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Speaker 1: On the Bell Cast, the questions asked if movies have

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Speaker 1: women in them? Are all their discussions just boyfriends and husbands?

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Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing

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Speaker 1: it with the Betel Cast. Hello, and welcome to the

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Speaker 1: Bechtel Cast. Ever heard of it? Ever heard of it?

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Speaker 1: I hope so no, no, oh, welcome, you already said it,

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Speaker 1: And well, um, but what are our name you? My

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Speaker 1: name is Caitlin Durante. Awesome my name? What's your name?

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Speaker 1: Jamie Bethany Loftus? WHOA, Yeah, I know, I've I've I've

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Speaker 1: probably said that on the show before, definitely, but I

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Speaker 1: never in the intro. And what's your full name? Oh? Okay,

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Speaker 1: my full legal government name is Caitlin Marie Durante. I

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Speaker 1: knew that, but I wanted everyone else to know that.

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Speaker 1: I wouldn't that be a really confusing, Like that's like

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Speaker 1: a slight baron stain Bears, like Mandela affecting. Like if

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Speaker 1: we just all of a sudden started using our full

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Speaker 1: names every single time, like, Hi, my name is Jamie

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Speaker 1: Beth Loftus and I'm Kaitlin Marie Darrante and welcome, and

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Speaker 1: people would get little shifts in the matrix like that

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Speaker 1: would really funk with people. It bothers me when stuff

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Speaker 1: like that happens, where I'm like your who. Um. Anyways,

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Speaker 1: welcome to the Betel Cast. This is our podcast um

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Speaker 1: where we take a look at your favorite movies using

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Speaker 1: an intersectional feminist lens. If you can believe it, I

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Speaker 1: can believe it. And what we are doing today is

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Speaker 1: unlocking one of our Patreon a k a. Matreon episodes

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Speaker 1: that we released earlier this year on Dora and the

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Speaker 1: Lost City of Gold. And we have a guest on

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Speaker 1: that episode, Jose Marie Luna. We don't often have guests

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Speaker 1: on the Matreon episode and this one has really and

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Speaker 1: first of all, if you're a Matron, you already know

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Speaker 1: this episode, Uh really fucking ruled and Jose is so

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Speaker 1: wonderful that we must unlock, we must share with the world.

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Speaker 1: We must, Yes, So that's what we are doing. So

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Speaker 1: now that it's a main feed episode, we just want

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Speaker 1: to include the kind of standard you know, do the

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Speaker 1: standard protocol, the Bechtel Cast protocol, if you will, as

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Speaker 1: far as introducing in the episode, so we will explain

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Speaker 1: the Bechtel test. For example, Jamie, what is it well, well, okay, relax.

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Speaker 1: The Bechdel Test is a media metric created by queer

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Speaker 1: cartoonist Alice and Bechtel, sometimes called the Bechtel Wallace Test.

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Speaker 1: I feel like I want to start specifying that it

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Speaker 1: was originally created as a one off joke in a

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Speaker 1: comic um, but it has been widely adopted since as

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Speaker 1: a way of examining the media around us. There's lots

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Speaker 1: of different versions that have evolved in this test over

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Speaker 1: the years. The one we use to start our discussion

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Speaker 1: is this, we require that there be two characters of

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Speaker 1: a marginalized gender with names that speak to each other

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Speaker 1: about something other than a man for more than two

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Speaker 1: lines of dialogue. The reason this metric is so popular

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Speaker 1: is because for a very very very long time and

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Speaker 1: still sometimes now, um, that didn't happen. Yes so, but

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Speaker 1: with me and Caitlin it happens all the time. It

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Speaker 1: happens all the time because we we're out here talking

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Speaker 1: about movies. Yeah, such as well, I was gonna say,

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Speaker 1: like Shrek two, but not that doesn't work out. That's

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Speaker 1: the man's story. That's a masculine who don't get me

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Speaker 1: started on the raw masculinity of that story. Um, but

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Speaker 1: when we're talking Dora, it's passed passing. Oh yeah, oh yeah.

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Speaker 1: And the other thing to know about this episode if

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Speaker 1: you've never listened to an Unlocked episode before, is this, Um, well,

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Speaker 1: we do have a wonderful guest covering an awesome movie.

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Speaker 1: It's a looser discussion. It's not maybe quite the buttoned

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Speaker 1: up Bechtel Cast you're used to. So if you hear

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Speaker 1: me maybe lightly cyber bullying Mark Wahlberg's nephew, we just

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Speaker 1: kind of get a little loose and like, that's just that,

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Speaker 1: that's that's just of the matron. Yeah, so deal with it.

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Speaker 1: It's kind of like I feel like the matron is

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Speaker 1: do you remember in like the late two thousand's when

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Speaker 1: like if a jet apataw movie came out, there would

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Speaker 1: also be like a DVD that's like the unrated version

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Speaker 1: of the forty year Old Virgin, And so that's just

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Speaker 1: like kind of what the matrion is for us. Wow,

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Speaker 1: that's true. Kind of it's just like we get a

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Speaker 1: little bit loose, the Bectel Cast unleashed, you know, unleashed. Yeah. Anyways,

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Speaker 1: uh so we're very excited to share this episode with

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Speaker 1: you um, you're absolutely going to love Jose Maria Luna.

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Speaker 1: We love him dearly and with that, enjoy the episode.

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Speaker 1: B del Cast, Hello matron Us again, Welcome back to

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Speaker 1: Lost Treasuary. There's a second Lost Treasure we want to

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Speaker 1: talk to you about today. I was starting to think

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Speaker 1: of how it would be fun to introduce this episode

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Speaker 1: the way that this movie is introduced, Like it seems

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Speaker 1: like it's going to be one thing, and then it

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Speaker 1: cuts to us sitting at a cardboard box being like

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Speaker 1: which is basically how we record our shows. So true,

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Speaker 1: it sounds like a wild, sweeping adventure full of education

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Speaker 1: and friendship, and it's really just us sitting in a

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Speaker 1: box and my microphone is actually made of cardboard, and

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Speaker 1: we our mom is a desperate housewife. She comes in

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Speaker 1: sometimes and she's like, stop pretending to have a podcast

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Speaker 1: the one thing and truly anyone can have and does

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Speaker 1: That's a would be funny too. Maybe this is a

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Speaker 1: thing where like kids are like I want. I don't

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Speaker 1: think any children like children grow up and they want

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Speaker 1: to YouTubers or like TikTok stars. Do you think anyone's

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Speaker 1: like I want to have a podcast about an esoteric subject?

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Speaker 1: If so, that's interesting and and it's so, it's such

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Speaker 1: an achievable goal, truly, But I would also argue that

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Speaker 1: being a TikToker or having a TikTok account, as the

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Speaker 1: kids are saying, as the kids are, yes, a TikToker.

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Speaker 1: Is that what it's called? TikToker? That doesn't sound right?

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Speaker 1: We're so old. Oh my god, Well, friends, guess what.

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Speaker 1: We have a special surprise for this episode. Normally here

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Speaker 1: on the Matreon, you know, it's just us, Me and

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Speaker 1: Jamie goof and goof and goofing. Yeah, being irresponsible, being irresponsibly,

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Speaker 1: goofy going off doing bits, which we will do today.

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Speaker 1: But the twist and just like that, we have a guest.

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Speaker 1: We have a guest joining us today for this episod

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Speaker 1: so on Dora and the Lost City of Gold. He's

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Speaker 1: a writer, screenwriter, occasional video essayist. It's Jose Maria Luna. Hi,

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Speaker 1: thanks for being here, Thank you so much for having me.

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Speaker 1: This is very very exciting. Oh my god, we're so

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Speaker 1: thrilled to have you. We've already I feel like we

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Speaker 1: we are already on such a journey, the three of

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Speaker 1: us for those listening, Um, Jose left the room for

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Speaker 1: a second. I didn't realize that he still had his

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Speaker 1: earbuds in, and I immediately started to tell Caitlin that

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Speaker 1: I've had pims for six hundred days and there's no

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Speaker 1: end in sight. And it turns out you're you heard

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Speaker 1: the whole thing, and that's the intersection of art and technology.

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Speaker 1: It was a very important bonding experience, like we needed

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Speaker 1: to go through that in order to record the podcast

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Speaker 1: properly exactly. I don't think we really could talk about

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Speaker 1: Dora and the Lost City of Gold without having had

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Speaker 1: that experience first. It was very very bonding. This movie

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Speaker 1: is wild. I'm so excited to discuss it. Yes, I

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Speaker 1: am also very excited. And Jose, we reached out to

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Speaker 1: you because of a wonderful video essay that you did

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Speaker 1: entitled Decolonizing Adventure, A Cinematic Road to El Dorado, in

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Speaker 1: which you analyze several different movies, Dora and the Lost

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Speaker 1: City of Gold being one of them. So tell us

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Speaker 1: about your relationship to this movie and maybe if you

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Speaker 1: have any relationship with the source material of Dora the cartoon,

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Speaker 1: all that stuff, Dora as text, well, the seminal story here.

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Speaker 1: I did. I did watch Dora when I was very young,

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Speaker 1: or maybe not that young. I remember watching Dora, so

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Speaker 1: it couldn't have been too young. And you know, I

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Speaker 1: watched Dora growing up in Colone Ba in Spanish, and

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Speaker 1: she taught you English unlike like the like the original cartoon,

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Speaker 1: So it was kind of very wild to me learning

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Speaker 1: later on that Dora is just supposed to be like

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Speaker 1: a Latina who's teaching like Americans Spanish. I was like, oh,

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Speaker 1: I guess. I never saw Dora as particularly like florign

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Speaker 1: I just thought she spoke English. So I did enjoy Dora.

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Speaker 1: I was more of a Blues Clues kid. They are

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Speaker 1: back to back. I just remember that. That's true the

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Speaker 1: golden age of Nick Jr. I don't know what arison

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Speaker 1: Nick Junior anymore. I don't know if no idea back

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Speaker 1: in my day, New Junior was better. It's not that

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Speaker 1: I grew up and I didn't watch the movie when

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Speaker 1: it came out. I just I just remember it came

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Speaker 1: out when I was very busy. But I just very

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Speaker 1: distinctly remember my friends being like, Oh, we're going to

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Speaker 1: the movies for my birthday. What should we watch? We

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Speaker 1: were thinking of seeing yesterday This was my friends here

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Speaker 1: in Colombia, and I was like, don't watch Yesterday, go

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Speaker 1: see the Dora movie. It sounds a lot better. And

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Speaker 1: they did, and you were right. Dora was way better

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Speaker 1: than Yesterday. I forgot about Yesterday. I feel like, did

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Speaker 1: the world just did we all agree? Like that never happened? Yeah,

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Speaker 1: and then someone will come up with the idea for

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Speaker 1: the movie Yesterday because everyone else forgot about it. Were

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Speaker 1: just this is our groundhog Day culturally, where for dudes

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Speaker 1: to continually watch the movie Yesterday, the world's worst, most

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Speaker 1: expensive idea. And to this day I haven't seen Yesterday.

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Speaker 1: Neither have them. But we've all seen Dora and the

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Speaker 1: Lost City of Gold. I saw it later on this

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Speaker 1: is we are my friends here in Colombia and I

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Speaker 1: was still in the States so I couldn't join them,

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Speaker 1: and I ended up watching that for research for my

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Speaker 1: video essay, and I ended up really enjoying it. It

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Speaker 1: was I didn't really know what to expect, but it was.

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Speaker 1: It was a wild time, truly of ways. Yeah, the twists,

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Speaker 1: the twists in this movie. Did I expect a poophole? No?

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Speaker 1: I did not, So, Jamie, what's your history with Dora?

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Speaker 1: In the Lost City of Gold slash Dora, the intellectual

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Speaker 1: property Dora as text know that I definitely like. I

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Speaker 1: think my younger cousins watched the Blues Clues Dora block,

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Speaker 1: a classic Nick Junior block. They used to have that mascot.

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Speaker 1: I hesitate to even call them a mascot. It was

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Speaker 1: a mascot called face and it was just just a

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Speaker 1: block of color with a face and then he'd be like, Hi, there,

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Speaker 1: face here. And I loved the face. The face would

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Speaker 1: just tell you what was gonna be on TV. It

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Speaker 1: was a little scary, but it was also kind of exciting.

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Speaker 1: I loved face right. Face changed colors all the time.

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Speaker 1: Face like would have holiday like face could saying I

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Speaker 1: have no idea what you're talking about. I feel like

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Speaker 1: there's probably porn of face, but that would be like

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Speaker 1: kind of but I don't know. I feel like, but

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Speaker 1: I'm sure it's out there. But that's actually really challenging

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Speaker 1: because it's the whole look. If you look up face,

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Speaker 1: it's just a screen. The whole screen was a face.

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Speaker 1: It was like if Rocky Horror was for children and

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Speaker 1: not scary, kind of like the beginning of Rocky Horror,

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Speaker 1: but a whole a whole face that was just like

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Speaker 1: Blues Clues again somehow the builder. So I guess I'm

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Speaker 1: saying I saw Dora. I liked Dora. Dora's like the sweetest,

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Speaker 1: most lovable kid character. And also I feel like in

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Speaker 1: the Nick Junior universe at that time, where like the

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Speaker 1: really young kids universe, there were like not really many

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Speaker 1: girl children who were like the leads of shows, and

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Speaker 1: especially non white girls. So I door is cool. I

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Speaker 1: hadn't seen this movie. I remember seeing the poster for

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Speaker 1: this movie and being like this could go a lot

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Speaker 1: of ways, like this could be so fun or so bad,

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Speaker 1: or like who knows. But I didn't see it until

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Speaker 1: preparing for this episode. And I know, I just remember

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Speaker 1: that you loved it, Caitlin, and you saw it like

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Speaker 1: four times. It was so perfect transition for what is

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Speaker 1: your history with Dora? Four times? I don't think so

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Speaker 1: you saged multiple times, not in theaters, not only saw

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Speaker 1: once in theaters. But I did watch it a few

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Speaker 1: times after that prior to prepping for this episode, because

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Speaker 1: I kept being like, hey, friend of mine, do you

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Speaker 1: want to watch the Dora the Explorer movie? And they're like,

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Speaker 1: I guess but then we would have such a fun

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Speaker 1: time anyway. So okay, So I did not grow up

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Speaker 1: watching the Dora animated series, of which there might be

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Speaker 1: more than one, isn't there, Like Dora the Explorer, and

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Speaker 1: then like Dora and Friends. Diego had his own show

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Speaker 1: My Little Sister wat Yeah, and I think later they

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Speaker 1: did like one where Dora was older, right, I think

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Speaker 1: that's Dora and Friends. She was like a pre teen.

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Speaker 1: The only thing I remember about that is that there

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Speaker 1: was an upset that always happens when a big company

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Speaker 1: ages up their I P. And they like drew Dora

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Speaker 1: to be over sexualized as a pre teen, and there

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Speaker 1: was a big issue, like anytime they redesigned the Disney princesses,

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Speaker 1: suddenly they're thinner, like there's you know, it was like that,

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Speaker 1: but for Dora, and I remember there was quite a

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Speaker 1: bit of upset and they ended up changing the design.

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Speaker 1: I think rightfully so, But it's just always I'm like,

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Speaker 1: how is that still happening? And I think that that's

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Speaker 1: something that this movie avoids in a way that I

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Speaker 1: was so pleased about. So I didn't watch the cartoon,

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Speaker 1: as you might have noticed, when earlier I said TikToker,

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Speaker 1: which I actually think is the right phrase. But anyway,

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Speaker 1: I'm so old. I think that's right. I think so

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Speaker 1: I was being I was being old. Yeah, yeah, Jamie.

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Speaker 1: The point is I had aged out of being the

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Speaker 1: target demographic for Dora and Blues Clues. I never watched

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Speaker 1: any of those. In fact, I never had Nick Jr.

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Speaker 1: I didn't have cable until I was an adult, so

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Speaker 1: stuck with Arthur and dragon Tales. Oh, dragon Tail slapped,

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Speaker 1: dragon Tails did slap. I feel it was underrated. Where

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Speaker 1: is the live action? Actually I don't want it, but

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Speaker 1: oh yeah, please don't. But I remember they introduced the

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Speaker 1: Colombian kid. I think it was a bit after I

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Speaker 1: had aged out of it, but my sister was watching it,

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Speaker 1: and they introduced like a Colombian kid in one of

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Speaker 1: the later seasons and becomes like a main character. I

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Speaker 1: didn't know that. I think I cried and I was

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Speaker 1: like too old to cry over dragon Tails. When that happens,

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Speaker 1: you're never too old to cry over dragon Tails. I

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Speaker 1: didn't know there was a Columbian character on Dragontails. That's

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Speaker 1: so cool. It meant, even though I didn't watch it anymore,

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Speaker 1: you're just like, well, good for children. Yeah, it's good

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Speaker 1: for the Colombian kids out there, including my sister. I guess.

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Speaker 1: I mean it goes to show how important representation is.

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Speaker 1: But so there was no reason why I was so

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Speaker 1: excited to see Dora and the Lost City of Gold.

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Speaker 1: But I was like, I'm going to go see this movie.

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Speaker 1: I think it's because again, like adventurers, trying to find

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Speaker 1: lost cities or lost relics is like my one of

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Speaker 1: my favorite subgenres. So I was like, cool a movie

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Speaker 1: where this like vaguely familiar character to me is doing that.

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Speaker 1: I'll go see it. So I went to see in theaters,

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Speaker 1: loved it, had a blast, uh, and have wanted to

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Speaker 1: cover it on the podcast ever since. So here we

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Speaker 1: are finally doing it. We got we got a fair

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Speaker 1: amount of we got a fair amount of request when

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Speaker 1: the movie originally came out to do this movie. Like what,

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Speaker 1: I'm excited. I mean, there's a lot of stuff to

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Speaker 1: talk about. But this movie does subvert a lot of

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Speaker 1: I mean because because we we did um Romancing the

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Speaker 1: Stone for our first anentry movie, which makes most of

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Speaker 1: the mistakes you can make in this genre. And so

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Speaker 1: it was it was interesting to watch an adventure movie

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Speaker 1: that centers on a woman that came out thirty years

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Speaker 1: later and see how things changed. Yeah, I haven't watched

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Speaker 1: that one because a lot of people would bring it

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Speaker 1: up when I mentioned that I was Colombian and I

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Speaker 1: was like, um, I don't want to see what like

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Speaker 1: depiction of Colombia is like, you can skip it, you

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Speaker 1: can skip it. Yeah. Very jealous of everyone, of every

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Speaker 1: Columbian who gets to move to the US now because

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Speaker 1: they won't be getting like, oh, like Narcos or like

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Speaker 1: like Romancing the Stone when they said they're from here.

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Speaker 1: Instead they having Canto, which huge improvement. Thank you. Um,

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Speaker 1: let's take a quick break and we will be right back.

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Speaker 1: And we're back. Um. Should I dive into the recap

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Speaker 1: for Dora and the Lost City of Full good Luck?

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Speaker 1: This is a wild one, okay. So we meet young

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Speaker 1: Dora and her cousin Diego when they're six years old

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Speaker 1: give or take. They love exploring the Amazon rainforest where

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Speaker 1: they live. We meet Boots the monkey, We meet Dora's backpack,

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Speaker 1: we meet her map briefly. I think these are all

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Speaker 1: characters in the animated series. Yes, and and you won't

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Speaker 1: believe us they're way less scary looking as cartoons. Yeah,

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Speaker 1: Boots the sign, Oh my god, Danny Trejo, Boots is

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Speaker 1: what they should have sonic to that, because it looked

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Speaker 1: Boots looked too much like like a very real monkey,

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Speaker 1: but like kind of blue. I didn't love it. It

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Speaker 1: is not a good design for Blue. I did not

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Speaker 1: care for it at all. That's like my base complained

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Speaker 1: of the movie same and the c g I animals

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Speaker 1: in general, because I think Swiper the Fox also has

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Speaker 1: a weird character design slash like c g I that

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Speaker 1: looks like it was from like two thousand five, Like

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Speaker 1: it seems really outdated. Swiper kind of has these bedroom

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Speaker 1: eyes and like, did you a scary c g I character?

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Speaker 1: For sure? But then like these piercing blue eyes, and

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Speaker 1: I'm like, wow, they really went above and beyond. And

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Speaker 1: that specific part of the character, which I don't think

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Speaker 1: is how the cartoon even looks, Like why they give

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Speaker 1: him these like flirtatious I don't know. I've had PMS

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Speaker 1: for five hundred days. Maybe maybe it was it's word

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Speaker 1: flirtatious and I'm just like fully removed from reality. I

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Speaker 1: don't know, though, because there are so many examples of

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Speaker 1: people seeing an animated fox in a kids movie and

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Speaker 1: it making them very horny because the Disney robin hood

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Speaker 1: is like, is a sexual awakening for a lot of people?

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Speaker 1: Isn't that like a famously furry like cornerstone? Yeah? Really yeah,

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Speaker 1: this has a good furry cornerstone that I didn't know

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Speaker 1: that that's wild. And then also like, I know, fantastic

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Speaker 1: Mr Fox. People get all all foamed up for for

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Speaker 1: that fox as well. I get it, but let's not

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Speaker 1: get into it too much. None of us want to

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Speaker 1: discover that tonight. No, but like swipers on screen and

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Speaker 1: there were moments where it's like, is this a date?

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Speaker 1: You know, like this is this is wild? Okay, it's

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Speaker 1: his voice, Yes, doesn't hurt? Does not hurt? I also

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Speaker 1: completely forgot the part of what was satisfying about this

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Speaker 1: movie when it came out was the just like when

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Speaker 1: you first see the trailer and you're like, that's so

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Speaker 1: many famous people for what this movie appears to be.

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Speaker 1: You're like the and Danny Traho as Boots, and you're like,

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Speaker 1: huh what because Boots in the Calan in the cartoon,

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Speaker 1: Boots is like a five year old. It's like Boots

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Speaker 1: that's funny. Certainly not an adult man, much less Danny

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Speaker 1: Trail like. Anyways, I love that scary looking boots. Okay,

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Speaker 1: So we meet scary Boots and other of Dora's sidekick characters.

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Speaker 1: We meet Dora's mom and dad, her mom Lena played

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Speaker 1: by Eva Longoria and her dad Cole, played by Michael Penia,

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Speaker 1: who famously, Chucky Cheese is favorite actor, also famously a scientologist.

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Speaker 1: Those are my Painia facts. Michael is a scientologist. Yeah, yeah,

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Speaker 1: he's pretty. He's not like a super like public like

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Speaker 1: you know, Tom cruising around about it scientologist, but he's

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Speaker 1: definitely a scientologist who. In one of my favorite YouTube

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Speaker 1: videos of all time, Chuck E. Cheese interviewed Michael Pania

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Speaker 1: on his channel he never interviewed anyone, and then out

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Speaker 1: of nowhere, he was like, today, I have an interview

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Speaker 1: with my favorite actor, Michael Pania. It was to promote

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Speaker 1: Tom and Jerry, another Michael Pania movie with a lot

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Speaker 1: of bad c G. I huh, okay, Michael pan your

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Speaker 1: rocks And that's literally everything I know about him all

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Speaker 1: in a row. I'm learning so much about Michael Pena right. Okay,

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Speaker 1: So Dora's parents are professors archaeologists, maybe not super clear

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Speaker 1: what their exact jobs are, but they're professors of some

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Speaker 1: sort explorers and they're explorers, right, not treasure hunters, but

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Speaker 1: we'll get to that. So they tell Dora and Diego

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Speaker 1: about the legend of Pata, a lost Incan city of gold,

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Speaker 1: which Elena and Cole are trying to find. But again,

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Speaker 1: they don't intend to keep the gold because they make

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Speaker 1: the distinction between explorers and treasure hunters, where explorers equals good,

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Speaker 1: treasure hunters equals bad. So it feels like they're working

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Speaker 1: more in like a historian, like documenting history. Yeah, right,

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Speaker 1: which is I've never heard that distinction made in this

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Speaker 1: genre before ever. True, it feels very like self aware

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Speaker 1: in that regard, right, which is, you know, pretty interesting

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Speaker 1: giving the fact that like even even very recent adventure

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Speaker 1: movies make a lot of mistakes in that regard, including

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Speaker 1: one that came out recently A k Uncharted, which sucked,

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Speaker 1: And then at the time of this recording, The Lost

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Speaker 1: City starring Sandra Bullock and Channing Tatum has not yet

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Speaker 1: been released. But I would be surprised, honestly if it

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Speaker 1: makes any of those distinctions and is very self aware.

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Speaker 1: We'll see, but anyway, the next day, Dora has to

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Speaker 1: say goodbye to cousin Diego, who moves back to the States.

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Speaker 1: Then we cut to ten years later. Dora, now played

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Speaker 1: by Isabella Mer said, who was I think Isabella Monir.

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Speaker 1: At the time, she is running around the jungle, she's

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Speaker 1: still exploring, she's talking to animals, she's talking to the camera,

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Speaker 1: and she is looking for Pata pata. She is so wonderful.

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Speaker 1: Her performance was giving me Amy Adams an enchanted, like

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Speaker 1: it was so like cartoony, but also are like grounded

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Speaker 1: enough and like she's just like lights up everything. She said,

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Speaker 1: I loved her. I've never I've never seen this actress

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Speaker 1: before and I just fell in love with her same.

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Speaker 1: That is a very good comparison because it is it

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Speaker 1: is kind of feel like like that kind of like

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Speaker 1: satire that doesn't really get mean. It's very like we're

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Speaker 1: having fun with the character without having to, you know,

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Speaker 1: make like cheap jokes about it. It's very very sincere

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Speaker 1: in a way that makes it so enjoyable, right, especially

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Speaker 1: because it gets commented on a little later when Diego

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Speaker 1: after they've been in school for a little bit and

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Speaker 1: Diego is like, don't you see that? Like everyone's making

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Speaker 1: fun of you for the way you are, and she's like, yeah,

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Speaker 1: I see it, but like this is just who I am,

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Speaker 1: Like this is how I am, and I'm not gonna

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Speaker 1: stop being myself because other people don't like it. And

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Speaker 1: Dora was just very sweet. I think one of my

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Speaker 1: notes when watching the movie is I would die for Dora. Yeah,

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Speaker 1: she is such a sweetheart. And like I did, like

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Speaker 1: like that's something that again it's like, oh wow, you

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Speaker 1: really there's a bad version of this. There's a lot

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Speaker 1: of times in this movie where it could have gone

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Speaker 1: down a very like generic boring road where it's like

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Speaker 1: Dora has to change to fit into high school and

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Speaker 1: like Dora gets a makeover from Sammy to fit into

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Speaker 1: high school, but she doesn't change. She stays herself, wins

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Speaker 1: people over, and then all of a sudden, the high

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Speaker 1: school portion of the movie suddenly ends and it's a

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Speaker 1: different movie. Um, which was wild, but I was on

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Speaker 1: board a very gracious transition. She's kidnapped out of the

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Speaker 1: movie that started, and then a second movie starts. Hey

421
00:26:44,640 --> 00:26:49,040
Speaker 1: it works for me, Like yeah, okay, so she, like

422
00:26:49,160 --> 00:26:52,560
Speaker 1: her parents, is now looking for Patata, and she finds

423
00:26:52,560 --> 00:26:55,879
Speaker 1: a big clue, which turns out her parents already know

424
00:26:56,000 --> 00:26:59,720
Speaker 1: about and they already have plans to head to Peru

425
00:27:00,000 --> 00:27:03,840
Speaker 1: to find but they don't think Dora is ready to

426
00:27:03,880 --> 00:27:08,320
Speaker 1: come along, so they send her to live with her

427
00:27:08,359 --> 00:27:12,760
Speaker 1: aunt and uncle and cousin Diego in Los Angeles. Ever

428
00:27:13,200 --> 00:27:16,520
Speaker 1: heard of it? She goes to think of fictional silver

429
00:27:16,600 --> 00:27:20,879
Speaker 1: Lake High School? Yeah, called silver Lake High School? Is

430
00:27:20,920 --> 00:27:23,240
Speaker 1: it really called silver Lake High School in the movie?

431
00:27:23,320 --> 00:27:25,480
Speaker 1: I think so? Yeah. I love that they keep calling

432
00:27:25,480 --> 00:27:28,320
Speaker 1: it the city. It's like, if it weren't for the

433
00:27:28,359 --> 00:27:31,280
Speaker 1: map that they showed, like when she's flying, we wouldn't

434
00:27:31,280 --> 00:27:33,800
Speaker 1: really know. They just keep saying like, yeah, you know,

435
00:27:33,840 --> 00:27:36,320
Speaker 1: they moved to the city and they live in the

436
00:27:36,400 --> 00:27:39,640
Speaker 1: jungle right right. It feels very like tongue in cheek

437
00:27:39,720 --> 00:27:42,240
Speaker 1: to the way that the show would refer to places.

438
00:27:42,680 --> 00:27:44,919
Speaker 1: I don't know if it was a purpose, but it

439
00:27:45,000 --> 00:27:47,920
Speaker 1: always got a giggle out of me when they were like, yes,

440
00:27:48,080 --> 00:27:52,320
Speaker 1: in the city, Dora, welcome to the city, like they

441
00:27:52,320 --> 00:27:54,480
Speaker 1: didn't know where they want to shoot, right, Like I

442
00:27:54,480 --> 00:27:57,760
Speaker 1: I didn't think about the fact that could have been intentional,

443
00:27:57,840 --> 00:27:59,639
Speaker 1: Like in a reference to the show, because I was

444
00:27:59,680 --> 00:28:02,520
Speaker 1: just like, there's there's a lot of this movie that

445
00:28:02,640 --> 00:28:06,399
Speaker 1: is like kept extremely vague that you're just like why,

446
00:28:07,480 --> 00:28:10,080
Speaker 1: I mean, at least location wise, I was like, Okay,

447
00:28:10,160 --> 00:28:12,880
Speaker 1: I don't know, well you talk about it, but well

448
00:28:12,880 --> 00:28:15,960
Speaker 1: the way that like the first Indiana Jones movie, when

449
00:28:16,359 --> 00:28:21,240
Speaker 1: Indiana Jones is like stealing an artifact from indigenous people,

450
00:28:21,960 --> 00:28:25,000
Speaker 1: the text on the screen just says like South America,

451
00:28:25,840 --> 00:28:28,119
Speaker 1: and it's like, do you want to be more specific

452
00:28:29,760 --> 00:28:33,560
Speaker 1: where in South America? No, thank you to the South

453
00:28:33,600 --> 00:28:40,560
Speaker 1: American Jungle? What else do you want? Um? Okay? So um.

454
00:28:40,720 --> 00:28:45,360
Speaker 1: Dora is sent to live with cousin Diego in the

455
00:28:45,400 --> 00:28:49,000
Speaker 1: city a k a. Los Angeles, and specifically the neighborhood

456
00:28:49,040 --> 00:28:53,120
Speaker 1: of Silver Lake, which is one of the cooler neighborhoods

457
00:28:53,160 --> 00:28:57,920
Speaker 1: in Los Angeles. Is we got brunch, come on by.

458
00:29:00,040 --> 00:29:02,640
Speaker 1: I do miss Silver League. It's great, definitely one of

459
00:29:02,680 --> 00:29:06,840
Speaker 1: the one of the best neighborhoods. Okay. So, her parents

460
00:29:06,840 --> 00:29:10,480
Speaker 1: want Dora to go to the city and make friends,

461
00:29:10,920 --> 00:29:15,320
Speaker 1: but Dora doesn't know how to make friends. Then Dora

462
00:29:15,520 --> 00:29:20,080
Speaker 1: arrives in l A. She reunites with Diego, now played

463
00:29:20,080 --> 00:29:25,280
Speaker 1: by Jeff Wallberg. He who Okay, I was having a

464
00:29:25,320 --> 00:29:27,440
Speaker 1: crisis this whole. One of the things that bothered me

465
00:29:27,480 --> 00:29:30,360
Speaker 1: about my top two maybe complaints about the movie that

466
00:29:30,400 --> 00:29:35,160
Speaker 1: are silly are that Boots looks like shit and that

467
00:29:35,320 --> 00:29:37,920
Speaker 1: whoever is playing Diego is the worst actor I've ever seen.

468
00:29:38,200 --> 00:29:41,640
Speaker 1: I was like, why is this teen actor doing such

469
00:29:41,680 --> 00:29:43,280
Speaker 1: a bad job to the point where like I feel

470
00:29:43,280 --> 00:29:45,640
Speaker 1: like the music was doing heavy lifting for him sometimes

471
00:29:45,640 --> 00:29:47,920
Speaker 1: and I was like, oh, I guess he's sad um

472
00:29:47,960 --> 00:29:51,040
Speaker 1: but he was just like sitting there. He's Mark Wahlberg's nephew.

473
00:29:51,320 --> 00:29:53,960
Speaker 1: That is why he's bad at acting. And in the movie,

474
00:29:54,120 --> 00:29:57,800
Speaker 1: that's why his name is Jeff Wallberg. That's why his

475
00:29:57,880 --> 00:30:01,080
Speaker 1: name is Jeff Wallberg. Because all the they're young actors

476
00:30:01,120 --> 00:30:03,160
Speaker 1: in the movie are doing I think, I thought we're

477
00:30:03,160 --> 00:30:05,920
Speaker 1: doing a great job, Like they were really fun. They're

478
00:30:05,920 --> 00:30:09,680
Speaker 1: doing kind of these like theater kid performances that the

479
00:30:09,720 --> 00:30:11,920
Speaker 1: movie requires. And then you just have like this guy

480
00:30:12,040 --> 00:30:16,240
Speaker 1: who's like, Dora, I am cool. I am cool, Dora,

481
00:30:16,880 --> 00:30:19,479
Speaker 1: I'm the cool guy at school. And then he's like

482
00:30:19,720 --> 00:30:21,480
Speaker 1: I have a crush And I was like, why is

483
00:30:21,520 --> 00:30:24,560
Speaker 1: this kid so bad? It's because he's like weird nepotism.

484
00:30:25,960 --> 00:30:27,720
Speaker 1: At first, I thought you were implying that he was

485
00:30:27,760 --> 00:30:32,440
Speaker 1: bad because he was related to Mark Wahlberg. I mean,

486
00:30:32,560 --> 00:30:36,360
Speaker 1: I think that is the subtext. It's not it's not

487
00:30:36,520 --> 00:30:39,240
Speaker 1: his fault, but he's that his uncle is his uncle.

488
00:30:39,360 --> 00:30:42,040
Speaker 1: It is his fault that he's not doing a very

489
00:30:42,040 --> 00:30:45,760
Speaker 1: good job. We can't blame Mark on that one. No,

490
00:30:46,520 --> 00:30:49,680
Speaker 1: unfortunately we can't, but maybe we should. He's promoted from

491
00:30:49,680 --> 00:30:55,440
Speaker 1: manager at Wallburger's to being in this movie. I mean,

492
00:30:55,480 --> 00:30:58,760
Speaker 1: maybe we can blame Mark Wahlberg if Mark Wahlberg gave

493
00:30:58,840 --> 00:31:03,200
Speaker 1: him acting lessons, which I'm fine with. That headcanon is

494
00:31:03,240 --> 00:31:06,320
Speaker 1: explaining why Jeff is not very good. He um was

495
00:31:06,360 --> 00:31:08,600
Speaker 1: always talking as if he had like a bunch of

496
00:31:08,600 --> 00:31:11,960
Speaker 1: marbles in his mouth. There was like one line in

497
00:31:12,040 --> 00:31:16,160
Speaker 1: the Museum where I was like, Jeff, Jeff, we need

498
00:31:16,200 --> 00:31:18,760
Speaker 1: another take from Jeff, Like he was just like, oh

499
00:31:18,800 --> 00:31:21,120
Speaker 1: here we go, ageain like he's he's And then I

500
00:31:21,160 --> 00:31:23,680
Speaker 1: was like, maybe he's just doing too convincing of a

501
00:31:23,800 --> 00:31:26,480
Speaker 1: job of being a teen boy who's not interested, because

502
00:31:26,480 --> 00:31:31,400
Speaker 1: teen boys weren't interested. Mumble all day long. But I'm like, Jeff,

503
00:31:31,400 --> 00:31:34,440
Speaker 1: do you know the cameras on I just it was like,

504
00:31:35,320 --> 00:31:38,080
Speaker 1: I don't know, I there's I don't mean to tease it.

505
00:31:38,160 --> 00:31:40,360
Speaker 1: I just had to check to make sure that he's like, yeah,

506
00:31:40,400 --> 00:31:43,640
Speaker 1: he's like twenty six years old. Jeff, you did a

507
00:31:43,640 --> 00:31:50,320
Speaker 1: stinky job. But that's okay. You'll get other chances. You're nepotism, okay.

508
00:31:50,400 --> 00:31:52,560
Speaker 1: So Dora goes to her first day of high school.

509
00:31:53,200 --> 00:31:57,920
Speaker 1: She meets a couple fellow students, including Sammy played by

510
00:31:58,120 --> 00:32:02,920
Speaker 1: Madeline Madden, who needs she needs to be the smartest

511
00:32:02,920 --> 00:32:06,560
Speaker 1: person in the room, and who Diego thinks is mean

512
00:32:06,640 --> 00:32:11,640
Speaker 1: and awful. And we also meet Randy played by Nicholas

513
00:32:12,080 --> 00:32:15,080
Speaker 1: Comb Comby. I don't know how to say that name.

514
00:32:15,680 --> 00:32:19,120
Speaker 1: He has been beamed in from two thousand and five,

515
00:32:19,520 --> 00:32:24,080
Speaker 1: Like what is this kid's haircut is like Hannah Montana.

516
00:32:24,520 --> 00:32:26,960
Speaker 1: I was like, children don't have this haircut anymore. It

517
00:32:27,080 --> 00:32:30,000
Speaker 1: was just that was another fascinating element that just felt

518
00:32:30,080 --> 00:32:32,840
Speaker 1: very outside of time. He had the haircut that all

519
00:32:32,960 --> 00:32:37,040
Speaker 1: the characters in the fourth Harry Potter movie have. Yes, yes,

520
00:32:37,560 --> 00:32:43,720
Speaker 1: it's like bad Rupert Grint hair. Like it's what I'm sorry,

521
00:32:43,760 --> 00:32:46,440
Speaker 1: I don't know why I'm tearing these young men to shreds,

522
00:32:48,040 --> 00:32:52,400
Speaker 1: Like Jeff Wolberg, no talent. This kid's your p MS, Jamie,

523
00:32:52,480 --> 00:32:55,840
Speaker 1: it's this is how your PMS is manifested, just bullying

524
00:32:56,600 --> 00:33:02,040
Speaker 1: young actors. Oh yeah, well, anyways, so Randy is kind

525
00:33:02,040 --> 00:33:04,760
Speaker 1: of a like quote unquote nerdy kid who is really

526
00:33:04,760 --> 00:33:10,680
Speaker 1: into astronomy. Both he and Sammy are social misfits, as

527
00:33:10,880 --> 00:33:15,120
Speaker 1: is Dora, who is super friendly to everyone, but everyone

528
00:33:15,200 --> 00:33:19,760
Speaker 1: thinks that she's a dork. Even Diego is embarrassed of her,

529
00:33:20,000 --> 00:33:25,920
Speaker 1: especially at a dance where Dora dances all silly. I

530
00:33:25,960 --> 00:33:28,720
Speaker 1: love I love that they did not again, it's just

531
00:33:28,760 --> 00:33:31,840
Speaker 1: like this movie is so funny to be where it's

532
00:33:31,840 --> 00:33:34,440
Speaker 1: like they called there like more like dork. I'm like, okay,

533
00:33:34,520 --> 00:33:36,520
Speaker 1: we need to punch up. Do we get one punch

534
00:33:36,600 --> 00:33:42,200
Speaker 1: up writer on this like Dorca Like, but again, you know,

535
00:33:42,280 --> 00:33:45,040
Speaker 1: high school bullies, like in real life, can't come up

536
00:33:45,040 --> 00:33:48,960
Speaker 1: with anything much more clever than that. That is true.

537
00:33:49,240 --> 00:33:52,560
Speaker 1: I had I had a theory Like Nicholas Comb, the

538
00:33:52,720 --> 00:33:55,800
Speaker 1: haircut guy. I've looked at him. I was like, I

539
00:33:55,800 --> 00:34:00,479
Speaker 1: think he's secretly thirty years old, and that does happened?

540
00:34:00,520 --> 00:34:03,800
Speaker 1: I feel like there's always it happened on Hannah Montana,

541
00:34:03,880 --> 00:34:06,040
Speaker 1: where that was like a seventeen year old who was

542
00:34:06,080 --> 00:34:10,279
Speaker 1: like five hundred. It was like wild and he was

543
00:34:10,920 --> 00:34:13,920
Speaker 1: he was he was twenty seven when this movie came out. Okay,

544
00:34:14,080 --> 00:34:17,840
Speaker 1: so that's like euphoria casting kind of you know, not

545
00:34:17,920 --> 00:34:21,960
Speaker 1: to grass to grassy is appropriate. Wow, that's wild because Dora,

546
00:34:22,239 --> 00:34:25,160
Speaker 1: like the actress, is like twenty now I remember looking up,

547
00:34:25,200 --> 00:34:29,000
Speaker 1: so she must have been like seventeen when she Yeah, yeah,

548
00:34:29,160 --> 00:34:31,799
Speaker 1: I think she was like actually a teenager. And I

549
00:34:31,800 --> 00:34:34,359
Speaker 1: think the other three actors are a little bit older,

550
00:34:34,360 --> 00:34:36,600
Speaker 1: which is fine and like normal for movies. But I

551
00:34:36,680 --> 00:34:40,319
Speaker 1: was like, my big haircut guy is uh running on

552
00:34:40,360 --> 00:34:47,120
Speaker 1: his doctorate? And okay, alright. So we then get a

553
00:34:47,160 --> 00:34:51,880
Speaker 1: montage of Dora going to school. She's also corresponding with

554
00:34:51,920 --> 00:34:56,600
Speaker 1: her parents and tracking their journey through the rainforest on

555
00:34:56,880 --> 00:35:01,080
Speaker 1: her map, but then she stops hearing from her parents

556
00:35:01,160 --> 00:35:05,280
Speaker 1: and she grows concerned about that. Then, on a field

557
00:35:05,280 --> 00:35:09,680
Speaker 1: trip to the Natural History Museum, Dora, Diego, Sammy, and

558
00:35:09,800 --> 00:35:13,719
Speaker 1: Randy all end up in a group together and then

559
00:35:13,840 --> 00:35:17,640
Speaker 1: all four of them are kidnapped by some bad guys,

560
00:35:18,160 --> 00:35:22,240
Speaker 1: these mercenaries who are trying to find Dora's parents, who

561
00:35:22,520 --> 00:35:27,520
Speaker 1: they know will lead them to Patapata, so Dora and

562
00:35:27,600 --> 00:35:31,840
Speaker 1: friends although they're not friends yet. Dora and company are

563
00:35:31,880 --> 00:35:36,320
Speaker 1: taken to Peru, but then they're rescued by Alejandro played

564
00:35:36,320 --> 00:35:42,879
Speaker 1: by Eugenio Derbez, a friend of Dora's parents, allegedly right,

565
00:35:43,680 --> 00:35:46,759
Speaker 1: they are all running away from the mercenaries, but then

566
00:35:46,800 --> 00:35:51,480
Speaker 1: Swiper the fox voiced by Benicio del Toro steals doors map,

567
00:35:51,520 --> 00:35:54,800
Speaker 1: but Dora and friends are able to escape once again

568
00:35:55,239 --> 00:35:59,200
Speaker 1: and they set off to find doris parents. They find

569
00:35:59,239 --> 00:36:03,239
Speaker 1: doors parents her and her family's symbol painted on a

570
00:36:03,320 --> 00:36:06,640
Speaker 1: nearby tree. Their family symbol is also a red just

571
00:36:06,760 --> 00:36:10,160
Speaker 1: a circle. Again, I'm just like a second draft, please

572
00:36:10,480 --> 00:36:13,400
Speaker 1: that this looks like a place all there. I was like,

573
00:36:13,560 --> 00:36:16,279
Speaker 1: is this a hilarious joke, because it wouldn't. It's a

574
00:36:16,400 --> 00:36:18,960
Speaker 1: very funny joke if like their family symbol is just

575
00:36:19,080 --> 00:36:21,800
Speaker 1: a red circle and they keep calling it a loop

576
00:36:22,320 --> 00:36:27,520
Speaker 1: diegos like the red loop, right, the mirror notion that

577
00:36:27,560 --> 00:36:31,480
Speaker 1: Dora's family has like a symbol was very funny that too.

578
00:36:32,040 --> 00:36:33,600
Speaker 1: That got a huge laugh out of me the first

579
00:36:33,640 --> 00:36:36,000
Speaker 1: time when She's like my family symbol and I was like,

580
00:36:36,040 --> 00:36:40,880
Speaker 1: I laughed, like everyone has one. It couldn't be like,

581
00:36:40,920 --> 00:36:44,239
Speaker 1: oh look a survey marker. Oh look, no, it's my

582
00:36:44,360 --> 00:36:47,319
Speaker 1: family symbol. Was like, oh my god, I don't know

583
00:36:47,320 --> 00:36:48,680
Speaker 1: if that was meant to be a joke, but it

584
00:36:48,760 --> 00:36:50,840
Speaker 1: got a huge laugh out of me. It is funny.

585
00:36:50,880 --> 00:36:53,319
Speaker 1: And then the fact that the symbol it could just

586
00:36:53,520 --> 00:36:56,280
Speaker 1: have been there by accident, because it's such a nothing

587
00:36:56,560 --> 00:36:59,840
Speaker 1: like it's like my family symbol would be a little

588
00:37:00,000 --> 00:37:03,120
Speaker 1: cigarette in someone's back pocket, like it would be you

589
00:37:03,120 --> 00:37:08,640
Speaker 1: would know when it's my family symbol. But they're like

590
00:37:08,719 --> 00:37:14,040
Speaker 1: red circle. So they find that, and Dora and company

591
00:37:14,040 --> 00:37:17,200
Speaker 1: head into the rainforest on foot to follow their trail.

592
00:37:17,760 --> 00:37:22,200
Speaker 1: They find Dora's parents campsite, but it's been ransacked, but

593
00:37:22,239 --> 00:37:25,080
Speaker 1: then Boots the Monkey shows up and joins the group.

594
00:37:25,719 --> 00:37:31,160
Speaker 1: Then there's a scene where Sammy has to pooh, that's

595
00:37:31,239 --> 00:37:35,440
Speaker 1: the whole thing. And then suddenly a bunch of arrows

596
00:37:35,480 --> 00:37:38,680
Speaker 1: are being we're just gonna go past that. I mean

597
00:37:39,080 --> 00:37:41,759
Speaker 1: we I guess we can unpack the pool. There's a

598
00:37:41,760 --> 00:37:45,959
Speaker 1: whole song. There's a whole song, right, Okay. I kept

599
00:37:45,960 --> 00:37:48,160
Speaker 1: trying to be like, is this progressive or is this

600
00:37:48,239 --> 00:37:51,040
Speaker 1: just something that happens in the movie. I guess it's

601
00:37:51,080 --> 00:37:54,960
Speaker 1: like whatever. It's like, oh, in adventure movies, no one

602
00:37:55,040 --> 00:37:58,120
Speaker 1: ever takes a ship and isn't that interesting? And it's like, oh,

603
00:37:58,200 --> 00:38:01,040
Speaker 1: women taking a ship. You don't see movies very often.

604
00:38:01,200 --> 00:38:03,560
Speaker 1: But I'm like, but do I want to? I guess

605
00:38:03,840 --> 00:38:07,399
Speaker 1: not really, but but people really, like, really loved when

606
00:38:07,480 --> 00:38:10,520
Speaker 1: Melissa McCarthy pooped in Bridesmaids. They're like, wow, this is

607
00:38:10,520 --> 00:38:14,320
Speaker 1: the first for some people. That's how that scene changed

608
00:38:14,360 --> 00:38:16,520
Speaker 1: cinema because a lot of women, a lot of people

609
00:38:16,520 --> 00:38:20,359
Speaker 1: didn't know women pooped before that were that scene. Let

610
00:38:20,480 --> 00:38:24,120
Speaker 1: women poop in movies, but only she had to poop.

611
00:38:24,200 --> 00:38:26,160
Speaker 1: And then she was like, I haven't pooped for forty

612
00:38:26,200 --> 00:38:30,080
Speaker 1: eight hours, and I was like what, Like, they've only

613
00:38:30,120 --> 00:38:32,759
Speaker 1: been gone for like six hours, So it seems like

614
00:38:32,800 --> 00:38:38,080
Speaker 1: she's having like a separate no one else has to

615
00:38:38,120 --> 00:38:41,000
Speaker 1: poop the whole movie. So I think she was just

616
00:38:41,040 --> 00:38:45,799
Speaker 1: like she went on the field trip constipated. Yeah, and

617
00:38:45,840 --> 00:38:49,080
Speaker 1: I'm not sure she even gets to poop because as

618
00:38:49,120 --> 00:38:53,400
Speaker 1: soon as she starts pooping, then these arrows are shot

619
00:38:53,440 --> 00:38:55,839
Speaker 1: at the group and they have to run away. Let

620
00:38:55,960 --> 00:39:03,480
Speaker 1: women have dingleberries and okay, that okay, that's your subsect.

621
00:39:03,560 --> 00:39:08,600
Speaker 1: Of my movement let women poop. Yeah you say that,

622
00:39:08,680 --> 00:39:17,359
Speaker 1: and then I stand up. I'm like and another thing. Yeah,

623
00:39:17,719 --> 00:39:20,520
Speaker 1: I'll have a little poo left over. Well, she didn't

624
00:39:20,520 --> 00:39:23,960
Speaker 1: finish and she didn't have i mean toilet paper. Right. Yeah,

625
00:39:24,239 --> 00:39:26,560
Speaker 1: So we don't know what's going on with Sammy, but

626
00:39:27,520 --> 00:39:30,040
Speaker 1: she's thrown into a love. Yeah, before you know it,

627
00:39:30,160 --> 00:39:32,640
Speaker 1: she's in she's in love. She's got tickleberries, she's in love.

628
00:39:33,480 --> 00:39:40,160
Speaker 1: She's anything's possible in this movie. True. Okay, so all

629
00:39:40,160 --> 00:39:43,480
Speaker 1: these arrows are being shot at them, and Alejandro thinks

630
00:39:43,600 --> 00:39:48,839
Speaker 1: it's the Lost Guardians, whose mission it is to protect Patapata.

631
00:39:49,520 --> 00:39:53,279
Speaker 1: They managed to get away, they nearly cross paths with

632
00:39:53,400 --> 00:39:57,000
Speaker 1: the mercenaries, who are also now in the rainforest following

633
00:39:57,040 --> 00:40:00,200
Speaker 1: the map to try to find doors parents. So they

634
00:40:00,239 --> 00:40:03,440
Speaker 1: nearly cross paths with them, but then Dora and friends

635
00:40:03,560 --> 00:40:07,200
Speaker 1: head in a different direction toward an old opera house.

636
00:40:07,880 --> 00:40:13,040
Speaker 1: But oh no, they step into some quicksand and Alejandro

637
00:40:13,120 --> 00:40:18,160
Speaker 1: almost dies, but then the teens save him and just

638
00:40:18,200 --> 00:40:21,280
Speaker 1: don't really save him though the plot saves him because

639
00:40:21,480 --> 00:40:26,160
Speaker 1: it actually was quicksand that just fell into regular sand.

640
00:40:26,239 --> 00:40:29,799
Speaker 1: It was like a ledge yeah right, yeah, but they

641
00:40:29,840 --> 00:40:33,720
Speaker 1: pulled him out from beneath, and then scorpions have sex

642
00:40:33,719 --> 00:40:35,839
Speaker 1: on his head. Did you say that? I did not

643
00:40:36,200 --> 00:40:39,920
Speaker 1: say that. That feels worth men. Scorpions do have sex

644
00:40:40,239 --> 00:40:46,080
Speaker 1: on his head. This is a pig movie, Dore excitingly saying, like,

645
00:40:46,120 --> 00:40:50,360
Speaker 1: the scorpions are mating. They're mating, but then when you

646
00:40:50,400 --> 00:40:53,160
Speaker 1: look at them, they're just kissing the scorpions. Yeah, they're

647
00:40:53,239 --> 00:40:58,719
Speaker 1: they're fucking french in each other. There. So they get

648
00:40:58,719 --> 00:41:01,320
Speaker 1: out of the quicksand situation, and and then they cross

649
00:41:01,360 --> 00:41:06,200
Speaker 1: paths with an old woman who tells them which right,

650
00:41:07,320 --> 00:41:11,279
Speaker 1: who tells them in the indigenous language of Quetchua, Yeah,

651
00:41:12,840 --> 00:41:17,719
Speaker 1: that anyone who is seeking pat is a curse, or

652
00:41:17,920 --> 00:41:21,000
Speaker 1: like we'll be cursed, or I forget exactly what it is.

653
00:41:21,400 --> 00:41:24,000
Speaker 1: But then she offers to guide anyone who wants to

654
00:41:24,040 --> 00:41:27,680
Speaker 1: go back home. So Sammy and Randy say goodbye to

655
00:41:27,719 --> 00:41:30,839
Speaker 1: the rest of the group and set off with the

656
00:41:30,880 --> 00:41:34,640
Speaker 1: old woman. But then they notice a tattoo of the

657
00:41:34,680 --> 00:41:38,239
Speaker 1: symbol of the Lost Guardians, which is far more intricate

658
00:41:38,320 --> 00:41:43,040
Speaker 1: than the Dora family symbol, which is again just a circle.

659
00:41:45,040 --> 00:41:49,360
Speaker 1: What if she also had a red circle, I'd be like, Wow,

660
00:41:49,400 --> 00:41:53,879
Speaker 1: she's part of doors family. But you see a milk cap,

661
00:41:53,960 --> 00:41:58,359
Speaker 1: You're like, wow, red circle. They must know, Dora, I'm

662
00:41:58,400 --> 00:42:00,880
Speaker 1: gonna get that tattooed on me, just red circle. And

663
00:42:00,920 --> 00:42:03,680
Speaker 1: then we're like, what is that. I'm like, Dora's family

664
00:42:03,680 --> 00:42:07,719
Speaker 1: will understand. Yeah, yeah, if you know, you know exactly.

665
00:42:08,280 --> 00:42:10,760
Speaker 1: So they see this tattoo on the old woman's wrist

666
00:42:11,000 --> 00:42:16,480
Speaker 1: and they freak out and they run back towards the others. Meanwhile, Dora, Diego,

667
00:42:16,600 --> 00:42:21,000
Speaker 1: and Alejandro make their way through this patch of giant flowers,

668
00:42:21,480 --> 00:42:28,080
Speaker 1: which release hallucinogenic spores that make them just completely trip balls.

669
00:42:28,719 --> 00:42:31,400
Speaker 1: The movie becomes animated for a few minutes. It's like

670
00:42:31,520 --> 00:42:36,440
Speaker 1: jet Apod and something like you're You're like, it's like

671
00:42:36,480 --> 00:42:39,359
Speaker 1: a Seth Rogan movie for like a minute. I like that,

672
00:42:39,400 --> 00:42:41,520
Speaker 1: say that was fun. I loved it. It was a

673
00:42:41,560 --> 00:42:44,080
Speaker 1: cute way of inserting all the like the show arts

674
00:42:44,080 --> 00:42:46,879
Speaker 1: because it's animated in this time of the show right right,

675
00:42:47,080 --> 00:42:49,680
Speaker 1: and they feature all the characters that they didn't make

676
00:42:49,719 --> 00:42:53,080
Speaker 1: it to a live action bit and it's just yeah,

677
00:42:53,360 --> 00:42:56,360
Speaker 1: and like the the iguana and like it was just

678
00:42:56,480 --> 00:42:59,400
Speaker 1: very it was just very cute in a very non

679
00:42:59,520 --> 00:43:04,880
Speaker 1: cute context. I guess right. It was like doors tripping

680
00:43:05,040 --> 00:43:09,560
Speaker 1: and suddenly it's like the animated show is like sure

681
00:43:10,440 --> 00:43:12,560
Speaker 1: because they just wanted to get that in there. Yeah,

682
00:43:12,600 --> 00:43:15,920
Speaker 1: I'm wondering if they're like, oh, let's like pay homage

683
00:43:16,000 --> 00:43:18,719
Speaker 1: to the animated show, how can we do that? What

684
00:43:18,840 --> 00:43:23,680
Speaker 1: if the characters trip balls and hallucinate that they're all animated?

685
00:43:23,920 --> 00:43:27,480
Speaker 1: This movie is so wild, Like I just it did

686
00:43:27,520 --> 00:43:30,799
Speaker 1: remind me how like I feel like this was true

687
00:43:30,800 --> 00:43:34,040
Speaker 1: when we were kids as well, but like how Nickelodeon

688
00:43:34,360 --> 00:43:37,879
Speaker 1: they were just always doing weirder stuff and you could

689
00:43:37,920 --> 00:43:41,440
Speaker 1: always count on a Nickelodeon cartoon to have stuff that

690
00:43:41,520 --> 00:43:45,720
Speaker 1: was like slightly not appropriate for children anyway, like Disney

691
00:43:46,200 --> 00:43:49,239
Speaker 1: uh simply didn't. So they're like, Okay, we're gonna make

692
00:43:49,320 --> 00:43:53,200
Speaker 1: our protagonists a teenager who's on drugs, and you're like, cool,

693
00:43:53,239 --> 00:43:57,799
Speaker 1: it's Euphoria. There are actually goes to you for your

694
00:43:57,880 --> 00:44:00,480
Speaker 1: high school that would have been that such it goes?

695
00:44:00,840 --> 00:44:02,759
Speaker 1: Does you I haven't seen Euphoria? Does it take place

696
00:44:02,760 --> 00:44:05,600
Speaker 1: in Los Angeles? I think so that would be pretty sure.

697
00:44:05,800 --> 00:44:08,560
Speaker 1: So funny if they had the movie with this tone,

698
00:44:08,600 --> 00:44:11,480
Speaker 1: they're like, oh, she's not in Euphoria, But they all

699
00:44:11,560 --> 00:44:14,200
Speaker 1: God did the same my school, and Dora's just dealing

700
00:44:14,239 --> 00:44:17,040
Speaker 1: with some very different problems. They're actually they're kind of

701
00:44:17,239 --> 00:44:20,360
Speaker 1: comparatively very innocent. That would be. I have seen the

702
00:44:20,360 --> 00:44:24,520
Speaker 1: first episode and a half of Euphoria. It's such a

703
00:44:24,560 --> 00:44:27,840
Speaker 1: heavy show that I like just could not keep watching.

704
00:44:28,400 --> 00:44:31,240
Speaker 1: But I'm pretty sure, Yeah, they live in the valley,

705
00:44:31,560 --> 00:44:35,520
Speaker 1: So put Dora in that show. It would she really?

706
00:44:35,800 --> 00:44:37,600
Speaker 1: You know? I again, I don't. I don't watch the

707
00:44:37,600 --> 00:44:41,040
Speaker 1: show because I I like one of the teenagers in

708
00:44:41,080 --> 00:44:44,279
Speaker 1: this movie. I'm five years old, But but I think

709
00:44:44,280 --> 00:44:45,680
Speaker 1: it would be. I think she would bring some much

710
00:44:45,719 --> 00:44:50,359
Speaker 1: needed levity. I agree, I agree. Yeah, Okay, So they're

711
00:44:50,360 --> 00:44:54,799
Speaker 1: all tripping and then Sammy and Randy find Dora and

712
00:44:54,800 --> 00:44:59,080
Speaker 1: Diego and Alejandro again, and then they all set off

713
00:44:59,120 --> 00:45:03,680
Speaker 1: to find the entrance of Pata Pata, but they then

714
00:45:03,840 --> 00:45:08,520
Speaker 1: fall into an aqueduct that starts filling with water. They

715
00:45:08,520 --> 00:45:12,520
Speaker 1: figure out how to escape that, and right then Dora's

716
00:45:12,560 --> 00:45:18,279
Speaker 1: parents find them and Dora explains why they're there and

717
00:45:18,360 --> 00:45:21,920
Speaker 1: the Alejandro rescued them, and her parents are like, we

718
00:45:22,000 --> 00:45:27,560
Speaker 1: don't know anyone named Alejandro, because twist, Alejandro is a

719
00:45:27,600 --> 00:45:31,359
Speaker 1: bad guy who is working with the mercenaries who right

720
00:45:31,440 --> 00:45:35,480
Speaker 1: then show up and capture Dora and her friends and parents.

721
00:45:35,880 --> 00:45:38,160
Speaker 1: That was very weird to me, like it was for

722
00:45:38,200 --> 00:45:40,640
Speaker 1: a twist that it's kind of obvious, Like it took

723
00:45:40,640 --> 00:45:42,920
Speaker 1: me by surprise the first time I saw it, because

724
00:45:43,000 --> 00:45:45,239
Speaker 1: I'm used to little bit as being kind of like

725
00:45:46,239 --> 00:45:49,600
Speaker 1: just like the funny sidekick. Like to me, he's just

726
00:45:49,880 --> 00:45:53,759
Speaker 1: to me, he's just Donkey from Shrek. Yeah, he does

727
00:45:53,800 --> 00:45:57,160
Speaker 1: the Spanish voice for Donkey, so whenever I hear him,

728
00:45:57,280 --> 00:46:00,040
Speaker 1: it's just like, that's just Donkey. And then we he

729
00:46:00,160 --> 00:46:02,000
Speaker 1: was the bad guy. Was like, oh my god, they

730
00:46:02,040 --> 00:46:05,800
Speaker 1: made a bad guy. Like I felt betrayed just like that.

731
00:46:08,320 --> 00:46:10,839
Speaker 1: I mean, there's also so much foreshadowing because right after

732
00:46:10,880 --> 00:46:14,440
Speaker 1: he's rescued from the quicksand he's like, I'm a bad guy.

733
00:46:14,520 --> 00:46:17,200
Speaker 1: I'm such a bad guy, and he's basically just telling

734
00:46:17,320 --> 00:46:19,800
Speaker 1: you that he's the bad guy, and the door was

735
00:46:19,840 --> 00:46:21,759
Speaker 1: like no, no, no, no, no, no, you're not. We

736
00:46:21,840 --> 00:46:25,280
Speaker 1: all feel like that sometimes that was Dora's one fumble.

737
00:46:25,360 --> 00:46:27,000
Speaker 1: But then I was like, she's an explorer, she's not

738
00:46:27,000 --> 00:46:32,759
Speaker 1: a journalist, so right, I can't believe that didn't that

739
00:46:32,840 --> 00:46:37,400
Speaker 1: didn't chew me in. I was gasped the first time around.

740
00:46:37,400 --> 00:46:40,319
Speaker 1: I was like, what that twist took me by so

741
00:46:40,480 --> 00:46:44,120
Speaker 1: much surprise when I saw it in theater. Really, yeah, guys,

742
00:46:46,480 --> 00:46:48,239
Speaker 1: He's like, I'm a friend of your prayers, but you've

743
00:46:48,280 --> 00:46:50,279
Speaker 1: never heard of me. Also, I'm wearing the scarf that

744
00:46:50,320 --> 00:46:53,160
Speaker 1: the villain of the movie always wears. He's wearing He's

745
00:46:53,160 --> 00:46:58,280
Speaker 1: wearing a next scarf. Look, no, it's always wearing next scarf. True.

746
00:46:58,360 --> 00:47:05,640
Speaker 1: In Paddington too, he wears a cravat. Yes, okay. So

747
00:47:06,160 --> 00:47:09,919
Speaker 1: they see Patapata often the distance, but before they get

748
00:47:09,960 --> 00:47:13,760
Speaker 1: to the entrance, Boots shows up and unties the teens

749
00:47:13,960 --> 00:47:16,879
Speaker 1: and they're able to escape, but they need to get

750
00:47:16,920 --> 00:47:19,560
Speaker 1: into Patapata so that they can get the gold and

751
00:47:19,680 --> 00:47:24,120
Speaker 1: use it to bargain for Dora's parents lives. And then

752
00:47:24,320 --> 00:47:27,680
Speaker 1: that's when we get the fund scene where Boots actually

753
00:47:27,719 --> 00:47:34,080
Speaker 1: talks to Dora. Boots is voiced by Danny Trayho. This no,

754
00:47:35,440 --> 00:47:39,319
Speaker 1: Boots is voiced by Danny Treyho. He I thought it

755
00:47:39,400 --> 00:47:42,759
Speaker 1: was so funny, but also the fact that Boots is

756
00:47:42,800 --> 00:47:45,920
Speaker 1: the one giving I was like, is Dora still on drugs?

757
00:47:46,160 --> 00:47:50,480
Speaker 1: Is this something that's still and he tells her like

758
00:47:50,760 --> 00:47:54,920
Speaker 1: friendship is important and growing up is is goals, and

759
00:47:55,280 --> 00:47:58,839
Speaker 1: you go girl boss and they never speaks again. I

760
00:47:58,880 --> 00:48:02,279
Speaker 1: liked it. It's comedy comedy. The real gold in this

761
00:48:02,320 --> 00:48:05,480
Speaker 1: movie is the comedy. I think we can all agree

762
00:48:05,680 --> 00:48:09,799
Speaker 1: that is true. It is surprisingly funny movie in terms

763
00:48:09,840 --> 00:48:13,160
Speaker 1: of how smart the humor is. It's just it's just

764
00:48:13,840 --> 00:48:15,760
Speaker 1: very rarely did they go for like a very obvious

765
00:48:15,880 --> 00:48:19,800
Speaker 1: joke except for the poophole. I wouldn't even call that obvious,

766
00:48:19,800 --> 00:48:22,440
Speaker 1: but that was still subversive. That was it was. It

767
00:48:22,520 --> 00:48:25,759
Speaker 1: was just a weird choice, right, That was intellect. That

768
00:48:25,840 --> 00:48:29,120
Speaker 1: was an intellectual I kind of expected that kind of

769
00:48:29,200 --> 00:48:32,120
Speaker 1: humor when I found out that it was directed by

770
00:48:32,440 --> 00:48:37,200
Speaker 1: James Bobbin, who directed The Muppets the two two eleven

771
00:48:37,239 --> 00:48:41,200
Speaker 1: reboot that I adore, and I feel like that takes

772
00:48:41,239 --> 00:48:44,320
Speaker 1: that same kind of like half joking but very sincere

773
00:48:44,560 --> 00:48:49,480
Speaker 1: approach to it's I P. And I was very pleasantly

774
00:48:49,520 --> 00:48:51,719
Speaker 1: surprised when watching this that I was like, oh my god,

775
00:48:51,760 --> 00:48:55,520
Speaker 1: they he managed to keep that same tone. It's just

776
00:48:55,520 --> 00:48:58,960
Speaker 1: just very fun. When they reboots don't feel the need

777
00:48:59,000 --> 00:49:01,080
Speaker 1: to like make fun of the I p to be like,

778
00:49:01,120 --> 00:49:05,279
Speaker 1: oh we get that there's a silly uh, we're making

779
00:49:05,280 --> 00:49:08,080
Speaker 1: fun of it with you. It's just very Yeah, I agree.

780
00:49:08,120 --> 00:49:10,880
Speaker 1: The real gold is the comedy. Thank you, thank you

781
00:49:11,000 --> 00:49:16,120
Speaker 1: so much. Um uh. James Bobbin also wrote for Fled

782
00:49:16,200 --> 00:49:22,359
Speaker 1: the Concords. I believe so lots of good humor here anyway. So,

783
00:49:22,440 --> 00:49:29,040
Speaker 1: after solving an astronomy based jungle puzzle, the teams are

784
00:49:29,280 --> 00:49:34,160
Speaker 1: able to open the entrance to Patapata. They go into

785
00:49:34,400 --> 00:49:39,160
Speaker 1: a temple. They have to solve some more jungle puzzles.

786
00:49:39,200 --> 00:49:42,880
Speaker 1: There are various booby traps and dangers along the way.

787
00:49:43,040 --> 00:49:45,960
Speaker 1: Then they come upon a couple of piles of treasure

788
00:49:46,560 --> 00:49:49,880
Speaker 1: and the last puzzle they have to make an offering

789
00:49:49,960 --> 00:49:54,440
Speaker 1: to the gods via a small golden monkey statue. And

790
00:49:54,480 --> 00:49:58,040
Speaker 1: then the offering has to be what the incas revered

791
00:49:58,280 --> 00:50:01,319
Speaker 1: the most. So all I hun Row shows up and

792
00:50:01,360 --> 00:50:03,719
Speaker 1: he thinks the answer is gold, so he makes an

793
00:50:03,760 --> 00:50:08,400
Speaker 1: offering of gold, but he's wrong, and the ground opens

794
00:50:08,520 --> 00:50:11,799
Speaker 1: up beneath him and swallows him. Except he doesn't die

795
00:50:11,920 --> 00:50:15,759
Speaker 1: because it's a kid's movie. Yeah, so he's just kind

796
00:50:15,760 --> 00:50:18,440
Speaker 1: of hanging. Although this does feel like a movie that

797
00:50:18,600 --> 00:50:21,920
Speaker 1: is like wild enough and enough, like surprising thing happened.

798
00:50:22,040 --> 00:50:24,520
Speaker 1: Things happened that I was I was prepared for someone.

799
00:50:24,840 --> 00:50:26,840
Speaker 1: I mean, not like a main character, but I'm like,

800
00:50:26,960 --> 00:50:30,520
Speaker 1: someone can die in this movie. Someone. I don't know why.

801
00:50:30,719 --> 00:50:33,600
Speaker 1: When I rewatched this, I had the vague idea that

802
00:50:33,719 --> 00:50:37,960
Speaker 1: Swiper had died, and then I was like, and then

803
00:50:38,000 --> 00:50:40,960
Speaker 1: I watched this, I was like, oh, maybe I imagined it,

804
00:50:41,080 --> 00:50:45,239
Speaker 1: but I don't know why. I didn't really was like, yes,

805
00:50:45,239 --> 00:50:48,120
Speaker 1: Whiper died in the door of a movie. It's very

806
00:50:47,640 --> 00:50:51,280
Speaker 1: It's just like and it's like, oh, no, I guess

807
00:50:51,280 --> 00:50:53,160
Speaker 1: I made that up. That's like the sort of thing

808
00:50:53,160 --> 00:50:54,959
Speaker 1: that where if you told me that, I wouldn't doubt

809
00:50:55,000 --> 00:50:57,880
Speaker 1: you for a second. And like, that's a lie that

810
00:50:58,320 --> 00:51:04,640
Speaker 1: that has some legs. Yeah, four legs, Swiper's legs. Whoa, Jamie,

811
00:51:06,440 --> 00:51:16,760
Speaker 1: thank you, I have PMF. So you keep saying okay.

812
00:51:16,800 --> 00:51:21,120
Speaker 1: So then the old woman from earlier shows up with

813
00:51:21,400 --> 00:51:25,279
Speaker 1: the Lost Guardians of Pata. The old woman turns out

814
00:51:25,320 --> 00:51:32,160
Speaker 1: to be a young inc and goddess question Mark I

815
00:51:32,239 --> 00:51:40,560
Speaker 1: thinks princess right. She's played by Coryannka Kilchure. Dora explains

816
00:51:40,600 --> 00:51:45,200
Speaker 1: to her that they are explorers, not treasure hunters. And

817
00:51:45,200 --> 00:51:48,400
Speaker 1: then Dora makes an offering to the monkey statue of water,

818
00:51:48,960 --> 00:51:52,600
Speaker 1: which is the correct answer, and then doors open to

819
00:51:52,760 --> 00:51:59,319
Speaker 1: reveal an enormous golden monkey statue. But then Swiper shows up,

820
00:51:59,360 --> 00:52:03,640
Speaker 1: who has not perished. He shows alive, and well, he's alive,

821
00:52:03,719 --> 00:52:09,840
Speaker 1: and well he shows up and swipes the little monkey statue,

822
00:52:10,160 --> 00:52:12,480
Speaker 1: and then all hell breaks loose, so they have to

823
00:52:12,560 --> 00:52:16,280
Speaker 1: rush out of Patapata. Dora puts the little monkey statue

824
00:52:16,320 --> 00:52:21,319
Speaker 1: back and then Patapata seals itself closed again. So then

825
00:52:21,480 --> 00:52:24,800
Speaker 1: Dora and her family and friends returned to their house

826
00:52:24,960 --> 00:52:29,279
Speaker 1: in We're not sure where, maybe so the map that

827
00:52:29,680 --> 00:52:33,839
Speaker 1: we see Dora leaving from, she's either in Columbia or

828
00:52:33,880 --> 00:52:37,160
Speaker 1: Brazil or like right on the border there she's in

829
00:52:37,160 --> 00:52:41,319
Speaker 1: the Amazon. I guess she's in the Amazon, right. So

830
00:52:41,360 --> 00:52:45,280
Speaker 1: they returned to her house there, and her parents invite

831
00:52:45,320 --> 00:52:50,239
Speaker 1: her on their next exploration, but Dora tells them she

832
00:52:50,280 --> 00:52:53,920
Speaker 1: wants to return to l A and learn more about

833
00:52:54,000 --> 00:52:57,799
Speaker 1: high school culture, that idea at Euphoria High. She wants

834
00:52:57,800 --> 00:52:59,880
Speaker 1: to go back to Euphoria High. That's the one thing

835
00:53:00,040 --> 00:53:04,520
Speaker 1: you don't do. Don't go back there. Horrible ship happens

836
00:53:04,520 --> 00:53:09,040
Speaker 1: that including a big song and dance number, which is

837
00:53:09,120 --> 00:53:13,319
Speaker 1: how the movie ends, where Dora and her friends are

838
00:53:13,400 --> 00:53:16,719
Speaker 1: singing and dancing about the adventure they were just on.

839
00:53:17,800 --> 00:53:22,239
Speaker 1: And that's the end of the movie. So let's take

840
00:53:22,280 --> 00:53:25,040
Speaker 1: another break and then we will come back to discuss

841
00:53:31,520 --> 00:53:36,719
Speaker 1: and we are back and where to begin. Yeah, I

842
00:53:36,760 --> 00:53:41,640
Speaker 1: think we didn't establish how hot Swiper was like enough, Yeah,

843
00:53:41,640 --> 00:53:44,239
Speaker 1: could we actually talk about that? I mean, I want

844
00:53:44,239 --> 00:53:46,880
Speaker 1: to make sure that we really are hitting on everything,

845
00:53:46,960 --> 00:53:49,040
Speaker 1: and I think that that is obviously the most relevant

846
00:53:49,200 --> 00:53:53,279
Speaker 1: of course of discussion here. Swiper. Look, Ciper is very hot,

847
00:53:53,719 --> 00:53:59,120
Speaker 1: not very I take back the very. Let's not get

848
00:53:59,120 --> 00:54:03,120
Speaker 1: ahead of ourselves. Let's let's you know, I'm going to

849
00:54:03,200 --> 00:54:09,600
Speaker 1: feel so differently about it tomorrow. Um anyway, um I was,

850
00:54:09,800 --> 00:54:11,799
Speaker 1: I am. I would love to sort of start this

851
00:54:11,840 --> 00:54:14,959
Speaker 1: discussion by talking about looking at this movie and and

852
00:54:15,200 --> 00:54:19,000
Speaker 1: looking at this genre for your video essay and kind

853
00:54:19,000 --> 00:54:21,080
Speaker 1: of taking us through through that journey and sort of

854
00:54:21,120 --> 00:54:25,440
Speaker 1: starting the conversation there. Yeah. Just like Caitlyn said, I

855
00:54:25,719 --> 00:54:28,440
Speaker 1: feel like I've always been also really into that lost

856
00:54:28,440 --> 00:54:31,680
Speaker 1: city kind of story. I mean, I grew up watching

857
00:54:31,680 --> 00:54:36,120
Speaker 1: Indiana Jones and uh, I remember watching the Road to

858
00:54:36,200 --> 00:54:39,760
Speaker 1: Eldorado a lot. But even though it didn't, I didn't

859
00:54:39,800 --> 00:54:45,399
Speaker 1: really like it. The El Dorado myth was originated here

860
00:54:45,400 --> 00:54:49,359
Speaker 1: in Colombia, so I always was like, oh, it's kind

861
00:54:49,360 --> 00:54:52,719
Speaker 1: of like Colombia, and I watched it a lot, even

862
00:54:52,760 --> 00:54:55,799
Speaker 1: though the movie does not take place in Colombia. It

863
00:54:55,920 --> 00:54:59,680
Speaker 1: is it is just like a very like Messo American aesthetic,

864
00:55:00,120 --> 00:55:03,759
Speaker 1: which is, you know, it's own thing. But I feel

865
00:55:03,760 --> 00:55:06,200
Speaker 1: like I always really loved adventure, and the more that

866
00:55:06,239 --> 00:55:09,440
Speaker 1: I started learning, you know, growing up and everything, I

867
00:55:09,520 --> 00:55:13,800
Speaker 1: really like, oh, it's always so uthering, like the adventure

868
00:55:13,840 --> 00:55:18,520
Speaker 1: genre almost by definition. And as I started to realize

869
00:55:18,520 --> 00:55:22,520
Speaker 1: that the uttering, like the object of the mothering was,

870
00:55:23,120 --> 00:55:27,400
Speaker 1: among other places, my country, it was even weirder. It

871
00:55:27,480 --> 00:55:30,680
Speaker 1: was kind of like, Oh, this thing that I've always enjoyed,

872
00:55:30,760 --> 00:55:33,359
Speaker 1: it's just like it has this like kind of like

873
00:55:33,480 --> 00:55:40,200
Speaker 1: dark underside. It's underside of things, make up words sometimes, underbelly,

874
00:55:40,440 --> 00:55:43,560
Speaker 1: side boob, whatever, underbelly. That's what I was thinking of

875
00:55:44,200 --> 00:55:48,560
Speaker 1: dark side. It has it has an underbelly, a dark

876
00:55:48,680 --> 00:55:51,400
Speaker 1: underbelly that I don't know that I was. I started

877
00:55:51,400 --> 00:55:55,080
Speaker 1: to get very curious about exploring. So you would you

878
00:55:55,080 --> 00:56:00,480
Speaker 1: say that you're you yourself are an explorer. Yes, Actually,

879
00:56:00,520 --> 00:56:06,400
Speaker 1: if you're exploring this topic, I am exploring the explorer's exploring.

880
00:56:06,760 --> 00:56:13,320
Speaker 1: Who explores the explorers, it's you. But who explores the explorers?

881
00:56:13,320 --> 00:56:20,839
Speaker 1: That explorer the explorers? And why is Swiper sexy? There's

882
00:56:20,880 --> 00:56:25,279
Speaker 1: so many questions that we need to answer here. Yeah, so,

883
00:56:25,360 --> 00:56:27,080
Speaker 1: I don't know, I mean, I just remember that that

884
00:56:27,440 --> 00:56:29,400
Speaker 1: as a little kid, like the thing that I always

885
00:56:29,400 --> 00:56:30,759
Speaker 1: said that I wanted to be when I grew up

886
00:56:30,840 --> 00:56:36,000
Speaker 1: with like adventurer, explorer, etcetera. So later, as a grown

887
00:56:36,040 --> 00:56:39,000
Speaker 1: up like kind of like investigating while that was so,

888
00:56:39,160 --> 00:56:41,680
Speaker 1: it drew me so much to it. And yeah, you

889
00:56:41,680 --> 00:56:44,759
Speaker 1: you run into all these like lost cities stories that

890
00:56:44,840 --> 00:56:49,680
Speaker 1: are kind of like these outsiders finding a culturally important

891
00:56:49,719 --> 00:56:56,640
Speaker 1: relic or place for this often extinct, sometimes hidden civilization,

892
00:56:57,719 --> 00:57:00,640
Speaker 1: and it just has all these like colonial bagage to it.

893
00:57:00,640 --> 00:57:04,640
Speaker 1: It's very like it's it's kind of like, you know, oh, yeah,

894
00:57:04,719 --> 00:57:08,680
Speaker 1: we we have to uncover this puzzle that was probably

895
00:57:08,719 --> 00:57:12,680
Speaker 1: not ours to solve and find this place. And you

896
00:57:12,719 --> 00:57:14,359
Speaker 1: get that in a lot of things, like you get

897
00:57:14,400 --> 00:57:16,680
Speaker 1: that in in the Road to Alorado, in all the

898
00:57:16,680 --> 00:57:21,040
Speaker 1: Indiana Jones movies in like National Treasure. I don't know,

899
00:57:21,720 --> 00:57:25,760
Speaker 1: and all in all these lost cities are like lost

900
00:57:25,840 --> 00:57:30,440
Speaker 1: treasure stories, and I guess I approached Dora and the

901
00:57:30,560 --> 00:57:34,360
Speaker 1: Lost City of Gold with a similar mindset. I was like, Oh,

902
00:57:34,400 --> 00:57:37,680
Speaker 1: it's probably gonna be like that. But it feels so

903
00:57:37,880 --> 00:57:40,880
Speaker 1: um aware, like we said, it's feel it feels very

904
00:57:40,920 --> 00:57:43,680
Speaker 1: self aware of how this is often an issue, and

905
00:57:43,760 --> 00:57:47,520
Speaker 1: it kind of like has it's like built in disclaimers

906
00:57:48,240 --> 00:57:50,840
Speaker 1: to kind of have like kind of like have its

907
00:57:50,880 --> 00:57:53,880
Speaker 1: cake and needed to. It's just like, oh, we get

908
00:57:53,920 --> 00:57:56,240
Speaker 1: to do like a fun adventure romp, but we also

909
00:57:56,320 --> 00:57:59,720
Speaker 1: get to do it, you know, without all that baggage,

910
00:57:59,720 --> 00:58:03,200
Speaker 1: which I don't think that's like very successful. I think

911
00:58:04,000 --> 00:58:06,040
Speaker 1: that kind of baggage is harder to get rid of,

912
00:58:06,800 --> 00:58:10,320
Speaker 1: but it is. It is very cool that we are

913
00:58:10,400 --> 00:58:13,480
Speaker 1: finding ways to tell these exciting, like lost city stories

914
00:58:13,520 --> 00:58:16,600
Speaker 1: that I really enjoy in ways that are more aware

915
00:58:17,760 --> 00:58:20,000
Speaker 1: of the context in which they exist, because you know,

916
00:58:21,160 --> 00:58:23,200
Speaker 1: like the City of Gold as a myth was kind

917
00:58:23,200 --> 00:58:26,120
Speaker 1: of made up by the Spanish and that propelled like

918
00:58:26,360 --> 00:58:29,840
Speaker 1: colonization across the Americas. So it is something that has

919
00:58:30,240 --> 00:58:35,400
Speaker 1: very specific historical baggage that is now kind of like oh,

920
00:58:35,880 --> 00:58:39,040
Speaker 1: fun little goal, fun little quests, and it's like yeah,

921
00:58:39,120 --> 00:58:43,920
Speaker 1: but but uh so, I don't know. I guess that's

922
00:58:43,920 --> 00:58:45,920
Speaker 1: what always draws me to this kind of story, is

923
00:58:45,920 --> 00:58:49,680
Speaker 1: that kind of approach that they will take and it's

924
00:58:49,720 --> 00:58:53,720
Speaker 1: just exciting, Like the jungle puzzles are fun, Randy. Randy

925
00:58:53,760 --> 00:58:57,880
Speaker 1: says that right, just like in the movie. So, yeah,

926
00:58:58,000 --> 00:59:00,640
Speaker 1: I don't know. I don't know if I answered your prompt.

927
00:59:04,400 --> 00:59:07,640
Speaker 1: I felt like I derailed at some point, not at all, No,

928
00:59:07,840 --> 00:59:11,520
Speaker 1: I I first of all, we're gonna link your video

929
00:59:11,600 --> 00:59:14,480
Speaker 1: in the description. It really is wonderful and like so

930
00:59:14,520 --> 00:59:17,480
Speaker 1: well done, and I did. I was. I was pleasantly

931
00:59:17,640 --> 00:59:21,400
Speaker 1: surprised by this again, just like a simple choice that

932
00:59:21,440 --> 00:59:23,760
Speaker 1: the movie makes that I thought was like a like

933
00:59:23,800 --> 00:59:27,640
Speaker 1: a lesser movie would have complicated needlessly. It's like all

934
00:59:27,680 --> 00:59:30,080
Speaker 1: of the kids are on the same page of being

935
00:59:30,160 --> 00:59:33,920
Speaker 1: anti colonial. They know it. They all agree to the

936
00:59:33,920 --> 00:59:37,960
Speaker 1: point where they're like citing very specifically examples of like

937
00:59:38,280 --> 00:59:42,120
Speaker 1: intense imperialism and colonialism as it pertains to adventure stories

938
00:59:42,120 --> 00:59:45,000
Speaker 1: where they're like, oh, yeah, you know, England, France, America,

939
00:59:45,520 --> 00:59:48,320
Speaker 1: like yeah that when when she says America and then

940
00:59:48,320 --> 00:59:51,000
Speaker 1: she says, like the United Fruit Company. I was like,

941
00:59:51,160 --> 00:59:54,280
Speaker 1: oh my god, I United Fruit Company mentioned in Dora

942
00:59:54,400 --> 00:59:57,880
Speaker 1: the Explore the movie. It was like, it was like,

943
00:59:57,960 --> 01:00:01,720
Speaker 1: who writing this movie was like, let's talk about corporative

944
01:00:01,760 --> 01:00:06,520
Speaker 1: colonialism in the Americas by way of a joke Indoor

945
01:00:06,600 --> 01:00:12,840
Speaker 1: the Explorer, Right, It's kind of amazing. Oddly the people

946
01:00:12,840 --> 01:00:16,840
Speaker 1: who wrote this movie where three white men, and then

947
01:00:16,880 --> 01:00:21,120
Speaker 1: also the director is a white guy, which does lend

948
01:00:21,120 --> 01:00:25,080
Speaker 1: itself to a few things about this movie that are

949
01:00:25,240 --> 01:00:30,320
Speaker 1: still trophy and like not very thoughtfully done. And we

950
01:00:30,360 --> 01:00:34,240
Speaker 1: can get to those in a moment. But one of

951
01:00:34,240 --> 01:00:36,040
Speaker 1: the reasons I liked this movie so much when I

952
01:00:36,080 --> 01:00:39,560
Speaker 1: first saw it is that it was such a departure

953
01:00:39,640 --> 01:00:42,480
Speaker 1: from you know, like the Indiana Jones movies that I

954
01:00:42,520 --> 01:00:46,160
Speaker 1: also grew up loving. But then once we unpacked one

955
01:00:46,160 --> 01:00:48,400
Speaker 1: of those movies on this podcast, I was like, oh

956
01:00:48,480 --> 01:00:52,840
Speaker 1: my god, like oopsies, my bad for loving this movie

957
01:00:52,920 --> 01:00:57,520
Speaker 1: so much. It's kind of it's kind of wild the stuff.

958
01:00:57,560 --> 01:00:59,920
Speaker 1: But the Indiana Jones movies get away with even the

959
01:01:00,080 --> 01:01:04,080
Speaker 1: latest one, yea and hopefully the fifth one is different.

960
01:01:04,200 --> 01:01:06,800
Speaker 1: But like, because I will be watching it, I'll go

961
01:01:06,960 --> 01:01:10,960
Speaker 1: see it at least twice. Yeah. Yeah, I mean it's

962
01:01:11,000 --> 01:01:12,400
Speaker 1: like I was going to watch it and then you

963
01:01:12,480 --> 01:01:16,120
Speaker 1: cast Phoebe walder Bridge, like I'm going to be there. Yeah,

964
01:01:16,320 --> 01:01:18,760
Speaker 1: but it's it's it is kind of it is kind

965
01:01:18,760 --> 01:01:22,280
Speaker 1: of I don't know, the things that they get away

966
01:01:22,320 --> 01:01:25,120
Speaker 1: with in Someone in the in those especially the Temple

967
01:01:25,160 --> 01:01:30,400
Speaker 1: of Doom and Crystals Call, it's just like yipes. Yeah.

968
01:01:30,560 --> 01:01:33,600
Speaker 1: So much of it is just I mean, like so

969
01:01:33,680 --> 01:01:36,360
Speaker 1: much of the genre, like you're like you're saying earlier,

970
01:01:36,480 --> 01:01:39,080
Speaker 1: Jose is just like to a point where I feel

971
01:01:39,080 --> 01:01:42,240
Speaker 1: like it's uniquely so ingrained in like anyone who grew

972
01:01:42,320 --> 01:01:45,040
Speaker 1: up with Hollywood movies that it took me, I think,

973
01:01:45,040 --> 01:01:48,200
Speaker 1: probably embarrassingly long to interrogate. I was like, oh, there

974
01:01:48,800 --> 01:01:53,120
Speaker 1: stealing from an indigenous culture and we're rooting for that

975
01:01:53,360 --> 01:01:59,080
Speaker 1: the whole movie. Like that is such an insidious, absurd

976
01:01:59,160 --> 01:02:02,320
Speaker 1: idea to to grow up with, to the point where

977
01:02:02,400 --> 01:02:05,120
Speaker 1: it even when I think we're having a lot of

978
01:02:05,840 --> 01:02:09,200
Speaker 1: larger cultural conversations, we weren't having, you know, ten twenty

979
01:02:09,280 --> 01:02:12,120
Speaker 1: years ago, there's still huge movies that can get away

980
01:02:12,160 --> 01:02:14,760
Speaker 1: with doing the same old ship like you were saying,

981
01:02:14,760 --> 01:02:17,400
Speaker 1: with that, was it a shitty Tom Holland movie that

982
01:02:17,480 --> 01:02:21,560
Speaker 1: came out Caitlin Oh starring Jeff Wahlberg's uncle as well,

983
01:02:22,280 --> 01:02:26,240
Speaker 1: that's what we should start calling him. God. Yeah, Dora

984
01:02:26,320 --> 01:02:30,000
Speaker 1: just feels like such a departure from this, not in

985
01:02:30,040 --> 01:02:33,320
Speaker 1: every single way, but in the way that again, as

986
01:02:33,360 --> 01:02:35,960
Speaker 1: you point out in your video, when it comes to

987
01:02:36,760 --> 01:02:39,320
Speaker 1: the El Dorado myth, and then you can extend this

988
01:02:39,400 --> 01:02:44,480
Speaker 1: to basically any movie about adventurers looking for any lost city,

989
01:02:44,560 --> 01:02:48,200
Speaker 1: any lost treasure, any lost relic, anything like that. These

990
01:02:48,240 --> 01:02:53,960
Speaker 1: stories are so steeped in imperialism and colonialism and asking

991
01:02:54,000 --> 01:02:57,720
Speaker 1: the audience to root for white explorers who are trying

992
01:02:57,720 --> 01:03:00,480
Speaker 1: to claim the treasure is their own, or at the

993
01:03:00,560 --> 01:03:04,280
Speaker 1: very least they're just showing up uninvited to other people's

994
01:03:04,760 --> 01:03:11,440
Speaker 1: homes and cities and territories and trespassing. And the indigenous

995
01:03:11,520 --> 01:03:14,480
Speaker 1: characters who the white characters are normally stealing from or

996
01:03:14,520 --> 01:03:18,400
Speaker 1: invading their space, are never the protagonists of these movies.

997
01:03:18,680 --> 01:03:22,720
Speaker 1: They're like aggressively troped and mothered and villainized and like

998
01:03:23,600 --> 01:03:26,960
Speaker 1: because it's also it's like even the way we use

999
01:03:27,080 --> 01:03:30,640
Speaker 1: the term explorer as it pertains to white protagonists, Like no,

1000
01:03:30,720 --> 01:03:34,880
Speaker 1: they're colonizers. They're thieves, right, They're not good people, and

1001
01:03:34,920 --> 01:03:37,280
Speaker 1: we should be rooting for them to funk each other

1002
01:03:37,320 --> 01:03:40,640
Speaker 1: at the end of the movie. Like it's just so

1003
01:03:41,360 --> 01:03:47,240
Speaker 1: obsert and frustrating. And the movie also does not frame

1004
01:03:47,320 --> 01:03:52,800
Speaker 1: the indigenous people who they are trying to learn about either,

1005
01:03:53,480 --> 01:03:58,080
Speaker 1: So that's you know, problem number one, where it's still

1006
01:03:58,760 --> 01:04:03,520
Speaker 1: Dora and her friends who are largely non white, So

1007
01:04:03,600 --> 01:04:08,000
Speaker 1: I guess there's that, But they're still invading the Lost

1008
01:04:08,040 --> 01:04:11,720
Speaker 1: City and the people who still live there, who are

1009
01:04:11,800 --> 01:04:17,640
Speaker 1: also again another trope here, but like magical mystical, Like

1010
01:04:17,880 --> 01:04:21,480
Speaker 1: they are the only like magical aspect of the movie,

1011
01:04:21,600 --> 01:04:25,160
Speaker 1: like before, I didn't notice that until the rewatch was like, oh,

1012
01:04:25,200 --> 01:04:30,200
Speaker 1: there's no other magic other than the indigenous transformation and

1013
01:04:30,280 --> 01:04:33,800
Speaker 1: the curse in the city before that, it's kind of like, yeah,

1014
01:04:33,840 --> 01:04:37,040
Speaker 1: like that trope of the I don't know if magical

1015
01:04:37,440 --> 01:04:42,640
Speaker 1: Indian quote unquote is a trope. I think like it

1016
01:04:42,680 --> 01:04:44,920
Speaker 1: sounds like the name of a trope. It sounds like

1017
01:04:44,920 --> 01:04:46,360
Speaker 1: the name of a trope. I just don't know if

1018
01:04:46,360 --> 01:04:48,960
Speaker 1: it's like a term. I think I'm thinking of like

1019
01:04:49,240 --> 01:04:52,920
Speaker 1: a similar trope when it comes to black characters. But

1020
01:04:53,280 --> 01:04:55,200
Speaker 1: it does feel kind of like that thing where like

1021
01:04:56,240 --> 01:05:01,640
Speaker 1: it's the contrast between like the the science explorers and

1022
01:05:01,680 --> 01:05:08,080
Speaker 1: the magical indigenous, like the mystical indigenous, which is very routed,

1023
01:05:08,480 --> 01:05:11,040
Speaker 1: and you know, you know that those kind of like

1024
01:05:11,800 --> 01:05:14,640
Speaker 1: reasons for colonizing people. It's like, oh, well, they're doing

1025
01:05:14,680 --> 01:05:18,240
Speaker 1: witchcraft and they're you know, we need to stop them.

1026
01:05:18,240 --> 01:05:21,600
Speaker 1: Even the whole like hiding thing, it's like it's also

1027
01:05:22,280 --> 01:05:24,920
Speaker 1: very rooted in this kind of here in Columbia. They

1028
01:05:24,920 --> 01:05:30,919
Speaker 1: talk about this indigenous malice, which is like it's when

1029
01:05:31,000 --> 01:05:34,560
Speaker 1: it's referred to like this habit of like you know,

1030
01:05:34,680 --> 01:05:38,960
Speaker 1: like tricking and like hiding, and it's just that it's

1031
01:05:39,000 --> 01:05:44,360
Speaker 1: a very very bad concept that people just mentioned a lot.

1032
01:05:44,440 --> 01:05:46,760
Speaker 1: When I'm talking about how people white people here are

1033
01:05:46,800 --> 01:05:51,240
Speaker 1: so sneaky, it's just, oh, you know, we inherited the

1034
01:05:51,280 --> 01:05:54,120
Speaker 1: indigenous malice, and it's just like, mmm, I feel like,

1035
01:05:54,240 --> 01:05:57,600
Speaker 1: you know, not wanting people to steal your things doesn't

1036
01:05:57,640 --> 01:06:01,480
Speaker 1: mean that you're like hiding some thing that's not malicious.

1037
01:06:02,440 --> 01:06:05,320
Speaker 1: So that brings me to another thing about this movie

1038
01:06:05,360 --> 01:06:08,360
Speaker 1: and many movies in this genre, But Dora is still

1039
01:06:08,400 --> 01:06:11,800
Speaker 1: guilty of it, and I Dora meaning the movie not

1040
01:06:11,960 --> 01:06:18,720
Speaker 1: the specific character because did nothing. Dora is seven years old, Caitlin,

1041
01:06:19,920 --> 01:06:22,880
Speaker 1: So this Dora movie is what I mean. But okay,

1042
01:06:22,920 --> 01:06:27,240
Speaker 1: so think of like the eraws that the indigenous people

1043
01:06:27,440 --> 01:06:30,320
Speaker 1: fire at Dora and her friends. Think of the aqueduct

1044
01:06:30,440 --> 01:06:33,400
Speaker 1: that Dora and her friends get trapped in that belongs

1045
01:06:33,440 --> 01:06:36,400
Speaker 1: to the indigenous people. I think of the various jungle

1046
01:06:36,440 --> 01:06:39,320
Speaker 1: puzzles and booby traps and all that stuff that Dora

1047
01:06:39,600 --> 01:06:44,320
Speaker 1: and her friends have to solve and get past. So

1048
01:06:44,400 --> 01:06:48,720
Speaker 1: it's obviously completely understandable that these indigenous people would want

1049
01:06:48,760 --> 01:06:52,360
Speaker 1: to protect their land and in their city and set

1050
01:06:52,440 --> 01:06:56,760
Speaker 1: up defenses against people invading their space and stealing from them.

1051
01:06:56,800 --> 01:07:00,600
Speaker 1: But these things are all presented as obstacles for Dora

1052
01:07:00,680 --> 01:07:03,920
Speaker 1: and her friends to overcome, and from a storytelling perspective,

1053
01:07:04,680 --> 01:07:09,280
Speaker 1: the audience is rooting against the obstacles and rooting for

1054
01:07:09,440 --> 01:07:13,120
Speaker 1: the hero and her friends to overcome these obstacles. So

1055
01:07:13,200 --> 01:07:16,120
Speaker 1: in this way, the Indigenous people are framed as an

1056
01:07:16,160 --> 01:07:22,000
Speaker 1: antagonistic force the people and their defenses, right, So it's

1057
01:07:22,080 --> 01:07:27,200
Speaker 1: it's so it's I it's so frustrated because it's like, yeah,

1058
01:07:27,200 --> 01:07:29,600
Speaker 1: there're like moments where you're like, oh, the movie is

1059
01:07:29,640 --> 01:07:31,400
Speaker 1: doing the thing that the movie is very self aware

1060
01:07:31,400 --> 01:07:35,160
Speaker 1: that it shouldn't be doing. And I understand why. It's

1061
01:07:35,200 --> 01:07:39,400
Speaker 1: like because these are so entrenched in what this genre is.

1062
01:07:39,440 --> 01:07:41,800
Speaker 1: But it's like this movie gets around so much that

1063
01:07:42,480 --> 01:07:44,920
Speaker 1: there is a way for that to not happen, because

1064
01:07:45,120 --> 01:07:47,640
Speaker 1: I guess that that is like the trickier part of

1065
01:07:48,760 --> 01:07:51,280
Speaker 1: I really like, like we were talking about, I really

1066
01:07:51,320 --> 01:07:56,000
Speaker 1: appreciate and like, how immediately Evil Longoria, I don't know

1067
01:07:56,080 --> 01:07:59,920
Speaker 1: the character's name. Evil Longoria is Evil Longoria is Eva Longoria.

1068
01:08:00,320 --> 01:08:03,360
Speaker 1: But she says at the beginning of the movie, we

1069
01:08:03,440 --> 01:08:07,000
Speaker 1: are not treasure hunters treasure she loses treasure hunting bad,

1070
01:08:07,080 --> 01:08:13,160
Speaker 1: exploring good, which is like, okay, cool, but exploring also

1071
01:08:13,440 --> 01:08:17,799
Speaker 1: seems to permit and involve like clearly just blowing past

1072
01:08:18,200 --> 01:08:22,120
Speaker 1: boundaries right that are clearly set. I mean, I guess

1073
01:08:22,160 --> 01:08:24,240
Speaker 1: that that's somewhat complicated by the fact that they're on

1074
01:08:24,280 --> 01:08:27,960
Speaker 1: a rescue mission. But it's like, I don't know, it's

1075
01:08:28,040 --> 01:08:31,639
Speaker 1: kind of like that the Indiana Jones thing about how

1076
01:08:31,720 --> 01:08:35,160
Speaker 1: he's got he's good, he's the good exploring Indiana Jones

1077
01:08:35,560 --> 01:08:38,240
Speaker 1: because he's like it belongs in a museum, you know,

1078
01:08:38,320 --> 01:08:41,040
Speaker 1: he's not like he doesn't want to sell the things

1079
01:08:41,080 --> 01:08:43,000
Speaker 1: for profit or anything. He wants to put it in

1080
01:08:43,000 --> 01:08:45,960
Speaker 1: a museum. And that's like framed the good thing, but

1081
01:08:46,000 --> 01:08:48,760
Speaker 1: like it's like you're deciding if that should be in

1082
01:08:48,760 --> 01:08:51,400
Speaker 1: a museum that doesn't belong to you. It's not your

1083
01:08:51,439 --> 01:08:54,080
Speaker 1: choice to make, right, Yeah, And it's a museum that's

1084
01:08:54,120 --> 01:08:58,320
Speaker 1: like a shrine to imperial yeah exactly. And so here

1085
01:08:58,360 --> 01:09:00,840
Speaker 1: it's kind of like, well we're exploring. It's like you're

1086
01:09:00,960 --> 01:09:05,240
Speaker 1: encroaching upon other people's territory. And I get that they

1087
01:09:05,439 --> 01:09:08,160
Speaker 1: think that this the city is abandoned and they're like

1088
01:09:08,200 --> 01:09:13,080
Speaker 1: in an anthropological like mission to discover And it's like, Okay,

1089
01:09:13,160 --> 01:09:16,479
Speaker 1: I guess that's understandable in a in a way of like, well,

1090
01:09:16,640 --> 01:09:19,559
Speaker 1: you know, but you also don't have any like Inca

1091
01:09:19,680 --> 01:09:23,360
Speaker 1: people around to help you. You know. The Inca people

1092
01:09:23,400 --> 01:09:27,280
Speaker 1: are still there, right and want nothing to do with Dora,

1093
01:09:27,840 --> 01:09:31,599
Speaker 1: Like it's yeah, when they discover that the guardians are

1094
01:09:31,600 --> 01:09:34,000
Speaker 1: still like trying to save a guard the city and everything,

1095
01:09:34,120 --> 01:09:37,840
Speaker 1: it's just kind of like, oh, okay, well, I guess

1096
01:09:37,840 --> 01:09:41,880
Speaker 1: we should keep going there, exactly. Deal they're trying to

1097
01:09:41,920 --> 01:09:45,200
Speaker 1: kill us with arrows but maybe we should just keep going.

1098
01:09:45,280 --> 01:09:48,519
Speaker 1: And it's like, well, no, that's not the takeaway. Yeah,

1099
01:09:48,800 --> 01:09:51,400
Speaker 1: it is a tricky thing that again it could be

1100
01:09:51,479 --> 01:09:56,840
Speaker 1: like just like oh, we're working with Inca, you know, anthropologists,

1101
01:09:56,840 --> 01:09:59,920
Speaker 1: and they also want to discover their city and something

1102
01:10:00,040 --> 01:10:02,240
Speaker 1: like that, Like, this is not a problem that doesn't

1103
01:10:02,280 --> 01:10:05,439
Speaker 1: have a solution. I think I always use as a

1104
01:10:05,479 --> 01:10:10,120
Speaker 1: good example of what an adventure lost X thing could

1105
01:10:10,120 --> 01:10:15,840
Speaker 1: look like is Mohanna, because it's just it's just kind

1106
01:10:15,840 --> 01:10:19,479
Speaker 1: of like, oh, she's discovering something that belongs to her

1107
01:10:19,479 --> 01:10:22,559
Speaker 1: own culture, and so she's going through this quest that

1108
01:10:22,600 --> 01:10:25,680
Speaker 1: she has a personal connection to. So it's like, I'm

1109
01:10:25,720 --> 01:10:28,920
Speaker 1: not saying that they should have made you know, Dora Inca.

1110
01:10:29,520 --> 01:10:32,840
Speaker 1: I guess that would come with its own thing, especially

1111
01:10:32,920 --> 01:10:38,160
Speaker 1: with no indigenous writers. They don't even have like Latin writers,

1112
01:10:39,080 --> 01:10:42,280
Speaker 1: much less Native Americans in a in a more like

1113
01:10:42,880 --> 01:10:47,120
Speaker 1: general way, not just the United States, like Indigenous Americans

1114
01:10:47,680 --> 01:10:50,960
Speaker 1: from the two content from the Home. It's weird. It's

1115
01:10:51,720 --> 01:10:53,840
Speaker 1: I still haven't figured out how to go around the

1116
01:10:53,840 --> 01:10:56,799
Speaker 1: fact that people in the US called their country America.

1117
01:10:57,640 --> 01:10:59,759
Speaker 1: It always it always provides a bit of a language

1118
01:11:00,040 --> 01:11:03,519
Speaker 1: here for me, right, Yeah, I always try to say

1119
01:11:03,720 --> 01:11:07,840
Speaker 1: the states, not that other countries don't have state Like

1120
01:11:07,920 --> 01:11:12,479
Speaker 1: it's right, it's likes to call it the big old

1121
01:11:12,560 --> 01:11:16,519
Speaker 1: piss pot, to call it the big toilet. I like

1122
01:11:16,600 --> 01:11:19,080
Speaker 1: to call it the pooh hole, the pooh hole that

1123
01:11:19,080 --> 01:11:21,960
Speaker 1: they dig for Sammy to poo in. That's what our

1124
01:11:22,000 --> 01:11:28,200
Speaker 1: country is wild anyway, that's I mean, that's an excellent

1125
01:11:28,240 --> 01:11:31,519
Speaker 1: I mean, that's an excellent point of just like a

1126
01:11:31,560 --> 01:11:35,040
Speaker 1: way that you can keep the adventure story and ground

1127
01:11:35,080 --> 01:11:38,080
Speaker 1: it in a way that isn't taking great pains to

1128
01:11:38,640 --> 01:11:42,720
Speaker 1: other another culture, which the movie keeps telling you, and

1129
01:11:42,760 --> 01:11:44,880
Speaker 1: we know we shouldn't be doing that. So then when

1130
01:11:44,920 --> 01:11:47,720
Speaker 1: it starts to happen more and more like into the

1131
01:11:47,720 --> 01:11:52,000
Speaker 1: second and then the third act, especially when Dora meets

1132
01:11:52,160 --> 01:11:55,880
Speaker 1: the Ink and Princess, I guess, I mean, it's barely

1133
01:11:55,920 --> 01:12:00,120
Speaker 1: a conversation. Dora is essentially just like no, I'm good it,

1134
01:12:00,479 --> 01:12:04,439
Speaker 1: and the Incan Princess is like, oh okay, and like

1135
01:12:04,520 --> 01:12:07,320
Speaker 1: that's kind of it. You're just like, no, no, no,

1136
01:12:07,560 --> 01:12:14,040
Speaker 1: that's not what it's interesting because I don't know, I

1137
01:12:14,360 --> 01:12:16,519
Speaker 1: feel like again, like I said, like the movie wants

1138
01:12:16,520 --> 01:12:19,479
Speaker 1: to have it both ways. It wants to enjoy this

1139
01:12:19,560 --> 01:12:22,960
Speaker 1: while also being more aware of it, which is the

1140
01:12:23,000 --> 01:12:24,720
Speaker 1: thing that I want for it because I love the

1141
01:12:24,760 --> 01:12:28,200
Speaker 1: adventure genre and I don't want it to die. You know,

1142
01:12:28,240 --> 01:12:31,040
Speaker 1: it needs to evolve kind of like Westerns. It needs

1143
01:12:31,080 --> 01:12:35,240
Speaker 1: to find something that's not colonialism to attach itself to.

1144
01:12:35,840 --> 01:12:38,400
Speaker 1: And I think like part of where it begins is

1145
01:12:38,439 --> 01:12:41,880
Speaker 1: to start treating the cultures around the object. It's like

1146
01:12:41,960 --> 01:12:45,560
Speaker 1: real cultures and not just like set dressing. And I

1147
01:12:45,600 --> 01:12:47,599
Speaker 1: feel like this movie gets so much of it right.

1148
01:12:47,760 --> 01:12:52,520
Speaker 1: It's like very it's very kind of quote unquote faithful

1149
01:12:52,600 --> 01:12:55,400
Speaker 1: to the idea that we have of the Incas in

1150
01:12:55,520 --> 01:12:59,840
Speaker 1: that time, but at the same time, it's very like

1151
01:13:00,080 --> 01:13:03,080
Speaker 1: gets a lot of stuff weirdly wrong. It uses a

1152
01:13:03,080 --> 01:13:07,320
Speaker 1: lot of shorthand that is like, oh, I don't know

1153
01:13:07,360 --> 01:13:08,800
Speaker 1: if you needed that. Like at one point in the

1154
01:13:09,000 --> 01:13:11,439
Speaker 1: in the aqueduct thing when they're trying to escape it

1155
01:13:11,479 --> 01:13:12,960
Speaker 1: or I don't know if it's the aqueduct. In one

1156
01:13:13,000 --> 01:13:18,800
Speaker 1: of the jungle puzzles, there's the golden ratio, really the

1157
01:13:18,840 --> 01:13:22,280
Speaker 1: golden ratio, and I was like, that's Greek, Like why

1158
01:13:22,320 --> 01:13:25,800
Speaker 1: couldn't you find, like, you know, an inc and mark

1159
01:13:25,840 --> 01:13:29,280
Speaker 1: of wisdom? It's just like a like knowledge. It's just

1160
01:13:29,320 --> 01:13:34,200
Speaker 1: always yeah. It's like when in in other movies they're

1161
01:13:34,200 --> 01:13:38,400
Speaker 1: in like South America, but you see like Mayan pyramids

1162
01:13:39,200 --> 01:13:44,720
Speaker 1: and it's just like, no, yeah, that's not what this

1163
01:13:44,840 --> 01:13:48,600
Speaker 1: architecture looks like. So like they have so much of

1164
01:13:48,640 --> 01:13:51,360
Speaker 1: the oh, the astronomy thing that's pretty good, and it's like, yeah,

1165
01:13:51,439 --> 01:13:55,559
Speaker 1: that's you're you're on the right path. But then they're like, oh,

1166
01:13:56,160 --> 01:13:59,639
Speaker 1: they this movie does a lot better job than others

1167
01:14:00,200 --> 01:14:03,040
Speaker 1: treating this is like an actual culture and not just

1168
01:14:03,160 --> 01:14:08,640
Speaker 1: the generic South of the Border indigenous right, which is

1169
01:14:08,640 --> 01:14:14,519
Speaker 1: always like colorful feathers and pyramids and gold right, which

1170
01:14:14,560 --> 01:14:16,720
Speaker 1: is which is something we we discussed a little bit

1171
01:14:16,720 --> 01:14:19,280
Speaker 1: in our Romance of the Stone episode because of the

1172
01:14:19,439 --> 01:14:25,240
Speaker 1: many ways that that movie completely fumbles representing Colombian culture.

1173
01:14:25,400 --> 01:14:28,320
Speaker 1: It's like what you're describing of the all over the place,

1174
01:14:28,439 --> 01:14:32,759
Speaker 1: just lumping in everything other. They didn't shoot the movie

1175
01:14:32,760 --> 01:14:35,559
Speaker 1: in Columbia, it was shot in Mexico. It's like just

1176
01:14:35,960 --> 01:14:39,200
Speaker 1: all of this stuff that is not furthering a conversation

1177
01:14:39,240 --> 01:14:44,280
Speaker 1: that needs to be happening among movie goers about, you know,

1178
01:14:44,439 --> 01:14:49,919
Speaker 1: resisting this urge to lump every non white culture into

1179
01:14:50,240 --> 01:14:55,439
Speaker 1: one villainous force, like it's just absurd. How yeah right, yeah,

1180
01:14:55,520 --> 01:14:59,880
Speaker 1: it's this generic other it is like, yeah, that's them.

1181
01:15:00,120 --> 01:15:05,080
Speaker 1: That's why indigenous people look like. And it's always like, oh,

1182
01:15:05,200 --> 01:15:09,200
Speaker 1: if you're doing an adventure movie that is specifically about anthropologists,

1183
01:15:09,240 --> 01:15:14,080
Speaker 1: I guess explorers, but I think they're probably anthropologists. They

1184
01:15:14,080 --> 01:15:17,519
Speaker 1: seem to be bad at the actual like archeology aspect,

1185
01:15:17,600 --> 01:15:22,280
Speaker 1: so they don't seem to know what their job title is,

1186
01:15:22,400 --> 01:15:25,080
Speaker 1: which I'm just they're like, we're professors, Like okay, so

1187
01:15:25,560 --> 01:15:30,880
Speaker 1: there are no professors of exploring right other than Indiana Jones.

1188
01:15:30,920 --> 01:15:34,040
Speaker 1: I guess I guess that is true. I mean that

1189
01:15:34,080 --> 01:15:36,439
Speaker 1: felt like more tongue in cheek where I'm like, wow,

1190
01:15:36,479 --> 01:15:41,000
Speaker 1: these five year older like I explore, Um, it has

1191
01:15:41,040 --> 01:15:44,599
Speaker 1: that same energy of the city the jungle, very like

1192
01:15:45,120 --> 01:15:47,559
Speaker 1: it's kind of like a kid, like a kid kind

1193
01:15:47,560 --> 01:15:53,800
Speaker 1: of wrote that. I like that. Exploring another thing I

1194
01:15:53,840 --> 01:15:57,040
Speaker 1: wanted to talk about, and I'm I'm curious as to

1195
01:15:57,120 --> 01:16:02,840
Speaker 1: what your thoughts are on is so for the ink

1196
01:16:03,000 --> 01:16:07,960
Speaker 1: and Princess, who also has magical mystical powers because she

1197
01:16:08,000 --> 01:16:14,839
Speaker 1: transforms from an old woman into a young woman. So like,

1198
01:16:14,840 --> 01:16:16,880
Speaker 1: like we said, there's that kind of like trope of

1199
01:16:16,960 --> 01:16:21,920
Speaker 1: like the mystical, magical Indian. I feel like there's also

1200
01:16:22,000 --> 01:16:27,960
Speaker 1: maybe the stoic Indian stereotype at play here, and then

1201
01:16:28,000 --> 01:16:32,160
Speaker 1: Indian just being a term to refer to indigenous people

1202
01:16:32,400 --> 01:16:35,920
Speaker 1: in general. But I think that's the name of that trope.

1203
01:16:36,000 --> 01:16:42,280
Speaker 1: But all this to say that this princess slash goddess character, again,

1204
01:16:42,400 --> 01:16:44,760
Speaker 1: we know nothing about this person, so I don't even

1205
01:16:44,760 --> 01:16:48,320
Speaker 1: know how to describe them or identify them, because that's

1206
01:16:48,320 --> 01:16:54,240
Speaker 1: how little princess, right, Okay, not that we know that, yeah,

1207
01:16:54,320 --> 01:16:57,559
Speaker 1: exactly from the movie and the movie it's just like

1208
01:16:57,840 --> 01:17:00,320
Speaker 1: she she might as well be, you know, like the

1209
01:17:00,360 --> 01:17:06,080
Speaker 1: security guard, very nicely addressed security guard. Right. So when

1210
01:17:06,080 --> 01:17:11,440
Speaker 1: she's on screen, she's barely speaking, she's not really reacting

1211
01:17:11,479 --> 01:17:15,120
Speaker 1: to anything that's happening. In this whole climactic sequence. These

1212
01:17:15,160 --> 01:17:19,519
Speaker 1: intruders have come in, some of whom to steal the

1213
01:17:19,640 --> 01:17:27,120
Speaker 1: treasures of the city, others too archaeologically document the city. Um,

1214
01:17:28,560 --> 01:17:32,840
Speaker 1: they're just visiting. There's this tourists. She's really not reacting

1215
01:17:33,400 --> 01:17:38,360
Speaker 1: at all, mostly just kind of standing there stoically and

1216
01:17:38,520 --> 01:17:42,479
Speaker 1: totally permitting Dora to make this offering to the gods,

1217
01:17:43,240 --> 01:17:46,400
Speaker 1: and it just confused me as to why if there

1218
01:17:46,400 --> 01:17:51,080
Speaker 1: are these like lost guardians who have all these measures

1219
01:17:51,120 --> 01:17:58,439
Speaker 1: to deflect intruders and all these like defense defensive things

1220
01:17:59,040 --> 01:18:04,599
Speaker 1: exactly jungle puzzled to deter intruders, why then when they

1221
01:18:04,640 --> 01:18:08,599
Speaker 1: do find when the intruders are there, is she just

1222
01:18:08,720 --> 01:18:12,599
Speaker 1: like mm hmmm, go ahead. So I feel like there's

1223
01:18:12,640 --> 01:18:17,519
Speaker 1: that stereotype at play. And either way, it's just an

1224
01:18:17,520 --> 01:18:22,000
Speaker 1: example of the one Indigenous character with this Actually no,

1225
01:18:22,200 --> 01:18:27,240
Speaker 1: because well Tomura Morrison shout out to that actor who

1226
01:18:27,240 --> 01:18:31,280
Speaker 1: plays one of the mercenaries, who is Maori. We've talked

1227
01:18:31,280 --> 01:18:34,960
Speaker 1: about him on the show before. He's an aquaman among

1228
01:18:35,000 --> 01:18:38,679
Speaker 1: many other things. Oh yeah, he's and he's like Mona's bad,

1229
01:18:38,880 --> 01:18:43,080
Speaker 1: isn't he? Yes, I have to double check that, but yes,

1230
01:18:44,120 --> 01:18:46,519
Speaker 1: So he plays one of the mercenaries, which is also

1231
01:18:46,880 --> 01:18:50,479
Speaker 1: weird casting to cast an Indigenous actor as one of

1232
01:18:50,520 --> 01:18:54,439
Speaker 1: the people who is like trying to steal from Indigenous people.

1233
01:18:55,160 --> 01:19:00,320
Speaker 1: This movie is too inclusive, like more in in his

1234
01:19:00,920 --> 01:19:06,360
Speaker 1: mercenaries treasure hunting a right, right, that's not the representation

1235
01:19:06,520 --> 01:19:10,280
Speaker 1: we need. You're like, who who's that representing? Like that,

1236
01:19:10,439 --> 01:19:15,840
Speaker 1: who's that helping. Yeah, and I don't think I even

1237
01:19:15,880 --> 01:19:20,640
Speaker 1: recognized him, but because he's usually like Boba Fette and

1238
01:19:20,680 --> 01:19:23,479
Speaker 1: so he's got like a mask on. But yeah, so

1239
01:19:23,520 --> 01:19:25,880
Speaker 1: that's weird casting. I guess I know him from being

1240
01:19:26,160 --> 01:19:30,800
Speaker 1: as Dad, so I couldn't have recognizing from that either cartoon, right,

1241
01:19:31,720 --> 01:19:36,559
Speaker 1: So anyway, this princess is um income. Princess is at

1242
01:19:36,560 --> 01:19:40,000
Speaker 1: the very least someone who we don't know anything about,

1243
01:19:40,120 --> 01:19:43,040
Speaker 1: which is just another part of this issue of these

1244
01:19:43,040 --> 01:19:45,880
Speaker 1: stories never being told from the point of view of

1245
01:19:46,160 --> 01:19:50,679
Speaker 1: the characters who are being invaded and stolen from or

1246
01:19:51,240 --> 01:19:54,720
Speaker 1: just like you know, these these stories rarely center and

1247
01:19:54,800 --> 01:19:58,640
Speaker 1: again like Mowana is one of these few examples of

1248
01:19:58,640 --> 01:20:02,240
Speaker 1: an adventure story that you know does center an indigenous

1249
01:20:02,280 --> 01:20:08,240
Speaker 1: character learning about her own history and heritage. But this

1250
01:20:08,280 --> 01:20:14,080
Speaker 1: movie leans into too many of these tropes. Yeah, and

1251
01:20:14,320 --> 01:20:17,519
Speaker 1: like you said, I the whole like stoic affect is

1252
01:20:17,680 --> 01:20:20,640
Speaker 1: very It's like it's like in most and most of

1253
01:20:20,680 --> 01:20:23,799
Speaker 1: these kinds of movies, like the indigenous women who women

1254
01:20:23,880 --> 01:20:27,640
Speaker 1: tend to be either you know, very for lack of

1255
01:20:27,680 --> 01:20:32,440
Speaker 1: a better word, very like slutty, I guess, very like sexualized,

1256
01:20:33,080 --> 01:20:38,160
Speaker 1: totally available, I guess that's the better word. Found it

1257
01:20:38,320 --> 01:20:41,160
Speaker 1: found it. It's just like the way that they're portrayed.

1258
01:20:41,240 --> 01:20:46,320
Speaker 1: I'm just tends to be like very American slutty kind

1259
01:20:46,320 --> 01:20:51,000
Speaker 1: of trope, or like the very stoic you know. It's

1260
01:20:51,040 --> 01:20:54,240
Speaker 1: just kind of like I think, like Disneyspacajonda's kind of

1261
01:20:55,000 --> 01:20:57,920
Speaker 1: is somewhere in between. She's very stoic, but she also

1262
01:20:58,120 --> 01:21:01,040
Speaker 1: falls in love with this guy like very soon. She's

1263
01:21:01,200 --> 01:21:06,200
Speaker 1: just like dressed differently. Yeah. Yeah, she's just wearing less

1264
01:21:06,200 --> 01:21:10,120
Speaker 1: than any other Disney princess. Yeah. Yeah, so it's kind

1265
01:21:10,160 --> 01:21:13,719
Speaker 1: of like that. I guess if you have to choose

1266
01:21:13,800 --> 01:21:16,679
Speaker 1: between her being one or the other, I guess Stowe

1267
01:21:16,760 --> 01:21:19,759
Speaker 1: gives the better option. But you know, she can also

1268
01:21:19,880 --> 01:21:26,040
Speaker 1: be fun or angry or like, you know, more interesting

1269
01:21:26,080 --> 01:21:31,880
Speaker 1: emotion than just like blank, right, but yeah, it is

1270
01:21:31,920 --> 01:21:33,880
Speaker 1: kind of interesting. I mean, I guess we did see

1271
01:21:33,880 --> 01:21:35,960
Speaker 1: her as the old lady, right, because she's like the

1272
01:21:35,960 --> 01:21:40,360
Speaker 1: two characters, right, She's the old lady that they run

1273
01:21:40,400 --> 01:21:43,519
Speaker 1: into that kind of warns them against it. Who is fun.

1274
01:21:43,600 --> 01:21:47,799
Speaker 1: She's smashing things with rocks. That was like another trope

1275
01:21:47,800 --> 01:21:52,760
Speaker 1: of like older woman, bad and scary and confusing, and

1276
01:21:52,800 --> 01:21:55,160
Speaker 1: she don't know anything about her, but for some reason,

1277
01:21:55,160 --> 01:21:58,519
Speaker 1: when she turns into a younger woman, you still know

1278
01:21:58,600 --> 01:22:01,400
Speaker 1: nothing about her. But it's just but it's good. Now

1279
01:22:01,720 --> 01:22:06,080
Speaker 1: you're like, because old women are bad. She's young and

1280
01:22:06,120 --> 01:22:08,519
Speaker 1: hot now, so now we like her. Yea, So now

1281
01:22:08,560 --> 01:22:10,439
Speaker 1: we're like, oh, I'm not afraid of her anymore. It

1282
01:22:10,479 --> 01:22:16,519
Speaker 1: turns out I'm afraid of older women because kind of

1283
01:22:16,560 --> 01:22:19,479
Speaker 1: like the beast, if you need the beast, Like, oh, sorry,

1284
01:22:19,520 --> 01:22:22,720
Speaker 1: I didn't know you were a hot young sorceress, right,

1285
01:22:22,880 --> 01:22:27,600
Speaker 1: I'm like, she's just fucking your life up like she's

1286
01:22:28,280 --> 01:22:31,479
Speaker 1: and statistically, sexy people are more likely to ruin your life.

1287
01:22:31,520 --> 01:22:35,920
Speaker 1: That's just a fact can confirm. Yeah, so it is,

1288
01:22:36,000 --> 01:22:39,720
Speaker 1: it is. It is a very again. The the indigenous

1289
01:22:39,720 --> 01:22:41,599
Speaker 1: portrayal in the movie is like, I guess, the most

1290
01:22:41,680 --> 01:22:46,080
Speaker 1: confused aspect of it, the kind of like they keep

1291
01:22:46,240 --> 01:22:49,559
Speaker 1: validating the indigenous claim over their own territory. They keep

1292
01:22:49,560 --> 01:22:52,040
Speaker 1: saying like this is not ours. When you have to

1293
01:22:52,120 --> 01:22:55,639
Speaker 1: return that Dora returns the gold that Swiper stole. It's

1294
01:22:55,680 --> 01:23:00,840
Speaker 1: just kind of like Ciper is a colonizer, right, so

1295
01:23:01,120 --> 01:23:06,120
Speaker 1: person call sir. In the credit song, they have that

1296
01:23:06,200 --> 01:23:11,519
Speaker 1: monkey statue again, So apparently Doris family did steal it? Oh,

1297
01:23:11,560 --> 01:23:13,760
Speaker 1: I thought that was just the one that they already had.

1298
01:23:14,600 --> 01:23:16,679
Speaker 1: Oh did they already have one? Yeah, the one that

1299
01:23:17,400 --> 01:23:20,639
Speaker 1: I think that's the one that Dora finds. Okay, okay, right,

1300
01:23:21,240 --> 01:23:24,400
Speaker 1: was like that would be a huge mess. I thought

1301
01:23:24,479 --> 01:23:27,439
Speaker 1: you were going to mention. I thought, for a second,

1302
01:23:27,439 --> 01:23:29,280
Speaker 1: I thought you were mentioned. My one qualm with the

1303
01:23:30,000 --> 01:23:33,760
Speaker 1: credits musical number is that they have to have that

1304
01:23:33,920 --> 01:23:39,439
Speaker 1: very tired joke of like, oh, indigenous food grows, and

1305
01:23:39,479 --> 01:23:42,439
Speaker 1: that they have that one bid in which they forced

1306
01:23:42,439 --> 01:23:45,760
Speaker 1: the hand that the best to eat bugs, and it's

1307
01:23:45,800 --> 01:23:48,519
Speaker 1: just always like right, there's like I can't believe we

1308
01:23:48,560 --> 01:23:51,880
Speaker 1: haven't gotten rid of that. They even I don't think

1309
01:23:51,920 --> 01:23:58,639
Speaker 1: a lot of people watch the Jungle Cruise movie Hello five.

1310
01:24:00,360 --> 01:24:02,760
Speaker 1: I mean I watched it because I kind of love

1311
01:24:02,840 --> 01:24:06,519
Speaker 1: the ride and I love that aesthetics. So I was like, oh,

1312
01:24:06,600 --> 01:24:11,280
Speaker 1: maybe this will do something interesting like Dora Dead. No,

1313
01:24:11,760 --> 01:24:14,559
Speaker 1: but they have this one moment in which they're like

1314
01:24:14,640 --> 01:24:17,920
Speaker 1: at the and one of the indigenous like villages and

1315
01:24:17,960 --> 01:24:21,640
Speaker 1: the guy's like, oh, this beer is very nice, and

1316
01:24:21,680 --> 01:24:25,800
Speaker 1: then the Dwayne Johnson is like, that's massato, it's fermented

1317
01:24:25,840 --> 01:24:28,360
Speaker 1: spit and you know, it's very much like the joke

1318
01:24:28,439 --> 01:24:31,960
Speaker 1: of like, oh, indigenous food is girls, but like, guess what,

1319
01:24:32,280 --> 01:24:35,360
Speaker 1: that's not what massato issat is one of the most

1320
01:24:35,400 --> 01:24:38,719
Speaker 1: popular drinks here in Colombia, and it's not fermented spit.

1321
01:24:39,360 --> 01:24:41,040
Speaker 1: And it's just like kind of like, why do you

1322
01:24:41,439 --> 01:24:44,080
Speaker 1: feel the need to keep making that same joke over

1323
01:24:44,120 --> 01:24:50,120
Speaker 1: and over again. It's like the Temple of Doom dinner seat, Yeah, exactly.

1324
01:24:50,160 --> 01:24:54,240
Speaker 1: It's like, do you know what European z eats is? Like, yeah,

1325
01:24:54,520 --> 01:24:56,799
Speaker 1: but I was about to say, I was like, meanwhile,

1326
01:24:56,840 --> 01:25:00,360
Speaker 1: you got I'm just dunking on my own and Irish

1327
01:25:00,520 --> 01:25:03,439
Speaker 1: is over and over it, but like canonically nastiest food

1328
01:25:03,439 --> 01:25:05,880
Speaker 1: on the planet. I mean, we eat hot dogs. Hot

1329
01:25:05,920 --> 01:25:11,599
Speaker 1: dogs are shut up there, and I love hot dogs. Yeah,

1330
01:25:11,640 --> 01:25:15,360
Speaker 1: that's right, but it's ape My hot dogs book is

1331
01:25:15,400 --> 01:25:17,920
Speaker 1: coming out about how awesome, No I'm kidding, guess about

1332
01:25:17,920 --> 01:25:22,040
Speaker 1: how it's pretty fly, it's pretty fucked up and colonial.

1333
01:25:23,040 --> 01:25:28,599
Speaker 1: Oh no, okay, I can't believe you would dunk on

1334
01:25:28,720 --> 01:25:31,880
Speaker 1: hot dogs in front of me. Unfucking believable. I'm so sorry.

1335
01:25:31,920 --> 01:25:34,880
Speaker 1: So one question that I had as I was watching

1336
01:25:34,920 --> 01:25:40,160
Speaker 1: this movie that required going back to interrogate the source

1337
01:25:40,280 --> 01:25:45,360
Speaker 1: text of Dora is. I guess Dora the Explorer is

1338
01:25:45,560 --> 01:25:49,480
Speaker 1: a cartoon that started in two thousand. It was on Nickelodeon,

1339
01:25:50,120 --> 01:25:56,479
Speaker 1: and specifically where Dora's heritages is never specified by the show.

1340
01:25:57,080 --> 01:25:59,720
Speaker 1: And I was wondering, like, did I misremember that, like

1341
01:26:00,280 --> 01:26:04,320
Speaker 1: is a certain culture referenced in regards to to Dora

1342
01:26:04,400 --> 01:26:06,439
Speaker 1: and her family? Could you meet her family in the show?

1343
01:26:06,520 --> 01:26:09,760
Speaker 1: You see her all the time. But I I went

1344
01:26:09,800 --> 01:26:12,400
Speaker 1: back and did some research on it, and you do

1345
01:26:12,479 --> 01:26:14,960
Speaker 1: not find out, um and I and I was wondering

1346
01:26:14,960 --> 01:26:19,360
Speaker 1: how intentional that was? And it was extremely intentional, um,

1347
01:26:19,400 --> 01:26:24,559
Speaker 1: going back to when this show was first developed. So

1348
01:26:25,840 --> 01:26:29,599
Speaker 1: bear with me, uh very much to two white women

1349
01:26:29,640 --> 01:26:33,639
Speaker 1: hosting this show. But there there's a really fascinating paper

1350
01:26:33,720 --> 01:26:38,280
Speaker 1: I found by Ellen Berkman called Dora the Explorer, Latino

1351
01:26:38,400 --> 01:26:46,000
Speaker 1: Dad and the Crisis of Identity in the Transition to Neoliberalism, which, honestly, like,

1352
01:26:46,080 --> 01:26:48,519
Speaker 1: that's a mouthful. And I'm also like, this is the

1353
01:26:48,520 --> 01:26:51,879
Speaker 1: ship that I like to read, Uh, like the same

1354
01:26:52,080 --> 01:26:54,280
Speaker 1: you said that title, and I'm like, where do I

1355
01:26:54,320 --> 01:26:57,800
Speaker 1: find this? It's a very good paper. I I only

1356
01:26:57,840 --> 01:27:00,320
Speaker 1: read the first couple of sections. I read the first

1357
01:27:00,320 --> 01:27:03,000
Speaker 1: twenty pages because the answer to the question is very

1358
01:27:03,040 --> 01:27:06,080
Speaker 1: thorough and there's more shades of gray than what I

1359
01:27:06,160 --> 01:27:09,760
Speaker 1: was expecting. What I expected was that Dorothy Explorer was

1360
01:27:09,800 --> 01:27:14,320
Speaker 1: a show developed by white executives Drew that did what

1361
01:27:14,479 --> 01:27:16,920
Speaker 1: a lot of adventure genres do, which is, you know,

1362
01:27:17,000 --> 01:27:20,360
Speaker 1: take every single Latin culture and just turned it into

1363
01:27:20,520 --> 01:27:26,720
Speaker 1: a extremely generalized culture without any specificity, which is what

1364
01:27:26,840 --> 01:27:30,120
Speaker 1: happens with Dora. But the reason it happened because there's

1365
01:27:30,160 --> 01:27:34,240
Speaker 1: there is another There's a great radio segment as well

1366
01:27:34,280 --> 01:27:36,880
Speaker 1: on NPR called the Legacy of Doraty Explorer that came

1367
01:27:36,920 --> 01:27:40,439
Speaker 1: out when this movie did. That unpacks the development of

1368
01:27:40,520 --> 01:27:44,320
Speaker 1: the show, because Nickelodeon, for you know, all all of

1369
01:27:44,360 --> 01:27:47,960
Speaker 1: their faults did at this time, especially in the early

1370
01:27:47,960 --> 01:27:51,360
Speaker 1: two thousands, have by a long shot, the most diverse

1371
01:27:51,479 --> 01:27:55,320
Speaker 1: slate of shows there. There was like quite a bit

1372
01:27:55,320 --> 01:27:59,800
Speaker 1: of representation before this time at least, but all these

1373
01:28:00,000 --> 01:28:04,120
Speaker 1: as were run by white executives, usually with consultants, which

1374
01:28:04,160 --> 01:28:06,400
Speaker 1: is something we'd come up against in movies all the time,

1375
01:28:06,439 --> 01:28:10,680
Speaker 1: of like why can't not a white guy direct this

1376
01:28:10,760 --> 01:28:13,639
Speaker 1: movie instead of like we gotta have a white guy.

1377
01:28:13,680 --> 01:28:16,280
Speaker 1: But we'll hire consultants. It's like, there there's a better

1378
01:28:16,320 --> 01:28:18,800
Speaker 1: way to do this. But I wanted to quote from

1379
01:28:18,840 --> 01:28:23,439
Speaker 1: this paper because that is a quality of Dora that

1380
01:28:23,880 --> 01:28:26,639
Speaker 1: very much follows through to this movie. I don't think

1381
01:28:26,640 --> 01:28:31,080
Speaker 1: that it's specified her country of origin. We just know

1382
01:28:31,320 --> 01:28:33,960
Speaker 1: that she lives in the jungle, she moves to the city,

1383
01:28:34,360 --> 01:28:37,320
Speaker 1: and she's from a Spanish speaking family. So this is

1384
01:28:37,360 --> 01:28:41,040
Speaker 1: about the development of the original animated series. Quote. In

1385
01:28:41,120 --> 01:28:43,879
Speaker 1: order to make Dora marketable to the widest possible audience,

1386
01:28:43,920 --> 01:28:47,320
Speaker 1: Doris producers took the tact of rendering her as pan ethnic,

1387
01:28:47,760 --> 01:28:50,800
Speaker 1: that is, the blurred lines of cultural and national identities,

1388
01:28:50,840 --> 01:28:54,720
Speaker 1: in order to envelope as many Latin identifying communities in

1389
01:28:54,840 --> 01:28:58,439
Speaker 1: Dora's Latini dad as possible. At the advice of historian

1390
01:28:58,520 --> 01:29:04,960
Speaker 1: Carlos Cortes, Dora's creators decided to avoid specifying Dora's national origin. Instead,

1391
01:29:05,000 --> 01:29:07,960
Speaker 1: they placed her in a fictional and unnamed world full

1392
01:29:08,040 --> 01:29:11,559
Speaker 1: of mixed Latin signifiers which cannot be located on any map,

1393
01:29:11,760 --> 01:29:15,479
Speaker 1: but recall real world locations and elements. Cortez argued that

1394
01:29:15,520 --> 01:29:18,280
Speaker 1: this would allow all Latin children to see in Dora

1395
01:29:18,400 --> 01:29:20,519
Speaker 1: a hero that they related to and we're proud of

1396
01:29:20,840 --> 01:29:25,240
Speaker 1: while non Latin children could quote embrace someone different unquote,

1397
01:29:25,720 --> 01:29:29,960
Speaker 1: Dora's creators enthusiastically admit to designing Dora according to this logic,

1398
01:29:30,280 --> 01:29:33,439
Speaker 1: that is, to giving her what they call quote pan

1399
01:29:33,560 --> 01:29:39,360
Speaker 1: Latino appeal unquote. Their phenotypical design decisions reflect the same intentionality.

1400
01:29:39,520 --> 01:29:41,840
Speaker 1: For example, they changed Dora's eye color from green to

1401
01:29:41,960 --> 01:29:45,760
Speaker 1: brown after content supervisor pointed out that the majority of

1402
01:29:45,840 --> 01:29:51,840
Speaker 1: Latino's have brown eyes unquote. Though delocalizing, dehistoricizing, and despecifying

1403
01:29:52,160 --> 01:29:56,000
Speaker 1: uh Dora's identity in these ways maybe a financially advantageous tactic,

1404
01:29:56,320 --> 01:29:59,960
Speaker 1: it creates a glaring contradiction that destabilizes Dora's character when

1405
01:30:00,080 --> 01:30:03,680
Speaker 1: partnered with her alleged quote unquote authenticity. To create a

1406
01:30:03,720 --> 01:30:06,880
Speaker 1: pan athic stereotype of Latino Dad and then to label

1407
01:30:06,920 --> 01:30:10,480
Speaker 1: it as authentic is to erase, reduce, essentialized, and fetishize

1408
01:30:10,479 --> 01:30:15,440
Speaker 1: a multitude of national, cultural, ethnic, racial, historical, and linguistic identities.

1409
01:30:15,760 --> 01:30:18,519
Speaker 1: And then to claim that the products still perfectly mirrors

1410
01:30:18,800 --> 01:30:25,639
Speaker 1: reality unquote, which that totally scans for me. And then

1411
01:30:25,680 --> 01:30:29,599
Speaker 1: on the other side of this very of this very

1412
01:30:29,640 --> 01:30:34,920
Speaker 1: real reality, Okay, Jamie uh uh sounds like your PMS

1413
01:30:35,040 --> 01:30:37,759
Speaker 1: is acting up again, that my pms make me forget

1414
01:30:37,760 --> 01:30:45,640
Speaker 1: word um wow feminist podcast. Uh well, and well this

1415
01:30:45,720 --> 01:30:49,040
Speaker 1: is true. On the other end of that, it sounds like,

1416
01:30:49,080 --> 01:30:51,880
Speaker 1: based on this oral history that was put together that

1417
01:30:52,640 --> 01:30:55,680
Speaker 1: one of the reasons that decision was intentionally made was

1418
01:30:55,720 --> 01:30:59,479
Speaker 1: because Nickelodeon was going on the assumption that there was

1419
01:30:59,600 --> 01:31:03,200
Speaker 1: only own to be one shell that would have a

1420
01:31:03,240 --> 01:31:06,280
Speaker 1: Spanish speaking protagonist, and they wanted so there was like

1421
01:31:06,320 --> 01:31:10,679
Speaker 1: almost a pressure to represent as wide a net of

1422
01:31:10,680 --> 01:31:13,720
Speaker 1: of children as possible, because of course we're not going

1423
01:31:13,800 --> 01:31:18,599
Speaker 1: to have two shows with Latin characters from a specific culture.

1424
01:31:18,640 --> 01:31:22,040
Speaker 1: That would be ridiculous. And so it's it's a very

1425
01:31:22,080 --> 01:31:27,120
Speaker 1: like early two thousand's style paradox. But I will link

1426
01:31:27,160 --> 01:31:29,040
Speaker 1: the paper if if you if you want to dig

1427
01:31:29,040 --> 01:31:32,400
Speaker 1: into it. It's a really really fascinating read that very

1428
01:31:32,479 --> 01:31:36,840
Speaker 1: much like Unpacts. Like, while Dora was certainly a huge stride,

1429
01:31:37,720 --> 01:31:42,760
Speaker 1: there is still a lot of marketing Hollywood over sanitized

1430
01:31:42,800 --> 01:31:49,720
Speaker 1: bullshit attached to the franchise. Yeah, I the quote that

1431
01:31:49,760 --> 01:31:53,360
Speaker 1: you read, I feel like, more concretely and more eloquently

1432
01:31:53,360 --> 01:31:55,840
Speaker 1: than I ever could have put together, like a very

1433
01:31:55,840 --> 01:32:00,559
Speaker 1: good idea that I like, that idea of that pane look,

1434
01:32:01,400 --> 01:32:07,120
Speaker 1: that pan Latino aesthetic that is so popular in a

1435
01:32:07,120 --> 01:32:10,200
Speaker 1: lot of Hollywood media. It's always kind of like a

1436
01:32:10,280 --> 01:32:13,320
Speaker 1: one hand, it's like, oh, that's nice. I mean we

1437
01:32:14,360 --> 01:32:16,920
Speaker 1: you know, I certainly did not grow up watching a

1438
01:32:16,920 --> 01:32:20,599
Speaker 1: lot of Latino kids shows other than like, you know,

1439
01:32:20,760 --> 01:32:25,559
Speaker 1: like ones that were made in Latin America. But you know,

1440
01:32:25,720 --> 01:32:28,400
Speaker 1: I being a little kid, sometimes you like the cooler,

1441
01:32:28,520 --> 01:32:32,719
Speaker 1: shinier foreign stuff better. I guess that's not an experience

1442
01:32:32,720 --> 01:32:35,559
Speaker 1: that Americans have, but it is an experience that not

1443
01:32:35,760 --> 01:32:39,880
Speaker 1: kids usually know. Yeah, exactly like I guess it's not

1444
01:32:39,960 --> 01:32:42,479
Speaker 1: until like you're old enough to recognize that American booze

1445
01:32:42,520 --> 01:32:44,920
Speaker 1: is not very good and you start looking for European one.

1446
01:32:46,080 --> 01:32:51,360
Speaker 1: But Mike's hard lemonade, Mr Hard, Mr Hard lemonade with

1447
01:32:51,520 --> 01:32:57,000
Speaker 1: like a word. I guess I was thinking of like Champagne.

1448
01:32:57,080 --> 01:33:00,599
Speaker 1: I don't know. I drink. I only drink the cheapest

1449
01:33:00,600 --> 01:33:03,160
Speaker 1: thing I can find, So I'm not a good I'm

1450
01:33:03,160 --> 01:33:05,160
Speaker 1: not a very good reference for this. I don't know

1451
01:33:05,160 --> 01:33:11,040
Speaker 1: why I chose that. Similarly, I need a drink um?

1452
01:33:11,080 --> 01:33:17,240
Speaker 1: Are you also? Pms sing? I don't know mabe it

1453
01:33:17,320 --> 01:33:27,479
Speaker 1: can be transmitted through contagious Uh. You know, ever since

1454
01:33:27,479 --> 01:33:30,160
Speaker 1: I watched Turning Red, it's been, it's been, it's been

1455
01:33:30,200 --> 01:33:35,280
Speaker 1: feeling very much like that. I forget what I was saying. Oh,

1456
01:33:35,520 --> 01:33:39,240
Speaker 1: the pan Latino thing. Yeah, so you you grew up

1457
01:33:39,280 --> 01:33:41,240
Speaker 1: wanting to watch for and stuff because you know, it

1458
01:33:41,240 --> 01:33:44,120
Speaker 1: has like a better budget, it has like cooler things.

1459
01:33:44,160 --> 01:33:46,600
Speaker 1: I don't know, it's like kind of like preferring Nickelodeon

1460
01:33:46,720 --> 01:33:50,320
Speaker 1: or Disney Channel to like PBS Kids. I guess kind

1461
01:33:50,320 --> 01:33:53,120
Speaker 1: of like that same thing applied to like, oh that country.

1462
01:33:53,160 --> 01:33:55,719
Speaker 1: It just has a better budget, so those shows always

1463
01:33:55,760 --> 01:33:58,960
Speaker 1: look nicer and stuff like that. So I guess I

1464
01:33:59,000 --> 01:34:02,240
Speaker 1: grew up watching stuff about Latina people, but it was

1465
01:34:02,280 --> 01:34:05,360
Speaker 1: more like Latina made content. And when he came to

1466
01:34:05,439 --> 01:34:07,439
Speaker 1: like four and one is like, yeah, there's Dora and

1467
01:34:07,520 --> 01:34:10,679
Speaker 1: there's um I'm drawing up link here about like TV

1468
01:34:10,720 --> 01:34:13,960
Speaker 1: shows or something like that. I loved The Brothers Carcia.

1469
01:34:14,200 --> 01:34:17,120
Speaker 1: That's a very specific early two thousand show that I

1470
01:34:17,160 --> 01:34:20,519
Speaker 1: loved on Nickelodeon is The Brothers. I was. I'm only

1471
01:34:20,560 --> 01:34:24,920
Speaker 1: remembering it because the show's about Latin kids and teenagers

1472
01:34:24,960 --> 01:34:28,160
Speaker 1: were like heavily referred to in this paper. But the

1473
01:34:28,200 --> 01:34:30,840
Speaker 1: Brothers Garcia was really fun. And then Tyina. Did you

1474
01:34:30,880 --> 01:34:34,160
Speaker 1: ever watch Tina? No, I don't know what this is?

1475
01:34:35,160 --> 01:34:40,240
Speaker 1: Was like the best. She was an Afro Latino girl

1476
01:34:40,439 --> 01:34:43,680
Speaker 1: who lived in New York and went to like an

1477
01:34:43,800 --> 01:34:46,679
Speaker 1: art high school, and she wanted to be a famous singer.

1478
01:34:46,920 --> 01:34:49,920
Speaker 1: And it was everyone in middle school was like Tyin

1479
01:34:50,040 --> 01:34:52,240
Speaker 1: as a hero. She had like a pink denim jacket.

1480
01:34:52,320 --> 01:34:55,559
Speaker 1: It was very exacting. I don't think this show made

1481
01:34:55,560 --> 01:34:57,960
Speaker 1: it here. I don't. I don't think I had heard

1482
01:34:57,960 --> 01:35:00,599
Speaker 1: of it. I wonder how it holds up. Just remember

1483
01:35:00,680 --> 01:35:05,240
Speaker 1: thinking Tina was the coolest, and um she was. She

1484
01:35:05,320 --> 01:35:10,000
Speaker 1: also has played by the same actor who plays Lindsay

1485
01:35:10,040 --> 01:35:14,040
Speaker 1: Lohan's bandmate and Freaky Friday. She plays like the goth

1486
01:35:14,160 --> 01:35:19,320
Speaker 1: girl who's like, yeah, yeah, I really love her. She

1487
01:35:19,439 --> 01:35:25,920
Speaker 1: is amazing. Yeah kind of on another side, So the

1488
01:35:25,960 --> 01:35:30,440
Speaker 1: paper you cited obviously made a ton of amazing points

1489
01:35:30,520 --> 01:35:35,880
Speaker 1: which extend to the Dora movie as well, because Dora

1490
01:35:35,960 --> 01:35:41,559
Speaker 1: and her family's specific heritage is not identified. But as

1491
01:35:41,600 --> 01:35:45,400
Speaker 1: I was looking for a specific review of this movie,

1492
01:35:45,400 --> 01:35:47,680
Speaker 1: which is a whole other section that will get to

1493
01:35:47,880 --> 01:35:50,200
Speaker 1: in a moment, but I was looking for a specific review,

1494
01:35:51,200 --> 01:35:53,280
Speaker 1: and I thought it had been published in the l

1495
01:35:53,280 --> 01:35:55,640
Speaker 1: A Times, So I just like googled, like l A

1496
01:35:55,760 --> 01:35:59,559
Speaker 1: Times Dora and the Lost City of Gold review, hoping

1497
01:35:59,560 --> 01:36:01,559
Speaker 1: that I would find it. I didn't, because it turns

1498
01:36:01,560 --> 01:36:02,960
Speaker 1: out the review I was looking for was in the

1499
01:36:03,000 --> 01:36:06,880
Speaker 1: Hollywood Reporter. But what I did find was like several

1500
01:36:06,920 --> 01:36:12,400
Speaker 1: different articles in l A Times alone about Latin A

1501
01:36:12,560 --> 01:36:16,800
Speaker 1: writers talking about how it was so meaningful for them

1502
01:36:17,000 --> 01:36:21,320
Speaker 1: to see Dora and the Lost City of Gold just

1503
01:36:21,400 --> 01:36:25,760
Speaker 1: for Latin a representation in a movie. So even though

1504
01:36:25,800 --> 01:36:32,240
Speaker 1: it genericizes the culture and basically just says, oh, Dora

1505
01:36:32,720 --> 01:36:39,040
Speaker 1: is obviously Latina because she speaks Spanish and other reasons

1506
01:36:39,080 --> 01:36:43,280
Speaker 1: because like and again, there's no specific cultural things that

1507
01:36:43,439 --> 01:36:46,479
Speaker 1: really get mentioned, so there's not a whole lot to

1508
01:36:46,520 --> 01:36:50,040
Speaker 1: go on. But despite that, there were a lot of

1509
01:36:50,040 --> 01:36:53,439
Speaker 1: people because I don't remember anyone talking about this movie

1510
01:36:53,880 --> 01:36:56,320
Speaker 1: except for me when I saw it in theaters, Like,

1511
01:36:56,640 --> 01:36:59,000
Speaker 1: I don't know if I just missed the Twitter conversation

1512
01:36:59,040 --> 01:37:03,080
Speaker 1: about it. I think maybe just like people my like

1513
01:37:03,240 --> 01:37:06,679
Speaker 1: our age weren't talking about it or what. But like,

1514
01:37:06,760 --> 01:37:08,760
Speaker 1: it is also the kind of movie where it's like

1515
01:37:09,200 --> 01:37:12,439
Speaker 1: the audience of this movie is a little unclear to me, Like,

1516
01:37:12,479 --> 01:37:15,680
Speaker 1: I guess it's yes, it's adapting a show about a

1517
01:37:15,720 --> 01:37:18,280
Speaker 1: seven year old turning her into a seventeen year old,

1518
01:37:18,280 --> 01:37:20,640
Speaker 1: but she still acts like a seven year old. And

1519
01:37:20,720 --> 01:37:23,320
Speaker 1: it's for a show that is like low key not

1520
01:37:23,439 --> 01:37:25,920
Speaker 1: really on as much as it used to be, which

1521
01:37:25,960 --> 01:37:28,160
Speaker 1: is a lot of like reboot culture issues where you're

1522
01:37:28,160 --> 01:37:33,519
Speaker 1: like is this for me? If so, thank you? Like right,

1523
01:37:33,680 --> 01:37:37,080
Speaker 1: it does feel like a family movie that like, it's

1524
01:37:37,120 --> 01:37:39,040
Speaker 1: kind of like, yeah, if you're a kid who watched

1525
01:37:39,040 --> 01:37:42,360
Speaker 1: the show, you'll enjoy it. But also if you remember

1526
01:37:42,360 --> 01:37:45,479
Speaker 1: watching the show, you'll enjoy two because it's a little

1527
01:37:45,479 --> 01:37:48,920
Speaker 1: bit grown up. Yeah, but I didn't they don't know

1528
01:37:48,960 --> 01:37:52,240
Speaker 1: if they marketed that way. It was a very confusingly

1529
01:37:53,120 --> 01:37:56,479
Speaker 1: made and marketed movie. And in regards to tone and audience,

1530
01:37:56,520 --> 01:38:01,599
Speaker 1: it's like, I guess you just want to catch everyone. Yeah, fair.

1531
01:38:01,640 --> 01:38:06,320
Speaker 1: I mean I enjoyed it as an adult. Kids probably

1532
01:38:06,360 --> 01:38:09,080
Speaker 1: did too. So there was a bunch of fart jokes,

1533
01:38:09,240 --> 01:38:14,880
Speaker 1: so an extended pood joke, I don't remember. I also

1534
01:38:14,920 --> 01:38:17,559
Speaker 1: don't remember people talking about it though, right, no one

1535
01:38:17,680 --> 01:38:21,600
Speaker 1: was talking about it, and if there was any conversation

1536
01:38:22,000 --> 01:38:24,559
Speaker 1: about it. When it came out, I just kind of

1537
01:38:24,800 --> 01:38:26,599
Speaker 1: missed it because I was the only one of my

1538
01:38:26,680 --> 01:38:30,519
Speaker 1: friends who saw it in theater. Like no, like no

1539
01:38:30,560 --> 01:38:33,040
Speaker 1: one was talking about it that I was aware of.

1540
01:38:33,600 --> 01:38:35,840
Speaker 1: So anyway, so I was looking for a specific review

1541
01:38:35,840 --> 01:38:38,679
Speaker 1: and I found all this other writing that had been

1542
01:38:38,720 --> 01:38:42,479
Speaker 1: done about it that I just missed. But there was

1543
01:38:42,600 --> 01:38:46,919
Speaker 1: a lot of appreciation for the movie. It's Latin a family.

1544
01:38:47,640 --> 01:38:53,519
Speaker 1: Many of the main characters, voice actors included are Latin. Yeah,

1545
01:38:53,560 --> 01:38:55,920
Speaker 1: so there's just it just like it is a story

1546
01:38:56,120 --> 01:39:00,559
Speaker 1: about Latin a family and they're going on an an adventure,

1547
01:39:01,080 --> 01:39:04,639
Speaker 1: and there was just a lot of excitement about that

1548
01:39:04,680 --> 01:39:08,920
Speaker 1: as far as representation goes in a Hollywood movie. I

1549
01:39:09,160 --> 01:39:11,760
Speaker 1: want to be clearance that that paper has written about

1550
01:39:11,800 --> 01:39:15,519
Speaker 1: the animated series. That's not a criticism of the film

1551
01:39:15,640 --> 01:39:18,200
Speaker 1: at all, but just that that was like a question

1552
01:39:18,240 --> 01:39:20,840
Speaker 1: I had. That is something that was like carried over

1553
01:39:20,960 --> 01:39:23,559
Speaker 1: into the movie. But I mean, I totally agree that

1554
01:39:23,600 --> 01:39:26,519
Speaker 1: it's like I don't think it's a bad thing that

1555
01:39:26,840 --> 01:39:31,200
Speaker 1: her going on an adventure isn't inherently connected to her culture.

1556
01:39:31,280 --> 01:39:35,400
Speaker 1: That happens in adventure movies more often than not. I

1557
01:39:35,439 --> 01:39:38,479
Speaker 1: guess the cool thing that I don't know if this

1558
01:39:38,520 --> 01:39:40,559
Speaker 1: is what the writers that you were mentioning in the

1559
01:39:40,680 --> 01:39:44,360
Speaker 1: article we're talking about, But I think it's cool that

1560
01:39:44,400 --> 01:39:47,519
Speaker 1: you have this like Latino family at its core, which

1561
01:39:47,840 --> 01:39:50,960
Speaker 1: if I were to guess, it's probably like a Mexican

1562
01:39:51,120 --> 01:39:55,599
Speaker 1: American family, just because of the esthetics of like, oh,

1563
01:39:55,640 --> 01:39:58,080
Speaker 1: they're like their life in l A. It feels very

1564
01:39:58,200 --> 01:40:00,839
Speaker 1: kind of like Chicano to me. I might be wrong,

1565
01:40:01,040 --> 01:40:04,519
Speaker 1: but it does feel kind of like that. It's very

1566
01:40:04,520 --> 01:40:07,120
Speaker 1: weird that they didn't decide to then set the movie

1567
01:40:07,240 --> 01:40:10,360
Speaker 1: in like Mexico instead of the Amazon, But you know,

1568
01:40:11,040 --> 01:40:13,240
Speaker 1: I guess they were still going for that pan Latina

1569
01:40:13,479 --> 01:40:17,400
Speaker 1: like appeal. But regardless of whether or not their specific

1570
01:40:17,439 --> 01:40:21,400
Speaker 1: caricages reference, I do understand that there's something meaningful in

1571
01:40:21,439 --> 01:40:24,360
Speaker 1: the fact that they themselves, at no point in those

1572
01:40:24,400 --> 01:40:28,080
Speaker 1: stories are like mothered for that there's no reason to

1573
01:40:28,200 --> 01:40:30,880
Speaker 1: justify them being Latina other than the fact that the

1574
01:40:30,960 --> 01:40:35,280
Speaker 1: I p s. So I don't know, you get so many,

1575
01:40:35,920 --> 01:40:39,400
Speaker 1: so many stories that feature Latinic characters have to justify

1576
01:40:39,439 --> 01:40:43,920
Speaker 1: it in some regard. Sometimes sometimes you can be very specific,

1577
01:40:44,560 --> 01:40:46,639
Speaker 1: and sometimes you can be very like oh look, I'm

1578
01:40:46,920 --> 01:40:50,559
Speaker 1: representing this very specific culture, but it doesn't land the

1579
01:40:50,600 --> 01:40:53,680
Speaker 1: same way because you're still centering the story on wideness,

1580
01:40:54,120 --> 01:40:56,599
Speaker 1: which is kind of my main complaint about the New

1581
01:40:56,640 --> 01:41:00,280
Speaker 1: West Side story. For example, It's just like, yeah, you

1582
01:41:00,320 --> 01:41:03,960
Speaker 1: can go all in on the Puerto Rican components of it,

1583
01:41:04,000 --> 01:41:07,400
Speaker 1: but this story still centers itself so much on whiteness

1584
01:41:08,040 --> 01:41:11,040
Speaker 1: that it is kind of a little tiring. It was

1585
01:41:11,080 --> 01:41:14,679
Speaker 1: a little tiring for me to watch in some regards well,

1586
01:41:14,960 --> 01:41:17,559
Speaker 1: mostly because the movie taunted itself as being a very

1587
01:41:17,600 --> 01:41:24,280
Speaker 1: relevant and modern update. You have to say, yeah, it's like, okay, sure,

1588
01:41:24,960 --> 01:41:28,080
Speaker 1: I guess there's no Natalie Wood and Brown phase anymore

1589
01:41:28,280 --> 01:41:34,439
Speaker 1: so points, but um, that's a very little bar. But

1590
01:41:35,320 --> 01:41:38,080
Speaker 1: in Nora, there's no need for that, you know. You you

1591
01:41:37,560 --> 01:41:41,920
Speaker 1: you can just have these people exist in their own

1592
01:41:41,960 --> 01:41:45,439
Speaker 1: little adventure movie and it doesn't have to justify itself

1593
01:41:45,560 --> 01:41:49,439
Speaker 1: like oh yeah, I don't know. It's uh, it's kind

1594
01:41:49,439 --> 01:41:54,000
Speaker 1: of refreshing the pressingly, so even if we don't get

1595
01:41:54,000 --> 01:41:57,560
Speaker 1: into the specifics. Even even when you get into the specifics,

1596
01:41:57,560 --> 01:42:01,120
Speaker 1: a lot of Americans don't care. I saw so many

1597
01:42:01,160 --> 01:42:05,400
Speaker 1: people being like, oh, I didn't even know that Encanto

1598
01:42:05,560 --> 01:42:08,360
Speaker 1: was said in Colombia, I just looked like the generic

1599
01:42:08,439 --> 01:42:11,799
Speaker 1: Latin American country to me. And it's like, well, maybe

1600
01:42:11,920 --> 01:42:15,760
Speaker 1: you are the problem here, like that movie tells you

1601
01:42:15,800 --> 01:42:19,080
Speaker 1: where you are exactly. It's like maybe if you if

1602
01:42:19,080 --> 01:42:21,880
Speaker 1: you don't think they all look like Mexicans or something

1603
01:42:21,960 --> 01:42:26,240
Speaker 1: like that, then you won't have that problem. So I

1604
01:42:26,240 --> 01:42:29,360
Speaker 1: don't know, I do wish and I always talk about

1605
01:42:29,360 --> 01:42:32,920
Speaker 1: how important it is that we are more specific in

1606
01:42:32,920 --> 01:42:35,680
Speaker 1: our stories, Like, especially when I lived in l A.

1607
01:42:35,800 --> 01:42:38,680
Speaker 1: It was very easy to get branded as like, oh,

1608
01:42:38,800 --> 01:42:44,200
Speaker 1: a Latino storyteller, and it's like, yeah, I mean, I'm

1609
01:42:44,240 --> 01:42:46,559
Speaker 1: more of a Columbian storyteller, but I guess you could

1610
01:42:46,560 --> 01:42:50,320
Speaker 1: call my stories Latina, even though they tend to be

1611
01:42:50,400 --> 01:42:53,800
Speaker 1: very Columbian in point of view. So I always appreciate

1612
01:42:53,840 --> 01:42:57,240
Speaker 1: that kind of specificity. But I do recognize that something

1613
01:42:57,240 --> 01:43:01,200
Speaker 1: that what Dora does is also valuable and uh, not

1614
01:43:01,360 --> 01:43:05,639
Speaker 1: having to question the ethnicity of their characters and doing

1615
01:43:05,720 --> 01:43:10,080
Speaker 1: so in a way that it's fun and I don't know,

1616
01:43:10,120 --> 01:43:12,920
Speaker 1: it doesn't have to deal with baggage that much, like

1617
01:43:12,960 --> 01:43:17,240
Speaker 1: it just allows allows Latino people to exist without having

1618
01:43:17,240 --> 01:43:20,920
Speaker 1: to question their validity to be there at all. Right,

1619
01:43:22,200 --> 01:43:23,920
Speaker 1: did that have to do with what we were talking about?

1620
01:43:23,960 --> 01:43:31,519
Speaker 1: I feel like, again, exactly what that makes totals it's

1621
01:43:31,560 --> 01:43:34,040
Speaker 1: such a dense, complicated but it's like I think, for

1622
01:43:34,080 --> 01:43:37,040
Speaker 1: the especially for the tone of what this movie is,

1623
01:43:38,000 --> 01:43:41,599
Speaker 1: it makes total sense and it probably behooves the story

1624
01:43:41,720 --> 01:43:45,200
Speaker 1: to like no, I mean, and then it's I don't know.

1625
01:43:45,200 --> 01:43:46,760
Speaker 1: In my mind, I'm like, Okay, there's a way to

1626
01:43:46,840 --> 01:43:50,360
Speaker 1: be specific without centering the story around it. But it's

1627
01:43:51,280 --> 01:43:52,960
Speaker 1: I don't know. I mean, it's like, it's not like

1628
01:43:53,120 --> 01:43:56,040
Speaker 1: agent Cody Banks is trapesing around wherever the funk he

1629
01:43:56,160 --> 01:44:01,920
Speaker 1: is being like I'm irish, like you know, Like, so

1630
01:44:02,840 --> 01:44:08,000
Speaker 1: that was No, I loved it. Maybe that I don't

1631
01:44:08,040 --> 01:44:10,240
Speaker 1: remember what happens to that movie. Maybe that is what happens.

1632
01:44:10,320 --> 01:44:13,639
Speaker 1: Maybe no, don't. Yeah, don't you remember that Cody Banks

1633
01:44:13,720 --> 01:44:19,120
Speaker 1: goes in an extended tirade of would United Ireland. Yeah,

1634
01:44:19,160 --> 01:44:22,760
Speaker 1: that's how I how I learned about that conflict through

1635
01:44:23,400 --> 01:44:30,440
Speaker 1: through Cody Cody. Oh my god. Okay, So the review

1636
01:44:31,000 --> 01:44:35,040
Speaker 1: that I was trying to find was a Hollywood Reporter

1637
01:44:35,240 --> 01:44:40,639
Speaker 1: review by critic Todd McCarthy, who did not like the movie,

1638
01:44:41,240 --> 01:44:43,200
Speaker 1: and some of the reasons I mean, all the reasons

1639
01:44:43,200 --> 01:44:47,120
Speaker 1: he sites are I would say, not valid. I don't

1640
01:44:47,200 --> 01:44:50,160
Speaker 1: agree with his review, but some of them are just

1641
01:44:50,280 --> 01:44:54,479
Speaker 1: like just fucking gross because he's basically saying the movie

1642
01:44:54,640 --> 01:45:00,439
Speaker 1: is to like sanitized and squeaky clean, which was refusing

1643
01:45:00,479 --> 01:45:07,920
Speaker 1: for him because Dora is too sexy, basically like she's

1644
01:45:08,000 --> 01:45:10,840
Speaker 1: aged up to be a teenager. So like people telling

1645
01:45:10,840 --> 01:45:13,960
Speaker 1: on themselves like this. Do you remember that review of

1646
01:45:14,000 --> 01:45:16,320
Speaker 1: The Little Mermaid that was like, I want to fund

1647
01:45:16,400 --> 01:45:20,519
Speaker 1: this Mermaid so bad? I hated the movie because like

1648
01:45:20,960 --> 01:45:30,680
Speaker 1: what stop? Like, do you know you're writing this down? Like? So,

1649
01:45:31,160 --> 01:45:35,439
Speaker 1: I'll share an excerpt just to demonstrate what film writing

1650
01:45:36,160 --> 01:45:40,519
Speaker 1: by some critics still is. So this is what Todd

1651
01:45:40,560 --> 01:45:45,280
Speaker 1: McCarthy said about the movie quote, what keeps things alive

1652
01:45:45,439 --> 01:45:49,240
Speaker 1: up to a point is the imperturbable attitude of the

1653
01:45:49,360 --> 01:45:52,760
Speaker 1: titular heroine, who was invested with try and Stop Me

1654
01:45:52,840 --> 01:45:57,759
Speaker 1: spirit by Isabelle Emer said, who's actually eighteen and looks

1655
01:45:57,840 --> 01:46:01,840
Speaker 1: it despite preventative measures. The same goes for Jeff Wahlberg,

1656
01:46:02,160 --> 01:46:06,320
Speaker 1: whose nineteen. There's a palpable gap you can't help but

1657
01:46:06,439 --> 01:46:10,880
Speaker 1: notice between the essentially innocent, borderline pubescent nature of the

1658
01:46:10,960 --> 01:46:15,240
Speaker 1: leading characters and the film itself, and the more confident

1659
01:46:15,320 --> 01:46:20,200
Speaker 1: and mature vibes emanating from the leading actors. The director

1660
01:46:20,280 --> 01:46:23,800
Speaker 1: seems to be trying to keep the hormones at bay,

1661
01:46:24,040 --> 01:46:28,120
Speaker 1: but there are some things you just can't disguise, perhaps

1662
01:46:28,360 --> 01:46:33,720
Speaker 1: human nature first and foremost. Dora seems committed to projecting

1663
01:46:33,800 --> 01:46:40,679
Speaker 1: a pre sexualized version of youth, while throbbing unacknowledged. Beneath

1664
01:46:40,760 --> 01:46:44,760
Speaker 1: the surface is something a bit more real, its presence

1665
01:46:45,160 --> 01:46:54,960
Speaker 1: rigorously ignored. End quote. Is he like in jail? Yeah? Like, dude,

1666
01:46:55,120 --> 01:47:02,320
Speaker 1: Dora isn't protecting anything you're doing projecting. I do like

1667
01:47:02,439 --> 01:47:04,960
Speaker 1: this is so nasty for so many reasons. And I

1668
01:47:04,960 --> 01:47:08,600
Speaker 1: also feel like there's the additional racially charged tendency to

1669
01:47:08,800 --> 01:47:13,400
Speaker 1: over sexualize Latina actors. And then there also is a

1670
01:47:13,400 --> 01:47:16,760
Speaker 1: part of me that is like someone publishing and l

1671
01:47:16,920 --> 01:47:22,240
Speaker 1: this severe is so bizarre, like it was bizarre in

1672
01:47:23,400 --> 01:47:25,680
Speaker 1: nine when maybe it was that guy. Maybe this is

1673
01:47:25,720 --> 01:47:28,519
Speaker 1: just his claim to fame where he's like, I want

1674
01:47:28,560 --> 01:47:31,400
Speaker 1: to have sex with cartoons, but I can't and that

1675
01:47:31,600 --> 01:47:36,280
Speaker 1: makes me mad, and I'm a give me my paycheck.

1676
01:47:38,560 --> 01:47:43,720
Speaker 1: Wow wow wow, wow wow stop. Absolutely wild that this

1677
01:47:43,920 --> 01:47:47,479
Speaker 1: would get published It's just I'm just horrifying and just

1678
01:47:47,560 --> 01:47:51,120
Speaker 1: getting worse. It's just getting worse. It's like, oh, she

1679
01:47:51,439 --> 01:47:56,080
Speaker 1: was she was like sixteen with an Adultie would be

1680
01:47:56,160 --> 01:48:00,360
Speaker 1: weird to talk this much about her throwing under a surf,

1681
01:48:01,560 --> 01:48:07,479
Speaker 1: but we're talking about a character. Yes, Oh so jail,

1682
01:48:07,760 --> 01:48:12,560
Speaker 1: jail jail. Oh that was brutal. I was I was

1683
01:48:12,640 --> 01:48:15,760
Speaker 1: going to say, because we have a few more plot

1684
01:48:15,840 --> 01:48:19,680
Speaker 1: things to kind of zoom through, is that the way

1685
01:48:19,720 --> 01:48:24,200
Speaker 1: that Dora was dressed I thought worked for the movie.

1686
01:48:24,320 --> 01:48:27,120
Speaker 1: She's you know, she she wears a couple different outfits,

1687
01:48:27,240 --> 01:48:30,280
Speaker 1: like none of them are drawing attention to her body.

1688
01:48:30,320 --> 01:48:31,880
Speaker 1: And I feel like if this movie was made even

1689
01:48:31,960 --> 01:48:34,519
Speaker 1: ten years ago, it would have been like Dora's all

1690
01:48:34,680 --> 01:48:37,160
Speaker 1: grown up and it's like, yeah, she's all grown up

1691
01:48:37,240 --> 01:48:40,639
Speaker 1: and she's you know, wearing a shirt like it's all good.

1692
01:48:40,880 --> 01:48:42,400
Speaker 1: And the fact that we even have to point this

1693
01:48:42,640 --> 01:48:47,000
Speaker 1: out is like, Wow, she's dressed appropriately and not over sexualized.

1694
01:48:47,080 --> 01:48:49,559
Speaker 1: But that's an issue that exists in Dora the Explorer

1695
01:48:49,840 --> 01:48:53,280
Speaker 1: Cannon because in that show Dora and Friends, she's like

1696
01:48:53,439 --> 01:48:55,840
Speaker 1: aged up to be twelve or thirteen, and they change

1697
01:48:55,960 --> 01:48:58,400
Speaker 1: they give her like a curvy body shape and like

1698
01:48:59,439 --> 01:49:02,080
Speaker 1: pink a her or like you know, not not the

1699
01:49:02,160 --> 01:49:05,600
Speaker 1: original pink, you know, like pastelify her or whatever it is.

1700
01:49:05,920 --> 01:49:10,480
Speaker 1: And so I did appreciate that, at least I do appreciate.

1701
01:49:10,600 --> 01:49:13,160
Speaker 1: It's not like, you know, no one's getting a metal

1702
01:49:13,200 --> 01:49:16,240
Speaker 1: about it. But like when a franchise or an I

1703
01:49:16,479 --> 01:49:20,800
Speaker 1: p like gets flak for some ship like Dora did

1704
01:49:20,880 --> 01:49:24,519
Speaker 1: an oh nine I checked and then course corrects it

1705
01:49:24,720 --> 01:49:28,960
Speaker 1: and future iterations. I feel like that is net good

1706
01:49:29,720 --> 01:49:32,360
Speaker 1: and which also makes this writer even more of a

1707
01:49:32,400 --> 01:49:34,800
Speaker 1: perfect because I'm like, she's wearing a fucking crew neck

1708
01:49:34,960 --> 01:49:38,920
Speaker 1: T shirt. What is wrong with you? Yeah? If you

1709
01:49:39,040 --> 01:49:43,160
Speaker 1: walk into Dorothy Explorer being like, god, I hope it's sexual,

1710
01:49:43,560 --> 01:49:48,240
Speaker 1: It's like what, Yeah, what are you expecting? Todd McCarthy like,

1711
01:49:48,479 --> 01:49:56,280
Speaker 1: what what talking about? Todd? Buddy? Buddy, buddy, We're worried

1712
01:49:56,280 --> 01:49:59,360
Speaker 1: about you, buddy. That's the nastiest thing I've ever ready

1713
01:50:00,080 --> 01:50:04,160
Speaker 1: speaking of inserting sexual stuff, not sexual but like love

1714
01:50:04,200 --> 01:50:06,200
Speaker 1: stuff where it doesn't need to be. I didn't like

1715
01:50:06,720 --> 01:50:10,960
Speaker 1: Marky Mark's nephew and Sammy with the forced love story.

1716
01:50:11,200 --> 01:50:14,120
Speaker 1: It didn't fit, It didn't make sense. The chemistry wasn't there.

1717
01:50:14,120 --> 01:50:17,160
Speaker 1: Between the characters and there's already a more interesting thing

1718
01:50:17,240 --> 01:50:20,960
Speaker 1: going on with Sammy and Dora, and that took away

1719
01:50:21,000 --> 01:50:23,760
Speaker 1: from it. Yeah, I didn't like the Shoehorn love story

1720
01:50:23,800 --> 01:50:26,000
Speaker 1: at all that moment. I think when they wake up

1721
01:50:26,040 --> 01:50:28,120
Speaker 1: in the box and like they're like kind of like

1722
01:50:28,280 --> 01:50:30,960
Speaker 1: leaning against each other. No, it wasn't there. It was

1723
01:50:31,080 --> 01:50:33,000
Speaker 1: when they were in the museum and they were like

1724
01:50:33,240 --> 01:50:35,479
Speaker 1: kind of like bantering a little bit. I was like, Oh, no,

1725
01:50:35,640 --> 01:50:39,960
Speaker 1: they're gonna fall in love. And every time that is

1726
01:50:40,080 --> 01:50:44,160
Speaker 1: something Games happened, it was like who needed this questions,

1727
01:50:44,240 --> 01:50:48,519
Speaker 1: especially because I kind of love Sammy's characterization. Yeah, it's

1728
01:50:48,520 --> 01:50:51,000
Speaker 1: just kind of like her and Dora are kind of

1729
01:50:51,120 --> 01:50:54,639
Speaker 1: very like girl bossy in a way that sometimes feels

1730
01:50:54,720 --> 01:50:58,160
Speaker 1: a little bit uh pandery, like in the in that

1731
01:50:58,400 --> 01:51:01,920
Speaker 1: like faux family an ism of like movie studios like

1732
01:51:02,120 --> 01:51:06,160
Speaker 1: to plug I guess, but it made it was kind

1733
01:51:06,200 --> 01:51:08,200
Speaker 1: of endearing because I was like, Oh, this is kind

1734
01:51:08,240 --> 01:51:10,320
Speaker 1: of how a lot of like like you know, like

1735
01:51:10,600 --> 01:51:15,640
Speaker 1: model u N teenage girls behave. It's kind of like

1736
01:51:16,080 --> 01:51:19,720
Speaker 1: kind of like that girl bossy behavior that is kind

1737
01:51:19,760 --> 01:51:23,960
Speaker 1: of they're projecting it because they're learning about it, but

1738
01:51:24,080 --> 01:51:27,320
Speaker 1: they're not like yet in the nuances of it, and

1739
01:51:27,960 --> 01:51:30,360
Speaker 1: I thought it was very fun. It felt very sincere

1740
01:51:30,520 --> 01:51:35,960
Speaker 1: to how high schoolers behave, at least that kind of archetype.

1741
01:51:36,080 --> 01:51:39,519
Speaker 1: I also thought it was interesting the and this is

1742
01:51:39,600 --> 01:51:45,080
Speaker 1: maybe kind of corny, but Diego calls Sammy bossy and

1743
01:51:45,160 --> 01:51:47,760
Speaker 1: she responds by saying, oh, what what next? Are you

1744
01:51:47,840 --> 01:51:51,120
Speaker 1: going to call me shrill or too difficult? And then

1745
01:51:51,160 --> 01:51:53,080
Speaker 1: she alludes to the fact that he has taken a

1746
01:51:53,240 --> 01:51:57,200
Speaker 1: misogyny one oh one class, which is pretty funny. I

1747
01:51:57,479 --> 01:52:02,320
Speaker 1: hated that that was like, I was like, good job, whatever,

1748
01:52:02,479 --> 01:52:05,360
Speaker 1: it's fine, it's for kids. It's like it works for

1749
01:52:05,439 --> 01:52:07,559
Speaker 1: the genre. But I was just like, wow, two white

1750
01:52:07,680 --> 01:52:10,760
Speaker 1: dads really are fucking clapping themselves on the back at

1751
01:52:10,840 --> 01:52:18,600
Speaker 1: home for that, Like that is what it feels like

1752
01:52:19,080 --> 01:52:21,040
Speaker 1: to us. But I will say I thought it was

1753
01:52:22,000 --> 01:52:26,040
Speaker 1: since we we see characters say problematic things in movies

1754
01:52:26,120 --> 01:52:28,719
Speaker 1: all the time, and it's rare that it ever gets

1755
01:52:29,439 --> 01:52:33,160
Speaker 1: called out or challenged, like Sammy actually challenging that. I

1756
01:52:33,280 --> 01:52:37,120
Speaker 1: was like, Okay, that's at least something we don't see.

1757
01:52:37,400 --> 01:52:39,559
Speaker 1: And if kids are seeing this movie and they see

1758
01:52:39,600 --> 01:52:44,200
Speaker 1: an example of a character being the recipient of sexism

1759
01:52:44,479 --> 01:52:47,640
Speaker 1: and then that being challenged like that could set an

1760
01:52:47,680 --> 01:52:51,360
Speaker 1: example for a young person watching this. It's totally fine.

1761
01:52:51,439 --> 01:52:54,000
Speaker 1: I just I just remize it like that. But also

1762
01:52:54,120 --> 01:52:58,599
Speaker 1: I'm not you know ten so sorry, I just insulted you. Friend.

1763
01:53:01,000 --> 01:53:03,559
Speaker 1: That was kind of the scene that made me realize,

1764
01:53:03,600 --> 01:53:05,120
Speaker 1: like what I was just said, like like you said

1765
01:53:05,200 --> 01:53:09,680
Speaker 1: to me feels very like patting, like self congratulatory. But

1766
01:53:09,760 --> 01:53:12,040
Speaker 1: at the same time, I was like, I I do.

1767
01:53:12,320 --> 01:53:14,320
Speaker 1: I do think that some high schoolers speak with that

1768
01:53:14,520 --> 01:53:16,840
Speaker 1: kind of thanks. So I don't know if it was

1769
01:53:16,880 --> 01:53:19,240
Speaker 1: on purpose in that way. It was probably not, but

1770
01:53:19,360 --> 01:53:22,080
Speaker 1: it worked that way. It was kind of like, yeah,

1771
01:53:22,200 --> 01:53:24,120
Speaker 1: it is, I don't know. Like she she goes to

1772
01:53:24,200 --> 01:53:26,560
Speaker 1: the costume party to the Halloween ball dressed as like

1773
01:53:26,680 --> 01:53:30,200
Speaker 1: Ruth Bader Ginsberg. It's like, I know. I was just like, okay,

1774
01:53:30,280 --> 01:53:31,640
Speaker 1: first of all, she's going to grow out to be

1775
01:53:31,720 --> 01:53:35,519
Speaker 1: fucking Jen Saki or like something kind of bleak. Actually,

1776
01:53:35,960 --> 01:53:40,000
Speaker 1: she's gonna grow up to be a centrist, Sammy the Centrist,

1777
01:53:40,479 --> 01:53:44,280
Speaker 1: so real quick back to the wedged in Diego Sammy

1778
01:53:44,960 --> 01:53:48,800
Speaker 1: love story. I also did not care for it for

1779
01:53:49,160 --> 01:53:51,240
Speaker 1: a number of reasons, not the least of which is

1780
01:53:51,360 --> 01:53:55,040
Speaker 1: the Sammy surprise kisses Diego at the end, which I

1781
01:53:55,080 --> 01:53:57,640
Speaker 1: feel like it's a new trend of like more contemporary

1782
01:53:57,720 --> 01:54:01,080
Speaker 1: movies of like now the girl to probably kisses the boy.

1783
01:54:01,320 --> 01:54:05,400
Speaker 1: Isn't that so subversive? Isn't that feminism? And it's like no, no,

1784
01:54:05,600 --> 01:54:08,840
Speaker 1: people of any gender should be surprised kissing anybody else

1785
01:54:08,920 --> 01:54:13,880
Speaker 1: of any gender, So that was annoying. I also kind

1786
01:54:13,920 --> 01:54:16,679
Speaker 1: of thought that maybe they would wedge in a Dora

1787
01:54:16,920 --> 01:54:21,920
Speaker 1: and Randy romance, especially because they bonded so much over astronomy.

1788
01:54:22,080 --> 01:54:23,840
Speaker 1: My guess was that it was there and then they

1789
01:54:23,920 --> 01:54:26,000
Speaker 1: wrote it out or something like that, because it felt

1790
01:54:26,000 --> 01:54:28,120
Speaker 1: like that was planted because he kept he was doing

1791
01:54:28,200 --> 01:54:30,840
Speaker 1: that like weird guy from a Disney Channel show thing

1792
01:54:30,920 --> 01:54:33,560
Speaker 1: where you keeping like, yeah, we have so much in common.

1793
01:54:33,680 --> 01:54:35,800
Speaker 1: I'm like, I hate this. I feel like he kept

1794
01:54:35,840 --> 01:54:38,600
Speaker 1: planting like, oh, maybe something flirty is going to happen,

1795
01:54:38,640 --> 01:54:41,800
Speaker 1: and it seems like maybe I got scaled back or cut. Yeah,

1796
01:54:42,560 --> 01:54:45,320
Speaker 1: that meeting seed that like when they meet, it definitely

1797
01:54:45,520 --> 01:54:48,200
Speaker 1: feels like a crush set up. And then it was like, oh,

1798
01:54:48,800 --> 01:54:50,680
Speaker 1: they didn't feel the need to follow up on that.

1799
01:54:51,160 --> 01:54:53,560
Speaker 1: They probably it might have been cut in the editing,

1800
01:54:53,640 --> 01:54:55,440
Speaker 1: you might have not even been like in the writing

1801
01:54:55,760 --> 01:54:59,280
Speaker 1: right because they shot it that way, right, because so

1802
01:54:59,360 --> 01:55:01,800
Speaker 1: many movies would be like, oh, well, it's a boy

1803
01:55:02,120 --> 01:55:04,000
Speaker 1: and a girl and they're close to each other and

1804
01:55:04,080 --> 01:55:06,840
Speaker 1: they have one thing in common, so obviously there they

1805
01:55:06,880 --> 01:55:09,680
Speaker 1: should kiss at the end. Again, the bar is so low.

1806
01:55:10,120 --> 01:55:12,520
Speaker 1: But the fact that the movie didn't do that, I

1807
01:55:12,720 --> 01:55:15,880
Speaker 1: was like, okay, point for the movie, have a point

1808
01:55:16,600 --> 01:55:20,080
Speaker 1: like the others the other right, so they can't slay

1809
01:55:20,080 --> 01:55:23,680
Speaker 1: each other out. So that's disappointing. And then I think,

1810
01:55:23,760 --> 01:55:27,440
Speaker 1: Jamie you mentioned. The more interesting relationship dynamic that's happening

1811
01:55:27,480 --> 01:55:31,880
Speaker 1: here is the one between Dora and Sammy, where it

1812
01:55:32,040 --> 01:55:36,520
Speaker 1: starts out antagonistic and you know, Sammy is threatened by

1813
01:55:37,160 --> 01:55:40,880
Speaker 1: Dora for a specific reason. It does feel a little

1814
01:55:40,960 --> 01:55:44,080
Speaker 1: petty to me, but you know, Sammy's used to being

1815
01:55:44,160 --> 01:55:46,280
Speaker 1: the smartest person in the room and she really likes

1816
01:55:46,320 --> 01:55:48,680
Speaker 1: it that way, so that when Dora comes along and

1817
01:55:48,760 --> 01:55:51,480
Speaker 1: she also knows things, she's like, who is this other

1818
01:55:51,560 --> 01:55:54,280
Speaker 1: person who is smart? There can only be one girl

1819
01:55:56,440 --> 01:55:59,480
Speaker 1: kind of how that the beginning of that storyline, But

1820
01:55:59,560 --> 01:56:02,040
Speaker 1: it changed just quickly enough that I was like, all right,

1821
01:56:02,120 --> 01:56:03,720
Speaker 1: we got out a trope territory. I do think it

1822
01:56:03,800 --> 01:56:06,840
Speaker 1: started in trope territory, right, Yeah. I am a girl

1823
01:56:06,960 --> 01:56:09,920
Speaker 1: that's smart, and more than one smart girl is is

1824
01:56:10,320 --> 01:56:12,560
Speaker 1: poison to me, and I'm a bully. Now you're like, man,

1825
01:56:13,080 --> 01:56:15,960
Speaker 1: that's not really how that goes. Smart girls in high

1826
01:56:15,960 --> 01:56:21,240
Speaker 1: school actually desperately cling to each other because you're not safe,

1827
01:56:21,800 --> 01:56:26,400
Speaker 1: you know, right, so um, but yeah, they become friendly

1828
01:56:26,600 --> 01:56:30,280
Speaker 1: and I appreciate that arc. I like that it is

1829
01:56:30,560 --> 01:56:34,040
Speaker 1: kind of an arc like Dora's arc. It's like, like

1830
01:56:34,160 --> 01:56:36,440
Speaker 1: you said earlier, because it kind of set up was

1831
01:56:36,560 --> 01:56:39,360
Speaker 1: like Dore, it's to change or something like to fit in,

1832
01:56:39,920 --> 01:56:42,840
Speaker 1: and it just becomes an arc about like her learning that,

1833
01:56:43,280 --> 01:56:46,920
Speaker 1: you know, having friends is good. It's just very sweet.

1834
01:56:47,040 --> 01:56:50,400
Speaker 1: It's kind of a sweet coming of age adventure movie,

1835
01:56:50,480 --> 01:56:53,280
Speaker 1: I guess. But it is cool that she has an

1836
01:56:53,360 --> 01:56:56,120
Speaker 1: arc of friendship with this, with her cousin and the

1837
01:56:56,280 --> 01:56:59,280
Speaker 1: two kids, that it's like she doesn't have to be

1838
01:57:00,240 --> 01:57:02,120
Speaker 1: in the romans with any of them. It's just kind

1839
01:57:02,120 --> 01:57:05,600
Speaker 1: of like a like, oh, having friends is cool, and

1840
01:57:07,160 --> 01:57:09,480
Speaker 1: it was just very sweet. I was I was very

1841
01:57:09,560 --> 01:57:13,400
Speaker 1: endeared by Ed. Maybe I was just a weird kid. No,

1842
01:57:13,600 --> 01:57:16,360
Speaker 1: I I also appreciated it, So those stories always get

1843
01:57:16,440 --> 01:57:23,320
Speaker 1: to me. Yeah, um, does anyone have anything else that

1844
01:57:23,680 --> 01:57:27,520
Speaker 1: they want to discuss about Dora in the Lost City

1845
01:57:27,560 --> 01:57:30,480
Speaker 1: of Gold? Um, I just went to shut out the

1846
01:57:30,760 --> 01:57:36,880
Speaker 1: other women in Dora's family. I liked Dora's connection with

1847
01:57:36,960 --> 01:57:39,040
Speaker 1: her parents. It didn't feel like it leaned too heavy

1848
01:57:39,080 --> 01:57:40,920
Speaker 1: on one parent. I feel like sometimes you get like

1849
01:57:41,720 --> 01:57:45,400
Speaker 1: dad is the best one and mom is yelling at

1850
01:57:45,440 --> 01:57:48,040
Speaker 1: me or disappears, and like, I appreciate it seems like

1851
01:57:48,080 --> 01:57:51,200
Speaker 1: there was sort of even parent distribution. Evil Longaria and

1852
01:57:51,280 --> 01:57:55,280
Speaker 1: Michael paniar having having a blast. Michael Pane is like,

1853
01:57:55,800 --> 01:57:59,280
Speaker 1: did you hear I'm Chuck e Cheese favorite actor? Also,

1854
01:57:59,480 --> 01:58:04,840
Speaker 1: I love antology whatever. Like anyways, UM, I wanted to

1855
01:58:04,880 --> 01:58:09,360
Speaker 1: also shout out Dora's grandma, who has played by um.

1856
01:58:09,800 --> 01:58:13,160
Speaker 1: I want to pull her name up because I recognize her.

1857
01:58:13,240 --> 01:58:15,920
Speaker 1: She's a character actor who's been in a ton of stuff.

1858
01:58:16,200 --> 01:58:21,040
Speaker 1: Adriana Barrazza. I remember her most clearly from I mean,

1859
01:58:21,120 --> 01:58:23,720
Speaker 1: she works with in Or Too a lot. She's a

1860
01:58:23,880 --> 01:58:26,600
Speaker 1: Mexican actress and she also like I didn't realize this

1861
01:58:26,720 --> 01:58:28,560
Speaker 1: before I was doing research for this episode, but she

1862
01:58:28,640 --> 01:58:34,040
Speaker 1: also developed the Mexican method of method, acting like she

1863
01:58:34,200 --> 01:58:38,360
Speaker 1: has a super successful performance school and that she runs

1864
01:58:38,520 --> 01:58:41,040
Speaker 1: in Mexico. She's like a huge fucking deal and I

1865
01:58:41,080 --> 01:58:44,600
Speaker 1: wish that she was given more to do. She's barely

1866
01:58:44,680 --> 01:58:48,360
Speaker 1: in the movie. It's basically a cameo for someone who's famous.

1867
01:58:48,440 --> 01:58:52,200
Speaker 1: As her She's been in huge movies. I personally loved her,

1868
01:58:52,360 --> 01:58:55,360
Speaker 1: and she then dragged me to Hell, a movie I love.

1869
01:58:56,280 --> 01:58:58,200
Speaker 1: She kicks as in that movie. I don't know how

1870
01:58:58,280 --> 01:59:01,320
Speaker 1: that movie ages, but I used to really love it.

1871
01:59:01,640 --> 01:59:04,839
Speaker 1: Um because we'll have to do it on the podcast. Honestly,

1872
01:59:04,880 --> 01:59:06,600
Speaker 1: I feel like there's so much to talk about and

1873
01:59:06,760 --> 01:59:09,240
Speaker 1: I never want to cover a Justin long movie for

1874
01:59:09,400 --> 01:59:11,160
Speaker 1: some reason. I don't know what it is. Maybe I

1875
01:59:11,240 --> 01:59:14,320
Speaker 1: just didn't like those commercials he was in, but I

1876
01:59:14,560 --> 01:59:16,800
Speaker 1: I don't like to look at him. But I love

1877
01:59:16,960 --> 01:59:20,960
Speaker 1: dragging me the hell being so mean to all boys today.

1878
01:59:23,360 --> 01:59:26,200
Speaker 1: I appreciate you haven't been mean to me, No and I,

1879
01:59:26,360 --> 01:59:29,440
Speaker 1: and it's not going to happen because I would never

1880
01:59:29,560 --> 01:59:32,560
Speaker 1: put you in the same category as Mark Wahlberg's nephew.

1881
01:59:32,680 --> 01:59:35,440
Speaker 1: That's insulting. I think the first time I watched it,

1882
01:59:35,720 --> 01:59:39,120
Speaker 1: I thought he was fine. I agree that. In the rewatch,

1883
01:59:39,200 --> 01:59:41,000
Speaker 1: I was like a little like, oh, he's not very good,

1884
01:59:41,440 --> 01:59:44,120
Speaker 1: especially because the other three kids are pretty good. But

1885
01:59:44,720 --> 01:59:46,480
Speaker 1: it was kind of like the first time I was

1886
01:59:46,560 --> 01:59:50,400
Speaker 1: just like, Oh, he's a very accurate, like straight Latino

1887
01:59:50,560 --> 01:59:54,040
Speaker 1: kid like that, like you know, doesn't show emotions, and

1888
01:59:54,920 --> 01:59:59,120
Speaker 1: mostly because he wears a soccer jersey to the Halloween

1889
01:59:59,200 --> 02:00:00,840
Speaker 1: ball as a cost him. And I was like, that's

1890
02:00:00,880 --> 02:00:04,920
Speaker 1: like straight Latino culture right there. I've seen that first hand.

1891
02:00:05,360 --> 02:00:08,680
Speaker 1: They think that that's like a costume and it's just like, no,

1892
02:00:09,040 --> 02:00:13,000
Speaker 1: it's not. But so I was like, oh, yeah, he's

1893
02:00:13,000 --> 02:00:16,400
Speaker 1: the quintessential like straight Latino. And then in the second

1894
02:00:16,400 --> 02:00:18,640
Speaker 1: time around, I was like, oh, maybe he's he's not

1895
02:00:18,840 --> 02:00:22,600
Speaker 1: quite there yet. Watch him become the most famous actor

1896
02:00:22,720 --> 02:00:26,919
Speaker 1: in the entire world and this will aid so poorly

1897
02:00:27,080 --> 02:00:30,720
Speaker 1: and actually nepotism is genius. And then in a few

1898
02:00:30,840 --> 02:00:35,520
Speaker 1: years they'll talk about Jeff Waldberg's uncle. Yeah, well do

1899
02:00:35,560 --> 02:00:38,840
Speaker 1: you remember Jeff Alberg's uncle. Hey, you know how we

1900
02:00:39,200 --> 02:00:42,000
Speaker 1: have not been passing the Bechtel test for the past

1901
02:00:42,080 --> 02:00:44,880
Speaker 1: couple of minutes because we were talking about Jeff. Well,

1902
02:00:45,520 --> 02:00:48,800
Speaker 1: what about any scenes in this movie that do pass

1903
02:00:48,920 --> 02:00:53,560
Speaker 1: the Bechdel test. I really don't specifically, I don't know

1904
02:00:53,600 --> 02:00:55,360
Speaker 1: if it's the only one, but it's definitely the one

1905
02:00:55,400 --> 02:00:58,480
Speaker 1: that just made me realize, like the conversation that passes

1906
02:00:58,520 --> 02:01:01,760
Speaker 1: the Bechdel test. He's about poop. Yeah, there is a

1907
02:01:02,160 --> 02:01:05,600
Speaker 1: conversation that passes. Yeah, there's a full poop conversation. There's

1908
02:01:05,640 --> 02:01:10,440
Speaker 1: also between Dora and her grandmother. They talk about high

1909
02:01:10,440 --> 02:01:14,440
Speaker 1: school and being and like Dora feeling lonely. And it's

1910
02:01:14,440 --> 02:01:16,880
Speaker 1: an extended scene and I don't think there might be

1911
02:01:16,960 --> 02:01:20,160
Speaker 1: mentioned of like oh Diego said, called me weird? Do

1912
02:01:20,240 --> 02:01:22,800
Speaker 1: you think I'm weird? Grandma? But other than that, yeah,

1913
02:01:22,880 --> 02:01:26,480
Speaker 1: he's not like the topic right, it's about Dora's feelings.

1914
02:01:26,640 --> 02:01:28,720
Speaker 1: That's so much better is to use as an example

1915
02:01:28,840 --> 02:01:32,520
Speaker 1: than the one about the poop. No, that's one of

1916
02:01:32,560 --> 02:01:35,360
Speaker 1: my I think that that's entering the pantheon of fun

1917
02:01:35,520 --> 02:01:40,160
Speaker 1: passes because there's no way around it that passes. With

1918
02:01:40,320 --> 02:01:47,840
Speaker 1: flying brown colors, I like saw you hesitating, and I

1919
02:01:47,920 --> 02:01:51,680
Speaker 1: was like, what is Jamie gonna say? I got p MS.

1920
02:01:51,920 --> 02:01:55,760
Speaker 1: I'm being a fucking misinterested and I'm talking about poo poo.

1921
02:01:57,600 --> 02:02:01,840
Speaker 1: Louis Cannon, Wow, much like a a loose butthole. Remember

1922
02:02:01,920 --> 02:02:06,320
Speaker 1: we talked about shreks loose. But I was like, huh, yeah,

1923
02:02:06,400 --> 02:02:08,960
Speaker 1: we did talk about We've talked about We've really just

1924
02:02:09,040 --> 02:02:12,760
Speaker 1: talked a lot in this lifetime. We gotta stop. Sometimes

1925
02:02:12,800 --> 02:02:14,960
Speaker 1: people will say it say the listener will be like,

1926
02:02:15,000 --> 02:02:16,480
Speaker 1: do you remember when you said this? And then they'll

1927
02:02:16,480 --> 02:02:18,280
Speaker 1: say the most fucked up thing I've ever heard. I

1928
02:02:18,400 --> 02:02:23,120
Speaker 1: was like, no, I have no recollection of saying saying that,

1929
02:02:23,440 --> 02:02:28,160
Speaker 1: but I believe you. Oh gosh, yeah. I think that's

1930
02:02:28,160 --> 02:02:30,560
Speaker 1: why I can never have my own podcast. But I don't.

1931
02:02:30,720 --> 02:02:33,360
Speaker 1: I can't have so many of the stuff I say

1932
02:02:33,600 --> 02:02:36,560
Speaker 1: out there on the record. It's brutal. It'll come to

1933
02:02:36,640 --> 02:02:40,240
Speaker 1: haunt me. Not in like old tweets kind of way,

1934
02:02:40,400 --> 02:02:42,680
Speaker 1: but in like, remember when you said that that was

1935
02:02:42,760 --> 02:02:44,560
Speaker 1: kind of my stuff, and it's just like like in

1936
02:02:44,640 --> 02:02:47,400
Speaker 1: a very weird way. And it was like, yeah, I

1937
02:02:48,200 --> 02:02:50,800
Speaker 1: would see. I usually don't remember that stuff. I don't

1938
02:02:50,880 --> 02:02:53,120
Speaker 1: need to say them to a mike. Fast forward to

1939
02:02:53,240 --> 02:02:56,960
Speaker 1: me like three years from now, being like Caitlin, I

1940
02:02:57,280 --> 02:03:00,520
Speaker 1: am working with Mark Wahlper's nephew. I need you to

1941
02:03:00,640 --> 02:03:03,920
Speaker 1: take down the Dora episode. This is literally already happened

1942
02:03:04,120 --> 02:03:10,280
Speaker 1: multiple times, and I refused to learn my lesson. Yeah,

1943
02:03:10,360 --> 02:03:14,080
Speaker 1: we really do dig ourselves into a hole, a pooh

1944
02:03:14,120 --> 02:03:19,800
Speaker 1: hole poo Okay, and we're back. The movie passes the

1945
02:03:19,840 --> 02:03:24,560
Speaker 1: Bechdel task. Should we gick it to the nipples? Let's

1946
02:03:24,680 --> 02:03:29,200
Speaker 1: do it? So I would give this movie m M.

1947
02:03:29,880 --> 02:03:31,960
Speaker 1: I loved it so much, and it definitely gets ten

1948
02:03:32,000 --> 02:03:35,520
Speaker 1: out of ten on the Caitlin Rombo meter. And even

1949
02:03:35,600 --> 02:03:40,200
Speaker 1: though it is far more self aware than other movies

1950
02:03:40,240 --> 02:03:44,840
Speaker 1: of this genre and calls out and challenges several of

1951
02:03:45,320 --> 02:03:50,040
Speaker 1: the weaknesses of this genre, it's still does the things

1952
02:03:50,480 --> 02:03:54,880
Speaker 1: for the most part in its representation of Indigenous people

1953
02:03:55,080 --> 02:03:58,720
Speaker 1: and culture. Some of the stereotypes that are used, the

1954
02:03:59,000 --> 02:04:02,280
Speaker 1: failure to care drives the indigenous characters even a little bit.

1955
02:04:03,560 --> 02:04:06,600
Speaker 1: Those things are not great. On the other hand, you

1956
02:04:06,720 --> 02:04:11,440
Speaker 1: have a female protagonist, which is rare for this genre.

1957
02:04:12,200 --> 02:04:17,520
Speaker 1: You have a teen girl driving the narrative. She's comfortable

1958
02:04:17,560 --> 02:04:21,560
Speaker 1: and who she is. She's such a likable character. The

1959
02:04:22,840 --> 02:04:29,600
Speaker 1: Latina Latina latin X representation that is again sadly all

1960
02:04:29,800 --> 02:04:33,920
Speaker 1: too rare for a major Hollywood movie. Um, And it's

1961
02:04:34,000 --> 02:04:37,440
Speaker 1: just these characters, they're living their lives they're going on

1962
02:04:37,520 --> 02:04:39,920
Speaker 1: an adventure, they're doing the things they like to do.

1963
02:04:40,680 --> 02:04:46,720
Speaker 1: Is again unfortunately still quite rare. That was exciting to see.

1964
02:04:48,240 --> 02:04:50,800
Speaker 1: Uh so it's complicated. There's a lot of things happening here.

1965
02:04:51,000 --> 02:04:55,880
Speaker 1: I would ultimately give this movie. I would give it

1966
02:04:56,080 --> 02:05:00,560
Speaker 1: three nipples. It's got many strengths, that's got many weaknesses.

1967
02:05:00,960 --> 02:05:04,080
Speaker 1: I think it's a good stepping stone movie in terms

1968
02:05:04,160 --> 02:05:08,800
Speaker 1: of like, maybe the next adventure movie you know will

1969
02:05:08,840 --> 02:05:13,160
Speaker 1: be even more self aware and subscribe to fewer of

1970
02:05:13,400 --> 02:05:17,080
Speaker 1: the tropes, will be less directed and written by entirely

1971
02:05:17,160 --> 02:05:21,040
Speaker 1: white guys, which I feel like we yes, right, even

1972
02:05:21,120 --> 02:05:24,400
Speaker 1: when white guys are doing a pretty good job, if

1973
02:05:24,480 --> 02:05:27,440
Speaker 1: it's still all white is not good. Yeah, and they're

1974
02:05:27,440 --> 02:05:30,400
Speaker 1: still kind of doing a bad job. So, uh, this movie,

1975
02:05:31,480 --> 02:05:34,440
Speaker 1: this movie again, it feels like a stepping stone for progress,

1976
02:05:34,560 --> 02:05:39,040
Speaker 1: but not all the way there. So three nipples. I

1977
02:05:39,080 --> 02:05:45,960
Speaker 1: will give one to Dora, I will give one to Sammy,

1978
02:05:46,080 --> 02:05:49,520
Speaker 1: and I'll give my third nipple to the mention of

1979
02:05:50,000 --> 02:05:54,960
Speaker 1: monkey Facts, which is not unlike Cat Facts with Caitlin.

1980
02:05:55,400 --> 02:05:57,080
Speaker 1: But there's a character who I don't even think we

1981
02:05:57,160 --> 02:05:59,560
Speaker 1: talked about, um one of the mercenaries. I think his

1982
02:05:59,680 --> 02:06:03,000
Speaker 1: name is a viper. He says something like monkeys can

1983
02:06:03,080 --> 02:06:05,320
Speaker 1: carry three times their own body weight. That's just a

1984
02:06:05,360 --> 02:06:10,800
Speaker 1: monkey fact. So I was like, wow, we're learning so

1985
02:06:10,960 --> 02:06:14,160
Speaker 1: much truly, Um, I'll meet you at three as well.

1986
02:06:14,600 --> 02:06:16,920
Speaker 1: For for I mean, we've we've a boy if we

1987
02:06:17,000 --> 02:06:20,680
Speaker 1: discussed a lot, We've discussed longer than the movie, and

1988
02:06:22,520 --> 02:06:25,120
Speaker 1: I think that there is Yeah, it feels like a

1989
02:06:25,160 --> 02:06:29,000
Speaker 1: stepping stone movie that certainly moved things in, moves things

1990
02:06:29,040 --> 02:06:31,840
Speaker 1: in the right direction. It also is like we we

1991
02:06:31,920 --> 02:06:35,080
Speaker 1: didn't discuss in this episode. There's always like, especially when

1992
02:06:35,120 --> 02:06:39,680
Speaker 1: a movie is providing heightened representation for anybody and the

1993
02:06:39,760 --> 02:06:43,080
Speaker 1: supply is kind of across the board. But because this

1994
02:06:43,240 --> 02:06:49,600
Speaker 1: movie does have such strong Latina representation, there is always

1995
02:06:49,960 --> 02:06:52,960
Speaker 1: undo pressure put on those movies that doesn't exist for

1996
02:06:53,040 --> 02:06:56,800
Speaker 1: movies y protagonists, and that's not a fair or you know,

1997
02:06:57,000 --> 02:06:59,400
Speaker 1: reasonable thing to do, and that is always kind of

1998
02:06:59,480 --> 02:07:03,400
Speaker 1: a tricky line to toe as well. I think this

1999
02:07:03,520 --> 02:07:07,000
Speaker 1: movie is so sweet and fun and does not treat

2000
02:07:07,080 --> 02:07:11,959
Speaker 1: indigenous culture with any of the sensitivity that the politics

2001
02:07:12,000 --> 02:07:14,880
Speaker 1: of this movie seem that you would think like it's

2002
02:07:15,360 --> 02:07:18,960
Speaker 1: it's so bizarre, and I you know, the white guys

2003
02:07:18,960 --> 02:07:21,680
Speaker 1: at the top of the production. Don't love that, but

2004
02:07:22,000 --> 02:07:26,200
Speaker 1: the performances are so fun. The movie is a blast.

2005
02:07:26,280 --> 02:07:29,240
Speaker 1: I love poop pole uh, and I'm getting all three

2006
02:07:29,280 --> 02:07:40,240
Speaker 1: of my nipples to fucking so wiper my boyfriend. Yeah, cool,

2007
02:07:40,720 --> 02:07:47,000
Speaker 1: Jamie Cool, I'm going to jail. I'm like Todd, I'm like,

2008
02:07:47,720 --> 02:07:51,280
Speaker 1: like the swiper was throbbing and I was upset by

2009
02:07:51,320 --> 02:07:57,280
Speaker 1: that much rather you talk that way about Swiper is

2010
02:07:57,320 --> 02:08:04,280
Speaker 1: portrayed by very of age Nico, So I first, he's

2011
02:08:04,320 --> 02:08:07,760
Speaker 1: a ground man. All right, let's get off this. And

2012
02:08:09,960 --> 02:08:13,520
Speaker 1: what would your nipple rating? B Um, I am going

2013
02:08:13,560 --> 02:08:15,520
Speaker 1: to give it three and a half of my poles.

2014
02:08:16,320 --> 02:08:19,720
Speaker 1: Everything that you said I agree with, and that you know,

2015
02:08:20,400 --> 02:08:23,640
Speaker 1: it has very good female characters around, which is the

2016
02:08:23,720 --> 02:08:29,040
Speaker 1: story like revolves, and I enjoy that. It's just it's

2017
02:08:29,080 --> 02:08:31,200
Speaker 1: just it has a very good cast of characters, and

2018
02:08:31,280 --> 02:08:33,680
Speaker 1: like half of it is like female, and they're all

2019
02:08:33,800 --> 02:08:37,280
Speaker 1: very good. It has that, like what I said about

2020
02:08:37,400 --> 02:08:41,240
Speaker 1: like that Latin, a core cast that doesn't have to

2021
02:08:41,360 --> 02:08:45,160
Speaker 1: justify its own identity in order to be part of

2022
02:08:45,200 --> 02:08:49,040
Speaker 1: the story, which I always appreciate that. That's always fun, um,

2023
02:08:49,720 --> 02:08:53,480
Speaker 1: and I appreciate that it means well on paper in

2024
02:08:53,680 --> 02:08:57,040
Speaker 1: terms of bridging those gaps between what the adventure genre

2025
02:08:57,160 --> 02:08:59,920
Speaker 1: has been and what it could be. But I also

2026
02:09:00,040 --> 02:09:05,800
Speaker 1: so agree that it stumbles near the finish line in

2027
02:09:06,080 --> 02:09:10,880
Speaker 1: terms of depicting its indigenous characters as more than just

2028
02:09:11,280 --> 02:09:15,040
Speaker 1: magical beings that are there for plot reasons. It's just

2029
02:09:16,120 --> 02:09:17,960
Speaker 1: it's a shame because, like you said, the rest of

2030
02:09:18,000 --> 02:09:21,839
Speaker 1: the movie is very fun, it's very entertaining, very creative.

2031
02:09:22,080 --> 02:09:25,440
Speaker 1: If if if all reboots were like this, then maybe

2032
02:09:25,480 --> 02:09:28,960
Speaker 1: people wouldn't complain so much about them, right, Yeah, so

2033
02:09:29,800 --> 02:09:33,560
Speaker 1: three and a half seems fair, and I'm going to

2034
02:09:33,960 --> 02:09:37,400
Speaker 1: give one to Dora want To Samy just like you did,

2035
02:09:37,560 --> 02:09:42,600
Speaker 1: just because they deserve them. Want To was always kind

2036
02:09:42,640 --> 02:09:45,880
Speaker 1: of very charming, and he was donkey Shrek, so like

2037
02:09:46,400 --> 02:09:48,400
Speaker 1: I have to pay my respect. I did not know

2038
02:09:48,560 --> 02:09:53,000
Speaker 1: that until you mentioned it earlier, and that's very exciting

2039
02:09:53,040 --> 02:09:55,560
Speaker 1: to me. That to me as like he probably has

2040
02:09:55,600 --> 02:09:59,440
Speaker 1: a boat, like imagine, that's so that's so much money.

2041
02:09:59,600 --> 02:10:03,560
Speaker 1: That's why, Yeah, I can't watch Shrek or Shrek two,

2042
02:10:03,640 --> 02:10:07,480
Speaker 1: the ones that I like in English, because the Spanish

2043
02:10:07,560 --> 02:10:11,640
Speaker 1: dubbing is so good. The Latin American dubbing is amazing.

2044
02:10:11,800 --> 02:10:14,560
Speaker 1: I should watch those. Oh my gosh, it's very good.

2045
02:10:14,600 --> 02:10:18,880
Speaker 1: Anton is also doing puzzing boots and I don't know,

2046
02:10:19,200 --> 02:10:22,360
Speaker 1: there's something about Shrek having this very thick Northern Mexican

2047
02:10:22,440 --> 02:10:27,040
Speaker 1: accent that it's just a lot of fun. Um. And

2048
02:10:27,080 --> 02:10:30,400
Speaker 1: I'm going to give the half nipple to Mark Wahlbrick's

2049
02:10:30,480 --> 02:10:32,680
Speaker 1: nephew because we've been very mean to him throughout this

2050
02:10:32,840 --> 02:10:37,200
Speaker 1: and I think he deserves has potential something. He's young,

2051
02:10:37,480 --> 02:10:41,600
Speaker 1: he'll learn, he'll get better. Your nipples are your nipples, man.

2052
02:10:42,640 --> 02:10:47,080
Speaker 1: Just I'm giving him the half for a reason. Well, Jose,

2053
02:10:47,280 --> 02:10:51,000
Speaker 1: thank you so very much for putting up with us

2054
02:10:51,200 --> 02:10:55,880
Speaker 1: for two and a half hours. Thank you for having me.

2055
02:10:57,560 --> 02:11:00,800
Speaker 1: I had a lot of fun for most of those

2056
02:11:00,840 --> 02:11:03,440
Speaker 1: two and a half hours. All of them. Well, I

2057
02:11:03,560 --> 02:11:06,680
Speaker 1: was like, whoa the twist. I was like, which minute

2058
02:11:06,760 --> 02:11:11,160
Speaker 1: sucked there? When we talked about our pms for forty

2059
02:11:11,240 --> 02:11:16,920
Speaker 1: five minutes, that was the highlight. Yeah, of course, okay, truly,

2060
02:11:16,960 --> 02:11:20,040
Speaker 1: thank you so much. Um. Everyone should watch Jose's video.

2061
02:11:20,680 --> 02:11:23,920
Speaker 1: We will include it in the description of this episode.

2062
02:11:24,280 --> 02:11:28,200
Speaker 1: It's an excellent watch. And yeah, tell us what else

2063
02:11:28,280 --> 02:11:30,640
Speaker 1: people can check out of viewers, tell us where they

2064
02:11:30,680 --> 02:11:34,760
Speaker 1: can follow you on social media all that stuff. Well,

2065
02:11:35,080 --> 02:11:38,600
Speaker 1: you can find me on Twitter at jose M Luna.

2066
02:11:39,480 --> 02:11:43,560
Speaker 1: I also have like my YouTube channel I guess where

2067
02:11:43,680 --> 02:11:48,320
Speaker 1: I occasionally dropped some essays if the time allows for it.

2068
02:11:48,600 --> 02:11:52,240
Speaker 1: I just finished one on incanto and its roots in

2069
02:11:52,320 --> 02:11:55,120
Speaker 1: Columbian literature. I'm very proud of it. I think it's

2070
02:11:55,160 --> 02:11:57,640
Speaker 1: my best one. Yeah, I've done three, so it's not

2071
02:11:57,800 --> 02:12:01,320
Speaker 1: a big compliment. But yeah, yeah, I think my YouTube

2072
02:12:01,360 --> 02:12:04,680
Speaker 1: channel is just my name. Nice, but we'll link to

2073
02:12:04,800 --> 02:12:09,040
Speaker 1: that as well. Yeah. Your your essays are truly so brilliant.

2074
02:12:09,400 --> 02:12:12,160
Speaker 1: Big fan of your work. Thank you for coming by.

2075
02:12:12,800 --> 02:12:16,160
Speaker 1: Thank you. That means a lot. This was I had

2076
02:12:16,200 --> 02:12:23,840
Speaker 1: a blast. Oh gosh, Well, folks, there you have it.

2077
02:12:24,000 --> 02:12:27,840
Speaker 1: That was our unlocked Matron episode on Dora and the

2078
02:12:27,960 --> 02:12:31,120
Speaker 1: Lost City of Gold with special guest jose Maria Luna.

2079
02:12:31,560 --> 02:12:33,840
Speaker 1: If you liked it, you should, I don't know, maybe

2080
02:12:33,920 --> 02:12:37,840
Speaker 1: subscribe to our Matreon to hear more episodes like it.

2081
02:12:38,080 --> 02:12:41,360
Speaker 1: Truly like not to We're kind of on a role

2082
02:12:41,480 --> 02:12:43,440
Speaker 1: recently on the Matreon. I feel like we're kind of

2083
02:12:43,880 --> 02:12:47,720
Speaker 1: this this um it's also Saw episode Hello. I mean,

2084
02:12:47,760 --> 02:12:50,480
Speaker 1: who could forget this Saw episode? So on the Matreon.

2085
02:12:50,960 --> 02:12:53,200
Speaker 1: You know, not to sell you on it one more time,

2086
02:12:53,240 --> 02:12:56,520
Speaker 1: but it is so fun. It's where we cover popular

2087
02:12:56,640 --> 02:13:00,280
Speaker 1: requests and also like we do themed months. What are

2088
02:13:00,360 --> 02:13:02,839
Speaker 1: we calling this one? It's just like back to School September.

2089
02:13:03,560 --> 02:13:06,240
Speaker 1: Back to School September, um, but we had never been

2090
02:13:06,280 --> 02:13:08,440
Speaker 1: kissed and there's a pitch perfect episode on the way,

2091
02:13:08,480 --> 02:13:13,560
Speaker 1: which are have both been forever requests and we've got

2092
02:13:13,600 --> 02:13:18,240
Speaker 1: an exciting horror lineup. You also frequently get to vote

2093
02:13:18,320 --> 02:13:21,080
Speaker 1: for movies that we're going to cover on the Matreon.

2094
02:13:21,680 --> 02:13:25,000
Speaker 1: Caitlin and I once again get back toel Cast unleashed.

2095
02:13:25,120 --> 02:13:29,720
Speaker 1: During our birthday months, we cover the Netflix holiday movies. Um,

2096
02:13:30,400 --> 02:13:34,640
Speaker 1: it's really a welcome It's really a place of chaos

2097
02:13:36,040 --> 02:13:41,600
Speaker 1: and beautiful chaos. Absolutely, and so thank you for listening

2098
02:13:41,680 --> 02:13:44,280
Speaker 1: to this unlocked episode and for more episodes like it,

2099
02:13:44,400 --> 02:13:47,960
Speaker 1: you can go to patreon dot com, slash packtel Cast

2100
02:13:48,280 --> 02:13:51,200
Speaker 1: to subscribe. You'll also get access to all of those

2101
02:13:51,760 --> 02:13:56,040
Speaker 1: you know, the back catalog of episodes are Matreon uh huh,

2102
02:13:56,400 --> 02:13:58,880
Speaker 1: and then give us a little you know, follow on

2103
02:13:59,080 --> 02:14:03,400
Speaker 1: Twitter and Instagram at bechtel Cast. You can subscribe on

2104
02:14:03,560 --> 02:14:06,120
Speaker 1: your favorite listening platform. Give us a little you know,

2105
02:14:06,320 --> 02:14:08,960
Speaker 1: rate and review that helps the show out a lot

2106
02:14:09,920 --> 02:14:14,960
Speaker 1: and tell us about the merch. Jane, well, okay, fine, okay,

2107
02:14:15,600 --> 02:14:17,720
Speaker 1: you can go. Sorry. I literally was looking at a

2108
02:14:17,760 --> 02:14:22,520
Speaker 1: picture of Brendan Fraser and I got distracted. I understand

2109
02:14:22,640 --> 02:14:24,960
Speaker 1: as I want to do. You can go to t

2110
02:14:25,120 --> 02:14:29,680
Speaker 1: public dot com slash the Bechdel Cast for all of

2111
02:14:29,800 --> 02:14:32,920
Speaker 1: your merchandizing needs. If those are needs that you have.

2112
02:14:34,120 --> 02:14:38,960
Speaker 1: And with that, why don't we put on our backpacks

2113
02:14:39,240 --> 02:14:42,560
Speaker 1: and get our little monkey sidekicks, get my little map.

2114
02:14:42,680 --> 02:14:46,440
Speaker 1: I go on a little adventure, and I promised to

2115
02:14:46,560 --> 02:14:51,360
Speaker 1: be nicer to Mark Wahlberg's nephew this time. Bye Bye,