> 01:38:17,760 Speaker 9: always women in every time Jane Austen. 1753 01:38:17,400 --> 01:38:21,720 Speaker 3: Included, who were able to have careers independently, but that 1754 01:38:21,800 --> 01:38:24,479 Speaker 3: came at such significant cost. It was not the norm. 1755 01:38:24,600 --> 01:38:27,400 Speaker 3: It's an unreasonable expectation for women of this time to 1756 01:38:27,560 --> 01:38:31,640 Speaker 3: not be thinking of marriage as inherently connected to survival, 1757 01:38:31,800 --> 01:38:35,759 Speaker 3: especially if your family is all women and the one 1758 01:38:35,840 --> 01:38:38,799 Speaker 3: man in the family they've a shit, massive and shitty, 1759 01:38:39,280 --> 01:38:41,960 Speaker 3: like I get it. 1760 01:38:42,040 --> 01:38:44,720 Speaker 2: So that comes through in like, yeah, a lot of 1761 01:38:44,960 --> 01:38:48,799 Speaker 2: missus Bennett's behavior, right, And there's a there's a scene 1762 01:38:49,520 --> 01:38:53,000 Speaker 2: with Lizzie's friend Charlotte where she comes to tell Lizzie 1763 01:38:53,000 --> 01:38:57,320 Speaker 2: that she's married mister Collins because it offered her a 1764 01:38:57,360 --> 01:39:00,400 Speaker 2: secure future and like Lizzie's like, but he's ridiculou and 1765 01:39:00,439 --> 01:39:03,280 Speaker 2: she's like, look, I'm twenty seven years old, which like, 1766 01:39:03,320 --> 01:39:06,240 Speaker 2: for the time was sixteen years old. I was considered 1767 01:39:06,280 --> 01:39:08,559 Speaker 2: like an old maid. Basically, she's like, I have no 1768 01:39:08,640 --> 01:39:11,920 Speaker 2: money and no prospects. I'm a burden to my parents. 1769 01:39:12,280 --> 01:39:15,120 Speaker 2: I'm frightened, So don't you dare judge me? And it's like, 1770 01:39:15,280 --> 01:39:18,040 Speaker 2: oh shit, like I see where you're coming from. 1771 01:39:18,200 --> 01:39:23,120 Speaker 3: Charlotte such an effectively written scene that was like condensed 1772 01:39:23,200 --> 01:39:24,960 Speaker 3: for the movie, but I just thought it was so 1773 01:39:25,040 --> 01:39:28,160 Speaker 3: well done. Yeah, yeah, that whole I mean that whole friendship, 1774 01:39:28,200 --> 01:39:31,720 Speaker 3: and I really I think that's like a cool and 1775 01:39:31,760 --> 01:39:34,760 Speaker 3: it does come through clearly in the book as well, 1776 01:39:34,800 --> 01:39:38,000 Speaker 3: where that's like I think that her storyline was Charlotte 1777 01:39:38,080 --> 01:39:40,920 Speaker 3: might be like one of the first prides and prejudices 1778 01:39:40,960 --> 01:39:46,160 Speaker 3: that Lizzie works through in the story where obviously everyone 1779 01:39:46,320 --> 01:39:51,679 Speaker 3: knows that mister Collins is not great and Lizzie rejects 1780 01:39:51,760 --> 01:39:54,920 Speaker 3: him and it's amazing and it's very exciting. And then 1781 01:39:55,200 --> 01:39:58,639 Speaker 3: when Charlotte contextualizes her situation where she's like, Okay, you're 1782 01:39:58,680 --> 01:40:02,000 Speaker 3: twenty and you're from a your family than I am. 1783 01:40:02,400 --> 01:40:06,240 Speaker 3: And and because women were so this is something we 1784 01:40:06,240 --> 01:40:09,840 Speaker 3: haven't really talked about yet, like women were so aggressively 1785 01:40:10,040 --> 01:40:14,639 Speaker 3: judged for how they looked and beauty standards. I feel 1786 01:40:14,640 --> 01:40:16,920 Speaker 3: like it's kind of interesting because two thousand and five 1787 01:40:16,960 --> 01:40:19,719 Speaker 3: beauty standards are being pumped in, whereas like the beauty 1788 01:40:19,720 --> 01:40:22,160 Speaker 3: standards of the eighteen hundreds would have been different. I 1789 01:40:22,200 --> 01:40:24,400 Speaker 3: think that if this was a true period piece, the 1790 01:40:24,439 --> 01:40:28,439 Speaker 3: women in the story would look different. But all that 1791 01:40:28,520 --> 01:40:32,000 Speaker 3: to say, like even with the two thousand and five 1792 01:40:32,120 --> 01:40:35,880 Speaker 3: beauty standards put in to this story, it's like, you 1793 01:40:36,160 --> 01:40:41,160 Speaker 3: are the beauty, so you are our ticket into financial security. 1794 01:40:41,800 --> 01:40:45,320 Speaker 3: You are not quote unquote the beauty in the traditional 1795 01:40:45,360 --> 01:40:51,040 Speaker 3: Western beauty standards sense, and therefore you will be neglected. 1796 01:40:51,680 --> 01:40:54,760 Speaker 3: And like it's mentioned, I mean it's said, and this 1797 01:40:54,880 --> 01:40:56,960 Speaker 3: is like one of the places where you're like, fuck 1798 01:40:57,040 --> 01:41:00,559 Speaker 3: Missus Bennett, where Missus Bennett just like mascot, Like I 1799 01:41:00,600 --> 01:41:03,599 Speaker 3: don't think she's hot, and so I'm not interested in 1800 01:41:03,680 --> 01:41:07,559 Speaker 3: talking about her. And Lizzie like never does that, never 1801 01:41:07,640 --> 01:41:10,559 Speaker 3: judges anyone based on how they look because she like 1802 01:41:10,920 --> 01:41:15,560 Speaker 3: knows it's bullshit because she's Lizzie Bennett. And yeah, I 1803 01:41:15,640 --> 01:41:17,599 Speaker 3: mean there's that scene at the beginning where like missus 1804 01:41:17,600 --> 01:41:21,840 Speaker 3: Bennett is criticizing how Charlotte looks, and like, this is 1805 01:41:21,920 --> 01:41:25,240 Speaker 3: clearly feedback that Charlotte has been getting for a long time. 1806 01:41:25,320 --> 01:41:28,400 Speaker 3: It's clearly feedback that Mary has been getting. It's clearly 1807 01:41:28,439 --> 01:41:32,000 Speaker 3: feedback that Lady Catherine's daughter whose name escapes me at 1808 01:41:32,040 --> 01:41:35,320 Speaker 3: this moment, has been getting. And it's like there are 1809 01:41:35,439 --> 01:41:37,840 Speaker 3: multiple and I think that's like really strong writing on 1810 01:41:38,160 --> 01:41:44,400 Speaker 3: Jane Austen's part and ooh, screenwriter Deborah Mogoq's part. Mogok 1811 01:41:44,680 --> 01:41:49,280 Speaker 3: don't know, sorry, mogotch could be anything, but I think 1812 01:41:49,280 --> 01:41:51,599 Speaker 3: that's really strong on their part, that it's like this 1813 01:41:51,640 --> 01:41:53,840 Speaker 3: is this is something that has been thrown in their 1814 01:41:53,880 --> 01:41:56,439 Speaker 3: face their entire lives, and they've been made to feel 1815 01:41:56,479 --> 01:41:59,760 Speaker 3: small by it, and it's clearly affected them and that's 1816 01:42:00,080 --> 01:42:03,680 Speaker 3: to be expected. And it's like, I think given the 1817 01:42:03,720 --> 01:42:06,160 Speaker 3: circumstance that Charlotte has been in where she's been called 1818 01:42:06,280 --> 01:42:10,559 Speaker 3: unattractive her whole life, which is not even true, and 1819 01:42:10,800 --> 01:42:13,439 Speaker 3: the fact that she's twenty seven years old. Oh no, 1820 01:42:14,160 --> 01:42:17,800 Speaker 3: we're both literally dead in this situation. But like, you know, 1821 01:42:17,960 --> 01:42:21,120 Speaker 3: the time whatever, right, And I still think that, Like 1822 01:42:21,200 --> 01:42:24,200 Speaker 3: she ends up, she stands up to Lizzie and is like, look, 1823 01:42:24,400 --> 01:42:27,360 Speaker 3: what would you fucking do in my situation? And then 1824 01:42:27,400 --> 01:42:30,479 Speaker 3: on top of that is like, I'm not sentimental like you. 1825 01:42:30,720 --> 01:42:33,400 Speaker 3: I want to survive, right, So like what do you 1826 01:42:33,479 --> 01:42:36,880 Speaker 3: want from me? And Lucy has to like it's still 1827 01:42:36,920 --> 01:42:38,840 Speaker 3: not how she's going to live her life. And part 1828 01:42:38,840 --> 01:42:41,960 Speaker 3: of that is because of her own privilege, both physically 1829 01:42:42,200 --> 01:42:46,000 Speaker 3: and financially, right, And so she is privileged to be 1830 01:42:46,040 --> 01:42:48,200 Speaker 3: able to take the stands that she does and not 1831 01:42:48,280 --> 01:42:50,840 Speaker 3: have her whole life fall apart as a result, even 1832 01:42:50,880 --> 01:42:53,600 Speaker 3: though it still could, but like less likely, you know. 1833 01:42:53,720 --> 01:42:56,840 Speaker 2: Yeah, she's got you know, like youth privilege, youth privilege, 1834 01:42:57,080 --> 01:43:01,480 Speaker 2: cure Knightley hot privilege where she can down mister Collins, 1835 01:43:01,600 --> 01:43:06,240 Speaker 2: she can turn down mister Darcy has for his first proposal. Yeah, 1836 01:43:06,320 --> 01:43:10,280 Speaker 2: she she's turning down people, even though mister Collins is like, yeah, 1837 01:43:10,320 --> 01:43:13,360 Speaker 2: there's no guarantee that you'll ever get another marriage proposal, 1838 01:43:13,400 --> 01:43:16,720 Speaker 2: and it's like sir, Okay, do you know who you're 1839 01:43:16,720 --> 01:43:21,320 Speaker 2: talking to you're talking to Kiera Knightly like, which also 1840 01:43:21,360 --> 01:43:24,760 Speaker 2: makes the scene at the beginning when mister Darcy's like, yeah, 1841 01:43:25,000 --> 01:43:28,080 Speaker 2: she's tolerable but not handsome enough to tempt me, and 1842 01:43:28,120 --> 01:43:30,879 Speaker 2: it's like, you're talking about Kia Nightly. 1843 01:43:31,160 --> 01:43:35,080 Speaker 3: Well great, we're all fun because you just called Kiara 1844 01:43:35,160 --> 01:43:42,120 Speaker 3: Knightly ugly, Like what are you talking about? Anyways? I agree, 1845 01:43:43,040 --> 01:43:46,240 Speaker 3: but I think that, like in the text, Lizzy is 1846 01:43:46,280 --> 01:43:50,400 Speaker 3: forced to examine that and like is able to get 1847 01:43:50,439 --> 01:43:53,880 Speaker 3: past it and continues, like because it's said in the book. 1848 01:43:53,920 --> 01:43:56,360 Speaker 3: I think at the like Lizzy's like, oh, now we're 1849 01:43:56,400 --> 01:43:59,080 Speaker 3: never gonna see each other again, We're not gonna be friends. 1850 01:43:59,400 --> 01:44:02,960 Speaker 3: This so blah blah blah. But then they do remain friends, 1851 01:44:03,600 --> 01:44:10,320 Speaker 3: and Lizzie gets past her prides and prejudices Charlotte I still, 1852 01:44:10,360 --> 01:44:12,479 Speaker 3: I mean, it's like I want better for Charlotte, I 1853 01:44:12,520 --> 01:44:15,800 Speaker 3: want better for Mary. I want them to, you know, 1854 01:44:15,960 --> 01:44:19,439 Speaker 3: live in a society that doesn't make them feel like 1855 01:44:19,640 --> 01:44:23,400 Speaker 3: shit against stuff that isn't even true. But then it's 1856 01:44:23,439 --> 01:44:26,720 Speaker 3: also like I just really thought that it was a 1857 01:44:26,920 --> 01:44:30,320 Speaker 3: nice thing in this story and in this time that 1858 01:44:30,520 --> 01:44:34,599 Speaker 3: like these two women prioritize their friendship and their love 1859 01:44:34,640 --> 01:44:38,400 Speaker 3: for each other, and because this is how things had 1860 01:44:38,400 --> 01:44:41,280 Speaker 3: to play out for Charlotte to survive in a way 1861 01:44:41,320 --> 01:44:45,040 Speaker 3: that she was comfortable with that Lizzie's like, Okay, I 1862 01:44:45,120 --> 01:44:48,559 Speaker 3: hear you, and we can still be friends. I just 1863 01:44:48,600 --> 01:44:52,640 Speaker 3: think it's really it's not. Nothing is ideal in the 1864 01:44:52,680 --> 01:44:54,960 Speaker 3: way that stories work out between women and the story 1865 01:44:55,000 --> 01:44:57,080 Speaker 3: for the most part. But I do think that it's 1866 01:44:57,160 --> 01:45:01,559 Speaker 3: nice that they like Lizzie prioritizes how Charlotte's feeling, and 1867 01:45:01,600 --> 01:45:05,800 Speaker 3: that's why she's able to remain friends. And Charlotte is 1868 01:45:05,840 --> 01:45:10,439 Speaker 3: also very sensitive to like whatever. Charlotte's like empathetic to like, yeah, 1869 01:45:10,439 --> 01:45:13,640 Speaker 3: I get why you didn't want to marry mister Collins, 1870 01:45:13,960 --> 01:45:17,599 Speaker 3: but I'm doing it so to like be friends. 1871 01:45:17,680 --> 01:45:20,280 Speaker 2: Yeah, and I've got this room that I can escape 1872 01:45:20,280 --> 01:45:21,600 Speaker 2: to where he won't bother me. 1873 01:45:21,760 --> 01:45:25,120 Speaker 3: And isn't that she has her She has her like 1874 01:45:25,760 --> 01:45:31,320 Speaker 3: woman cave where she's like no Collins is allowed. 1875 01:45:33,760 --> 01:45:34,000 Speaker 9: Yeah. 1876 01:45:34,240 --> 01:45:37,280 Speaker 2: I think one of the big strengths of this adaptation 1877 01:45:37,880 --> 01:45:43,200 Speaker 2: is that even though many many characters were eliminated or 1878 01:45:43,360 --> 01:45:46,720 Speaker 2: scaled back in the movie, but the movie chooses to 1879 01:45:47,720 --> 01:45:51,600 Speaker 2: keep a lot of the relationships between women, notably Elizabeth 1880 01:45:51,640 --> 01:45:56,280 Speaker 2: and her sisters and mother, and Elizabeth and her friend Charlotte. 1881 01:45:56,600 --> 01:45:59,920 Speaker 2: Those are still present in the movie, and they're given 1882 01:46:01,040 --> 01:46:03,559 Speaker 2: I thought, a good amount of focus because even though 1883 01:46:03,560 --> 01:46:09,120 Speaker 2: the driving vehicle for this story is the romance between 1884 01:46:09,560 --> 01:46:15,320 Speaker 2: Elizabeth and Darcy, screen time dedicated to her relationships with women, 1885 01:46:15,920 --> 01:46:19,240 Speaker 2: they don't like dwindle those down at the expense of 1886 01:46:19,280 --> 01:46:21,600 Speaker 2: this relationship, this romantic relationship. 1887 01:46:21,840 --> 01:46:24,920 Speaker 3: I agree, I agree, Yeah, and I like that you 1888 01:46:25,000 --> 01:46:29,200 Speaker 3: still get the relationship between Lizzie and Jane. I would 1889 01:46:29,200 --> 01:46:31,680 Speaker 3: have liked. And again, this is and we have to 1890 01:46:31,720 --> 01:46:32,880 Speaker 3: I mean, we've been recording for. 1891 01:46:32,800 --> 01:46:35,320 Speaker 2: A while, so hours, it's. 1892 01:46:35,160 --> 01:46:37,840 Speaker 3: Almost been two hours, so we do need to wrap up. 1893 01:46:37,840 --> 01:46:41,120 Speaker 3: But like I do like that Lizzie and Jane like 1894 01:46:41,280 --> 01:46:43,479 Speaker 3: they're again. It was like giving like a little bit 1895 01:46:43,520 --> 01:46:47,240 Speaker 3: of little women of like the eldest has is a 1896 01:46:47,280 --> 01:46:49,880 Speaker 3: little more shy, a little more reserved. It was giving 1897 01:46:49,920 --> 01:46:53,720 Speaker 3: me some meg March energy of like, sure, I want 1898 01:46:53,800 --> 01:46:58,479 Speaker 3: a more traditional life and Lizzie is that's not who 1899 01:46:58,520 --> 01:47:01,200 Speaker 3: she is at all. But they have such a strong 1900 01:47:01,240 --> 01:47:03,679 Speaker 3: love for each other. They would do anything for each other, 1901 01:47:04,400 --> 01:47:07,480 Speaker 3: and they are able to like navigate each other's personalities 1902 01:47:07,520 --> 01:47:12,719 Speaker 3: and the way that like true friendships and love does 1903 01:47:13,840 --> 01:47:17,240 Speaker 3: I love their relationship same? I love and I have 1904 01:47:17,320 --> 01:47:19,400 Speaker 3: like such a soft spot for Jane, even though sometimes 1905 01:47:19,439 --> 01:47:21,479 Speaker 3: I'm like, Jane, speak up for yourself. But like I 1906 01:47:21,640 --> 01:47:23,080 Speaker 3: like Jane is like more of. 1907 01:47:23,080 --> 01:47:25,360 Speaker 2: She's shy and modice shine. 1908 01:47:26,080 --> 01:47:30,000 Speaker 3: Yeah, like she's a sweetie. And Lydia, I mean I 1909 01:47:30,000 --> 01:47:34,160 Speaker 3: also think that like with with Lydia and and Kid Kiddy, 1910 01:47:34,280 --> 01:47:38,439 Speaker 3: it's they're so young that it's like you can't really 1911 01:47:38,560 --> 01:47:43,360 Speaker 3: justdge Like I understand that sixteen is thirty in this world, 1912 01:47:43,880 --> 01:47:47,759 Speaker 3: but like they're so young and that like you can't 1913 01:47:47,800 --> 01:47:50,760 Speaker 3: really judge them on anything like where I know, like 1914 01:47:50,880 --> 01:47:51,240 Speaker 3: and the. 1915 01:47:51,160 --> 01:47:52,920 Speaker 2: Story and the story. 1916 01:47:52,600 --> 01:47:56,720 Speaker 3: Acknowledges that, like they're very very young, and it's like, yeah, 1917 01:47:57,160 --> 01:47:59,439 Speaker 3: there are two teenage girls that are really excited that 1918 01:47:59,479 --> 01:48:04,000 Speaker 3: there's a lot of cute boys around, Like right, they're fifteen, 1919 01:48:04,439 --> 01:48:08,120 Speaker 3: like they're seventeen, Like yeah, give them a break. And 1920 01:48:08,200 --> 01:48:10,519 Speaker 3: I do feel like maybe that both stories could have 1921 01:48:10,520 --> 01:48:14,920 Speaker 3: given them more empathy and reminders that it's like these 1922 01:48:14,960 --> 01:48:17,720 Speaker 3: are kids right to like chill out, you know. 1923 01:48:17,720 --> 01:48:22,400 Speaker 2: And even though adult men married fifteen year olds during 1924 01:48:22,439 --> 01:48:25,040 Speaker 2: this time, yikes. 1925 01:48:24,560 --> 01:48:25,799 Speaker 3: They're still kids. 1926 01:48:25,960 --> 01:48:28,920 Speaker 2: They're teen girls doing teen girl shit, and everyone's just 1927 01:48:29,000 --> 01:48:31,639 Speaker 2: like you were so silly and ridiculous, and it's like, no. 1928 01:48:31,960 --> 01:48:35,840 Speaker 3: You're brilliating the family. It's like, oh god, I'm glad 1929 01:48:35,880 --> 01:48:38,000 Speaker 3: the steaks weren't like that when I was a teenager, 1930 01:48:38,080 --> 01:48:40,040 Speaker 3: because I was, I mean I was. I was like 1931 01:48:40,240 --> 01:48:42,400 Speaker 3: every teenage girl is like, if that's the steaks for 1932 01:48:42,520 --> 01:48:47,720 Speaker 3: every teenager in general, your family's fucked. Like teenagers are embarrassing, 1933 01:48:47,960 --> 01:48:51,519 Speaker 3: Like that's what you're supposed to be embarrassing. It's literally 1934 01:48:51,560 --> 01:48:54,080 Speaker 3: your one job is to do the most embarrassing thing 1935 01:48:54,120 --> 01:48:54,760 Speaker 3: you can think of. 1936 01:48:55,080 --> 01:49:01,240 Speaker 2: Truly. Yeah, okay, So just a couple last till things. 1937 01:49:01,560 --> 01:49:05,439 Speaker 2: Fun fact, I learned from our favorite scholarly journal Wikipedia 1938 01:49:05,680 --> 01:49:10,120 Speaker 2: that apparently a person from Chili watched this movie two 1939 01:49:10,240 --> 01:49:14,120 Speaker 2: hundred and seventy eight times during a single year. So 1940 01:49:14,240 --> 01:49:16,280 Speaker 2: oh yeah, an icon. Good for her. 1941 01:49:17,400 --> 01:49:19,000 Speaker 3: Oh that's the end of the story. 1942 01:49:19,040 --> 01:49:19,760 Speaker 2: What did I learned? 1943 01:49:19,920 --> 01:49:21,920 Speaker 3: They're like, nope, I just watched it. 1944 01:49:21,600 --> 01:49:24,880 Speaker 2: It was a fifty one year old woman who declared 1945 01:49:24,920 --> 01:49:28,839 Speaker 2: herself as obsessed with the film and she saw Elizabeth 1946 01:49:28,880 --> 01:49:31,639 Speaker 2: Bennett as a feminist icon. 1947 01:49:32,280 --> 01:49:35,560 Speaker 3: Okay, she's right, and that's literally gonna be me somedays, 1948 01:49:35,520 --> 01:49:37,920 Speaker 3: so I can't even criticize. I'm like, yeah, I'm gonna 1949 01:49:37,960 --> 01:49:39,759 Speaker 3: do something two hundred and seventy eight times. 1950 01:49:39,960 --> 01:49:43,240 Speaker 2: I mean I watched Titanic basically two hundred and seventy 1951 01:49:43,320 --> 01:49:47,360 Speaker 2: times a year. So yes, just a couple things I 1952 01:49:47,400 --> 01:49:49,880 Speaker 2: really enjoyed about the movie. I loved the scene where 1953 01:49:49,920 --> 01:49:53,320 Speaker 2: Elizabeth is dancing at the ball at Bingley's estate and 1954 01:49:53,400 --> 01:49:58,200 Speaker 2: she's carrying on several different conversations, one with mister Collins 1955 01:49:58,280 --> 01:50:00,400 Speaker 2: and then I think one with Jane. And because of 1956 01:50:00,400 --> 01:50:03,000 Speaker 2: like how dancing was back then, you could only talk 1957 01:50:03,040 --> 01:50:05,640 Speaker 2: to someone for like three seconds before you then like 1958 01:50:05,960 --> 01:50:07,000 Speaker 2: stepped away from them. 1959 01:50:07,240 --> 01:50:07,960 Speaker 3: Yeah, I just like. 1960 01:50:08,040 --> 01:50:10,799 Speaker 2: Loved the choreography and like loved the dialogue in that scene. 1961 01:50:11,479 --> 01:50:14,800 Speaker 3: The choreography of this movie is amazing, the camera choreography, 1962 01:50:14,840 --> 01:50:18,799 Speaker 3: the physical court Like it's also I'm gonna see Sarah 1963 01:50:18,840 --> 01:50:20,920 Speaker 3: noh god damn it. I'm excited. 1964 01:50:21,880 --> 01:50:22,000 Speaker 7: Uh. 1965 01:50:22,439 --> 01:50:26,519 Speaker 2: Kiera Knightley is doing really good face acting. Her facial 1966 01:50:26,560 --> 01:50:29,360 Speaker 2: expressions are doing so much work in the movie. I 1967 01:50:29,360 --> 01:50:31,960 Speaker 2: love it. I love the scene where the women are 1968 01:50:32,000 --> 01:50:35,160 Speaker 2: all like lounging around the house very just like leisurely 1969 01:50:35,360 --> 01:50:38,160 Speaker 2: kind of sloppy missus Bennett has like a half eaten 1970 01:50:38,200 --> 01:50:40,280 Speaker 2: plate of food on her lap, and then they see 1971 01:50:40,320 --> 01:50:42,320 Speaker 2: Bingley and Darcy walking up, so they have this like 1972 01:50:42,479 --> 01:50:45,920 Speaker 2: mad scramble and then cut to them like very poised 1973 01:50:46,360 --> 01:50:50,680 Speaker 2: and proper to receive guests. But I just like love 1974 01:50:50,720 --> 01:50:53,640 Speaker 2: that because it's like, wow, women back then were just 1975 01:50:53,680 --> 01:50:54,160 Speaker 2: like us. 1976 01:50:55,400 --> 01:50:57,719 Speaker 3: And I also love that, like this is a rare 1977 01:50:58,120 --> 01:51:00,160 Speaker 3: I mean, this is maybe like a weird thing to 1978 01:51:00,200 --> 01:51:02,840 Speaker 3: make notice, But like Kiera Knightley is the age of 1979 01:51:02,840 --> 01:51:05,840 Speaker 3: the character in this week, Oh yeah, she like Lizzie. 1980 01:51:05,880 --> 01:51:08,360 Speaker 3: I feel like that's a very rare dig good movies. 1981 01:51:08,400 --> 01:51:11,200 Speaker 3: And I always use the example of like CW teenagers, 1982 01:51:11,240 --> 01:51:14,640 Speaker 3: where like I could play a CW teenager and I 1983 01:51:14,720 --> 01:51:18,559 Speaker 3: am almost thirty so and that's been like the case forever. 1984 01:51:19,240 --> 01:51:22,160 Speaker 3: But like Kiera Knightley is, like I think most people 1985 01:51:22,240 --> 01:51:25,479 Speaker 3: are like cast pretty age appropriate in this uh in 1986 01:51:25,520 --> 01:51:28,400 Speaker 3: this movie. And so you do feel like, especially when 1987 01:51:28,439 --> 01:51:32,479 Speaker 3: it's like Jenna Alone, you're like, yeah, genial alone. I 1988 01:51:32,520 --> 01:51:35,360 Speaker 3: mean actually jenaal Alone is older than Kiera Knightley. Believe 1989 01:51:35,360 --> 01:51:37,960 Speaker 3: it or not, what I think, let me double check. 1990 01:51:38,120 --> 01:51:40,240 Speaker 3: I think that Kura Nightley may be the youngest and 1991 01:51:40,360 --> 01:51:42,560 Speaker 3: the cast question. 1992 01:51:42,320 --> 01:51:44,320 Speaker 2: Mark, well even younger than Kerrie Mulligan. 1993 01:51:44,680 --> 01:51:47,960 Speaker 3: She and Kerry Mulligan are the exact same age. Whoa 1994 01:51:48,400 --> 01:51:50,760 Speaker 3: and then Rasamund Pike. How old is Rasmund Pike? Yeah, 1995 01:51:50,840 --> 01:51:54,400 Speaker 3: Rasamund Pike is older than them, it doesn't matter. Sorry, 1996 01:51:54,479 --> 01:51:56,639 Speaker 3: continue it, but yeah, like I just thought it was Yeah, 1997 01:51:56,680 --> 01:52:00,599 Speaker 3: she married like Kiera Knightley to Lulailey and Harry Mulligan. 1998 01:52:00,600 --> 01:52:03,080 Speaker 3: We're all the same age even though they're different ages. 1999 01:52:03,160 --> 01:52:07,880 Speaker 2: Well, speaking of Mary and my Justice for Mary Bennett section, again, 2000 01:52:08,240 --> 01:52:11,280 Speaker 2: the book mostly ignores her to the point where as 2001 01:52:11,280 --> 01:52:14,200 Speaker 2: I was reading it, I was like, who's Mary? And 2002 01:52:14,240 --> 01:52:17,040 Speaker 2: then I thought that there were only four Bennett sisters 2003 01:52:17,080 --> 01:52:19,600 Speaker 2: for a large chunk of it. But I feel like 2004 01:52:19,600 --> 01:52:22,920 Speaker 2: in the movie she's like given a little bit more 2005 01:52:23,600 --> 01:52:26,720 Speaker 2: time and attention. I love the scene where she's like, 2006 01:52:27,040 --> 01:52:31,240 Speaker 2: bells are silly. If we're gonna get acquainted to each other, 2007 01:52:31,880 --> 01:52:34,360 Speaker 2: how would anyone do that by dancing? Shouldn't you talk 2008 01:52:34,400 --> 01:52:36,759 Speaker 2: to a person to get to know them? And everyone's 2009 01:52:36,840 --> 01:52:41,519 Speaker 2: just like, shut up, Mary, But she's right. I just 2010 01:52:41,640 --> 01:52:44,439 Speaker 2: like her a lot, and I wish her all the best. 2011 01:52:44,640 --> 01:52:47,320 Speaker 3: I think she's great, and I feel like the movie, 2012 01:52:47,479 --> 01:52:50,599 Speaker 3: even more so than the book, knows that she's great 2013 01:52:50,720 --> 01:52:52,840 Speaker 3: and her character is like fleshed out a little more. 2014 01:52:53,000 --> 01:52:55,400 Speaker 3: I like to think down the line that like Mary 2015 01:52:55,479 --> 01:52:58,920 Speaker 3: really found someone, whether it was in marriage or friendship, 2016 01:52:58,960 --> 01:53:01,679 Speaker 3: who like got her. Yeah, I hope she did, because 2017 01:53:01,680 --> 01:53:03,880 Speaker 3: it seemed like there wasn't anyone in her family who 2018 01:53:03,960 --> 01:53:06,759 Speaker 3: like in the way that like Lizzie and Jane really 2019 01:53:06,840 --> 01:53:08,840 Speaker 3: got each other, and the way that like Lydia and 2020 01:53:08,920 --> 01:53:11,120 Speaker 3: Kitty for a lot of their relationship really got each other. 2021 01:53:11,160 --> 01:53:13,120 Speaker 3: I feel like Mary was the album out. I hope 2022 01:53:13,160 --> 01:53:16,880 Speaker 3: she found someone that really understood her. She deserved that. 2023 01:53:17,120 --> 01:53:19,920 Speaker 2: Yeah, but uh yeah, that's really all I had. Did 2024 01:53:19,920 --> 01:53:20,679 Speaker 2: you have anything else? 2025 01:53:21,400 --> 01:53:24,360 Speaker 3: No, that's basically all I had. I just I truly, 2026 01:53:24,439 --> 01:53:27,360 Speaker 3: I mean I without getting personal. I feel like this 2027 01:53:27,360 --> 01:53:32,280 Speaker 3: this story. I rediscovered this story at a very nice time, 2028 01:53:32,520 --> 01:53:36,840 Speaker 3: and that, like Lizzie, no matter when you're coming back 2029 01:53:36,880 --> 01:53:40,559 Speaker 3: to her, there's lessons to be learned from the Gospel 2030 01:53:40,600 --> 01:53:45,160 Speaker 3: of Lizzie Bennett. She is incredible and I really like 2031 01:53:45,280 --> 01:53:50,040 Speaker 3: that she and Jane and the story very happy like 2032 01:53:50,760 --> 01:53:54,000 Speaker 3: and with you know, and it is in the conventional way, 2033 01:53:54,200 --> 01:53:56,679 Speaker 3: but I feel like the way that Jane Austen writes, 2034 01:53:56,720 --> 01:53:59,679 Speaker 3: in the way that this story in the adaptation plays out, 2035 01:54:00,080 --> 01:54:02,880 Speaker 3: it feels earned and you want these characters to find 2036 01:54:03,520 --> 01:54:06,519 Speaker 3: their bliss in the way that they could in this time, 2037 01:54:06,560 --> 01:54:08,680 Speaker 3: and it seems like they do and that. 2038 01:54:08,680 --> 01:54:11,599 Speaker 2: Makes me happy in a way that again that like 2039 01:54:11,920 --> 01:54:15,760 Speaker 2: enemies to lovers trope never really works for me. And 2040 01:54:15,840 --> 01:54:19,160 Speaker 2: as yeah, you know Nora Efron or no was it 2041 01:54:19,200 --> 01:54:22,920 Speaker 2: her sister pointed out, like that never happens in real life, 2042 01:54:22,960 --> 01:54:25,000 Speaker 2: where people start out hating each other and then they 2043 01:54:25,000 --> 01:54:27,719 Speaker 2: fall in love, but that is a big movie thing. 2044 01:54:28,320 --> 01:54:32,360 Speaker 2: I feel like this is maybe the one narrative where 2045 01:54:32,440 --> 01:54:35,760 Speaker 2: I can get behind that because it certainly didn't work 2046 01:54:35,800 --> 01:54:40,400 Speaker 2: for me. And You've Got Mail or I mean a similar. 2047 01:54:40,160 --> 01:54:42,600 Speaker 3: Thing for most of the time, right because yeah, like 2048 01:54:42,600 --> 01:54:45,120 Speaker 3: we were saying, it's unrealistic, but like in this one, 2049 01:54:45,200 --> 01:54:48,520 Speaker 3: it's so it starts with the broad trope, but it 2050 01:54:49,400 --> 01:54:52,960 Speaker 3: attacks the broad trope with such subtlety. And also just 2051 01:54:53,040 --> 01:54:55,840 Speaker 3: like time, like, I feel like a part of the 2052 01:54:55,880 --> 01:54:59,040 Speaker 3: reason that You've Got Male doesn't work. There's a lot 2053 01:54:59,040 --> 01:55:01,480 Speaker 3: of reasons, but like one of the reasons it doesn't 2054 01:55:01,480 --> 01:55:04,560 Speaker 3: work is because it all happened so quickly, and like 2055 01:55:05,080 --> 01:55:08,440 Speaker 3: pride and prejudice, It's like Darcy and Elizabeth don't talk 2056 01:55:08,480 --> 01:55:12,240 Speaker 3: for months at a time as they continue to work 2057 01:55:12,280 --> 01:55:15,480 Speaker 3: on themselves, which I feel like is honestly like kind 2058 01:55:15,520 --> 01:55:18,320 Speaker 3: of harder for modern stories where it's so easy to 2059 01:55:18,400 --> 01:55:21,200 Speaker 3: keep tabs on each other, and like the idea of 2060 01:55:21,280 --> 01:55:23,920 Speaker 3: like truly not knowing what someone else is up to 2061 01:55:24,000 --> 01:55:27,560 Speaker 3: for months is kind of inconceivable if you're remotely interested 2062 01:55:27,600 --> 01:55:30,400 Speaker 3: in who they are or what they do. But like 2063 01:55:30,560 --> 01:55:33,240 Speaker 3: this was a time where it's like, yeah, Lizzie didn't 2064 01:55:33,280 --> 01:55:35,680 Speaker 3: know what Darcy was up to while she continued to 2065 01:55:35,800 --> 01:55:40,280 Speaker 3: experience life and like overcome her pride, prides and prejudices 2066 01:55:41,200 --> 01:55:44,720 Speaker 3: independent of him, and vice versa. And then it would 2067 01:55:44,720 --> 01:55:48,760 Speaker 3: be like they would reconnect every several months and be like, oh, 2068 01:55:48,800 --> 01:55:51,680 Speaker 3: I'm growing, but it's still not time. And then they 2069 01:55:51,720 --> 01:55:56,080 Speaker 3: would reconnect. I'd be like, oh, you've improved, I've improved. Interesting, 2070 01:55:56,240 --> 01:55:59,120 Speaker 3: and like, I don't know, I feel like that's for me. 2071 01:55:59,240 --> 01:56:02,360 Speaker 3: That's why it works. It's because it is like gradual, 2072 01:56:03,040 --> 01:56:05,960 Speaker 3: and the issues that they have outside of their lives 2073 01:56:06,080 --> 01:56:08,440 Speaker 3: is interconnected because of the circles they run in but 2074 01:56:08,520 --> 01:56:12,880 Speaker 3: it's like they're both on their own sort of stories. 2075 01:56:12,920 --> 01:56:15,520 Speaker 3: They're both dealing with their own shit, and it's when 2076 01:56:15,560 --> 01:56:18,160 Speaker 3: they reconnect and kind of regroup and they're like, Okay, 2077 01:56:18,280 --> 01:56:21,000 Speaker 3: I've improved in this way, but I still suck in 2078 01:56:21,040 --> 01:56:23,160 Speaker 3: this way. And then the other person's like, okay, well 2079 01:56:23,520 --> 01:56:25,960 Speaker 3: I still have this pride in this prejudice, but I 2080 01:56:26,000 --> 01:56:28,640 Speaker 3: got rid of this pride and this prejudice. And they're like, okay, 2081 01:56:28,720 --> 01:56:32,240 Speaker 3: let's regroup in September or like whatever, you know. I 2082 01:56:32,360 --> 01:56:36,080 Speaker 3: just it feels very true to like, I just okay. 2083 01:56:36,840 --> 01:56:36,960 Speaker 2: Uh. 2084 01:56:37,440 --> 01:56:38,920 Speaker 3: Does this pass the Bectel test? Yes? 2085 01:56:39,080 --> 01:56:43,240 Speaker 2: Yes. Although so much of the movie is women, Actually, 2086 01:56:43,280 --> 01:56:47,240 Speaker 2: when are there conversations that past? Because so many of 2087 01:56:47,240 --> 01:56:50,800 Speaker 2: the conversations between women where women do interact a lot 2088 01:56:51,320 --> 01:56:54,080 Speaker 2: in the movie, but it seems like they're always talking 2089 01:56:54,080 --> 01:56:58,120 Speaker 2: about men, if not directly, like that's the subtext of 2090 01:56:58,200 --> 01:56:58,880 Speaker 2: the conversation. 2091 01:56:59,600 --> 01:57:04,720 Speaker 3: I was getting exchanges, not full conversations, but exchanges do pass. 2092 01:57:04,840 --> 01:57:08,919 Speaker 2: Okay, As far as our nipple scales, your to five nipples. 2093 01:57:08,920 --> 01:57:14,320 Speaker 2: Based on how the movie affairs from an intersectional feminist lens, 2094 01:57:15,440 --> 01:57:20,920 Speaker 2: I'll give this four nipples. It's a nice story. I 2095 01:57:20,960 --> 01:57:22,720 Speaker 2: really liked this movie. I was not expecting to like 2096 01:57:22,760 --> 01:57:25,440 Speaker 2: this movie as much as I did, especially because. 2097 01:57:25,280 --> 01:57:27,280 Speaker 3: Like so happy when I found out you liked it, 2098 01:57:27,280 --> 01:57:29,680 Speaker 3: because I was like, there's hope. If Caitlin likes it, 2099 01:57:29,760 --> 01:57:31,760 Speaker 3: I'm gonna love rewatching it. 2100 01:57:32,160 --> 01:57:35,520 Speaker 2: I think it's a really well made movie. I get 2101 01:57:35,520 --> 01:57:37,960 Speaker 2: why people love it so much. It does make me 2102 01:57:37,960 --> 01:57:41,600 Speaker 2: want to see Sarah No. Yeah, Yeah, let's do it. 2103 01:57:41,840 --> 01:57:44,560 Speaker 3: Let's see Sarah No together. Oh. I would be so 2104 01:57:44,600 --> 01:57:47,000 Speaker 3: excited to see Sarah No with you. Let's do it, 2105 01:57:47,080 --> 01:57:48,640 Speaker 3: Dane Glitch dang. 2106 01:57:49,880 --> 01:57:53,040 Speaker 2: And it makes me want to watch the BBC mini 2107 01:57:53,120 --> 01:57:58,480 Speaker 2: series anyway for Nipples, because even though I think mister 2108 01:57:58,560 --> 01:58:00,480 Speaker 2: Darcy still has a lot of work to do on 2109 01:58:00,600 --> 01:58:05,120 Speaker 2: himself with all of his prides and prejudices. I love 2110 01:58:05,240 --> 01:58:08,000 Speaker 2: Elizabeth Bennett as a character. I do think she's a 2111 01:58:08,000 --> 01:58:11,000 Speaker 2: feminist icon. I think it's cool that you can call 2112 01:58:11,160 --> 01:58:13,960 Speaker 2: a character from a book that's over two hundred years 2113 01:58:13,960 --> 01:58:18,120 Speaker 2: old a feminist icon. And I think this adaptation leans 2114 01:58:18,160 --> 01:58:22,640 Speaker 2: into that aspect of her character in really satisfying ways. 2115 01:58:23,400 --> 01:58:26,960 Speaker 2: And yes, it is a very nineteenth century version of 2116 01:58:27,720 --> 01:58:32,080 Speaker 2: feminism that's very white and very hetero and very middle 2117 01:58:32,120 --> 01:58:38,200 Speaker 2: class and maybe four nipples is too high, but damn it, 2118 01:58:38,200 --> 01:58:43,080 Speaker 2: it's just a really good movie, so it gets some 2119 01:58:43,200 --> 01:58:44,400 Speaker 2: extra love. 2120 01:58:45,040 --> 01:58:46,360 Speaker 3: Who are you giving your nipples too? 2121 01:58:46,520 --> 01:58:50,640 Speaker 2: Oh? One nipple to Lizzie Bennett. I'm gonna give one 2122 01:58:51,160 --> 01:58:58,360 Speaker 2: to Mary Bennett. One to the servant woman who I 2123 01:58:58,360 --> 01:59:00,240 Speaker 2: think is given a name, but I for I to 2124 01:59:00,240 --> 01:59:03,160 Speaker 2: write it down, and she does have a name, Betsy 2125 01:59:03,320 --> 01:59:05,320 Speaker 2: or something like that, And I'm going to give my 2126 01:59:05,360 --> 01:59:09,400 Speaker 2: final nipple to Around the nineteen minute mark, there is 2127 01:59:09,440 --> 01:59:14,840 Speaker 2: a very weird shot of a pig's testicles. 2128 01:59:15,120 --> 01:59:17,240 Speaker 3: Yes, I was wondering if that was going to come back, 2129 01:59:17,240 --> 01:59:19,520 Speaker 3: but it's just missus Bennett looking at the pigs testicle 2130 01:59:19,600 --> 01:59:22,720 Speaker 3: and then she kind of smiles, and they were like, what. 2131 01:59:22,640 --> 01:59:23,880 Speaker 2: Why is this in the movie? 2132 01:59:24,080 --> 01:59:27,800 Speaker 3: Is that symbolism? And like, is my brain not making 2133 01:59:27,840 --> 01:59:31,160 Speaker 3: the connection that I'm like, fertility. I'm like, what is it? 2134 01:59:31,160 --> 01:59:33,840 Speaker 3: What are you trying to tell me? I don't know. 2135 01:59:34,800 --> 01:59:38,760 Speaker 2: Anyway, So I love the very gratuitous random shot of 2136 01:59:38,960 --> 01:59:41,320 Speaker 2: a pig's giant ballsack. 2137 01:59:41,960 --> 01:59:44,520 Speaker 3: Femina's icon pigs ballsack, got it. 2138 01:59:44,440 --> 01:59:48,200 Speaker 2: And that's what gets my fourth and final nipple. Jamie's 2139 01:59:48,320 --> 01:59:48,960 Speaker 2: how about. 2140 01:59:48,680 --> 01:59:52,000 Speaker 3: You, I'll meet you at four For many of the 2141 01:59:52,040 --> 01:59:56,160 Speaker 3: same reasons. I think that this movie is so well done. 2142 01:59:56,440 --> 01:59:58,600 Speaker 3: I love like I feel like it's so rare that 2143 01:59:58,600 --> 02:00:04,560 Speaker 3: you're like, this adaptation makes the story both faithful to 2144 02:00:04,760 --> 02:00:08,280 Speaker 3: the source material and more accessible in a way that 2145 02:00:08,680 --> 02:00:11,120 Speaker 3: certainly hit for me when I was twelve, where I 2146 02:00:11,280 --> 02:00:12,920 Speaker 3: had tried to read the book and I was like, 2147 02:00:12,960 --> 02:00:14,840 Speaker 3: I totally get it. And then I remember going to 2148 02:00:14,840 --> 02:00:16,960 Speaker 3: see the movie and being like, oh, now I actually 2149 02:00:16,960 --> 02:00:19,720 Speaker 3: get it because it's laid out so clearly and it 2150 02:00:19,760 --> 02:00:22,800 Speaker 3: but also in a way that doesn't sacrifice the themes 2151 02:00:22,880 --> 02:00:25,400 Speaker 3: or the characters. It just like pulls it into focus. 2152 02:00:25,440 --> 02:00:28,920 Speaker 3: It makes it more streamlined and beautiful, Like Joe wright 2153 02:00:29,040 --> 02:00:33,840 Speaker 3: movies are so beautiful. And I also just want to 2154 02:00:34,480 --> 02:00:37,880 Speaker 3: acknowledge the behind the scenes stuff here, you know, huge 2155 02:00:38,000 --> 02:00:42,720 Speaker 3: ups to screenwriter Deborah Mogok who started as a novelist. 2156 02:00:42,840 --> 02:00:45,240 Speaker 3: This was her first screenplay. It was nominated for a 2157 02:00:45,280 --> 02:00:48,040 Speaker 3: bath to huge stuff. I mean, there's still it is 2158 02:00:48,160 --> 02:00:50,960 Speaker 3: still mostly white guys behind the scenes. We've got Joe 2159 02:00:50,960 --> 02:00:55,280 Speaker 3: Wright directing, all male producers, male cinematographer. So I do 2160 02:00:55,360 --> 02:00:59,360 Speaker 3: want to like specifically focus on the screenwriter who was 2161 02:00:59,360 --> 02:01:00,480 Speaker 3: a first time Green writer. 2162 02:01:00,800 --> 02:01:04,760 Speaker 2: Also, Emma Thompson helped with some of the story development 2163 02:01:04,920 --> 02:01:07,400 Speaker 2: and dialogue, but is uncredited. 2164 02:01:07,560 --> 02:01:10,120 Speaker 3: Emma Thompson is not given enough credit for the fact 2165 02:01:10,160 --> 02:01:13,160 Speaker 3: that she's also a very accomplished writer. I know enough 2166 02:01:13,280 --> 02:01:19,080 Speaker 3: she is. And also in terms of the writer Deborah Mogux, 2167 02:01:19,120 --> 02:01:21,480 Speaker 3: she's also I mean, she just like has a cool 2168 02:01:21,760 --> 02:01:26,080 Speaker 3: life in general. She's been a huge advocate for changing 2169 02:01:26,120 --> 02:01:29,800 Speaker 3: the law in dignity and death and assisted suicide and 2170 02:01:29,880 --> 02:01:34,120 Speaker 3: just like all of this really complicated, like cool advocacy work. 2171 02:01:34,200 --> 02:01:36,680 Speaker 3: Like she's just a really cool person. So I wanted 2172 02:01:36,680 --> 02:01:40,760 Speaker 3: to shout her out. And Lizzie Bennett, I mean, I 2173 02:01:40,800 --> 02:01:44,080 Speaker 3: truly like, there are few there's so I mean, thankfully, 2174 02:01:44,160 --> 02:01:46,880 Speaker 3: in the interceding two hundred years, there's been a lot 2175 02:01:46,880 --> 02:01:49,800 Speaker 3: of great feminist characters who's been writing, but like Lizzie 2176 02:01:49,800 --> 02:01:53,400 Speaker 3: Bennett endures for a reason. She's fucking awesome. There's, like 2177 02:01:53,400 --> 02:01:55,400 Speaker 3: we were talking about, there's still things that Lizzie Bennett's 2178 02:01:55,440 --> 02:01:57,960 Speaker 3: able to do and advocating for herself and her family 2179 02:01:58,000 --> 02:02:00,640 Speaker 3: and her loved ones that like it's hard for me 2180 02:02:00,720 --> 02:02:03,200 Speaker 3: to do in the day to day and it's a 2181 02:02:03,240 --> 02:02:08,280 Speaker 3: struggle out there. It's really like life affirming to be like, 2182 02:02:08,400 --> 02:02:11,360 Speaker 3: well it worked off for a Lizzie right like. Anyways, 2183 02:02:12,160 --> 02:02:14,360 Speaker 3: I love this story, I love this movie. I was 2184 02:02:14,440 --> 02:02:18,120 Speaker 3: so refreshed and relieved to revisit it and find it 2185 02:02:18,160 --> 02:02:21,760 Speaker 3: to have just as many moments that really stuck with 2186 02:02:21,800 --> 02:02:23,880 Speaker 3: me as it did when I saw it when I 2187 02:02:23,920 --> 02:02:27,280 Speaker 3: was twelve. So I'll give it four nipples. I'm gonna 2188 02:02:27,280 --> 02:02:29,560 Speaker 3: give one to Lizzie. I'll give one to Deborah Mogok, 2189 02:02:30,120 --> 02:02:35,920 Speaker 3: i will give one two Charlotte. I love Charlotte, and 2190 02:02:36,000 --> 02:02:37,840 Speaker 3: I'll give one to Mary and those will be my 2191 02:02:37,880 --> 02:02:39,000 Speaker 3: four nipples. Ooo. 2192 02:02:42,920 --> 02:02:45,760 Speaker 2: There you have it, folks. That was our unlocked Matreon 2193 02:02:46,040 --> 02:02:51,080 Speaker 2: episode on Pride and Prejudice. Hope you enjoyed it. If 2194 02:02:51,120 --> 02:02:54,480 Speaker 2: you haven't heard it before because you're not already on 2195 02:02:54,520 --> 02:02:57,320 Speaker 2: the Matreon, well now is the damn time. 2196 02:02:57,680 --> 02:03:01,120 Speaker 3: Yes, absolutely, As you heard in the episode, it's a 2197 02:03:01,160 --> 02:03:03,800 Speaker 3: little bit of loser discussion. It's usually just me and Caitlin, 2198 02:03:04,200 --> 02:03:08,959 Speaker 3: and we very often cover movies that are our listeners' choices, 2199 02:03:09,120 --> 02:03:12,480 Speaker 3: so a lot of weird stuff on there and a 2200 02:03:12,480 --> 02:03:14,960 Speaker 3: lot of fan favorites so and it's also just like 2201 02:03:15,000 --> 02:03:18,560 Speaker 3: a really nice community if you join the Matreon. You 2202 02:03:18,600 --> 02:03:22,760 Speaker 3: often get discounts on merch at our shows, you get 2203 02:03:22,800 --> 02:03:26,440 Speaker 3: advanced tickets to our shows. There's just plenty of perks 2204 02:03:26,440 --> 02:03:28,960 Speaker 3: to being a part of the community. It's five bucks 2205 02:03:29,000 --> 02:03:31,800 Speaker 3: a month and you also get access to upwards of 2206 02:03:31,840 --> 02:03:35,800 Speaker 3: two hundred episodes of backlog. We've had it since twenty seventeen. 2207 02:03:35,880 --> 02:03:39,600 Speaker 3: So however, many times that equals we get asked a 2208 02:03:39,640 --> 02:03:41,480 Speaker 3: lot like what is the best way to directly support 2209 02:03:41,520 --> 02:03:43,880 Speaker 3: the show? That is the best way to directly support 2210 02:03:43,920 --> 02:03:45,680 Speaker 3: the show, and so we hope to see you over there. 2211 02:03:46,200 --> 02:03:49,440 Speaker 2: Also, don't forget you can grab tickets to my stand 2212 02:03:49,520 --> 02:03:53,920 Speaker 2: up show in State College, Pennsylvania in mid April at 2213 02:03:53,920 --> 02:03:57,320 Speaker 2: the Blue Brick Theater. We'll put the tickets to that 2214 02:03:57,600 --> 02:04:01,280 Speaker 2: on our link tree. Also that same weekend, I'm teaching 2215 02:04:01,320 --> 02:04:04,960 Speaker 2: a stand up workshop, So if you can't get enough 2216 02:04:05,000 --> 02:04:09,600 Speaker 2: of me and comedy, please come learn about stand up 2217 02:04:09,640 --> 02:04:12,080 Speaker 2: from me at this workshop. The registration link for that 2218 02:04:12,120 --> 02:04:15,960 Speaker 2: will also be on our link tree. So hope to 2219 02:04:15,960 --> 02:04:19,600 Speaker 2: see you there. If you're in the area, you can 2220 02:04:19,760 --> 02:04:24,440 Speaker 2: access the Bechdel Cast's link tree at link tree slash 2221 02:04:24,560 --> 02:04:27,360 Speaker 2: Bechdel Cast. Imagine that and we'll put it in the 2222 02:04:27,400 --> 02:04:31,879 Speaker 2: description as well. Certainly and with that, you know, I hope. 2223 02:04:31,720 --> 02:04:36,120 Speaker 3: You enjoyed the episode. We love you so much and uh, 2224 02:04:36,360 --> 02:04:38,240 Speaker 3: you know, go make out with the love of your life. 2225 02:04:38,240 --> 02:04:38,960 Speaker 3: See if we care? 2226 02:04:39,280 --> 02:04:46,960 Speaker 2: Yeah dare Bye bye. The Bechdel Cast is a production 2227 02:04:47,080 --> 02:04:51,200 Speaker 2: of iHeartMedia, hosted by Caitlin Derante and Jamie Loftus, produced 2228 02:04:51,200 --> 02:04:54,920 Speaker 2: by Sophie Lichterman, edited by Mola Board. Our theme song 2229 02:04:55,000 --> 02:04:58,920 Speaker 2: was composed by Mike Kaplan with vocals by Catherine Vosskrosenski. 2230 02:04:59,400 --> 02:05:02,720 Speaker 2: Our logo and merch is designed by Jamie Loftus and 2231 02:05:02,800 --> 02:05:06,680 Speaker 2: a special thanks to Aristotle Acevedo. For more information about 2232 02:05:06,680 --> 02:05:09,680 Speaker 2: the podcast, please visit linktree slash Bechdelcast