1 00:00:05,240 --> 00:00:07,640 Speaker 1: Hey, this is Annie and Samantha and all coo stuff. 2 00:00:07,680 --> 00:00:19,480 Speaker 2: I never told you protection of iHeartRadio, and today we 3 00:00:19,560 --> 00:00:21,120 Speaker 2: have a book club for you. 4 00:00:21,520 --> 00:00:23,960 Speaker 1: It is a it's kind of a spooky book. 5 00:00:24,040 --> 00:00:28,880 Speaker 2: So we sort of missed Halloween, but we like talking 6 00:00:28,880 --> 00:00:30,600 Speaker 2: about spooky things. 7 00:00:30,200 --> 00:00:31,000 Speaker 1: All year round. 8 00:00:31,320 --> 00:00:34,200 Speaker 3: Yes, and I think we need to extend it because 9 00:00:34,240 --> 00:00:35,959 Speaker 3: I feel like we didn't get in as much as 10 00:00:35,960 --> 00:00:38,040 Speaker 3: we typically do. I feel like we were off maybe 11 00:00:38,040 --> 00:00:39,640 Speaker 3: because I was sick and I'm missed out on a 12 00:00:39,640 --> 00:00:42,800 Speaker 3: couple of episodes. Yeah, and I feel like I'm missed out, 13 00:00:42,840 --> 00:00:43,879 Speaker 3: so I want to extend it. 14 00:00:45,200 --> 00:00:49,920 Speaker 2: I mean, anytime I'm there, the listeners might be like, 15 00:00:49,960 --> 00:00:51,800 Speaker 2: oh no, but. 16 00:00:51,840 --> 00:00:52,520 Speaker 1: I am there. 17 00:00:53,159 --> 00:00:56,880 Speaker 2: I did really enjoy this book. You can see our 18 00:00:56,920 --> 00:00:59,800 Speaker 2: episode on the Craft in our recent episode on Who 19 00:00:59,800 --> 00:01:02,080 Speaker 2: Gets Possessed, which I did do without Samantha. 20 00:01:02,080 --> 00:01:04,120 Speaker 4: And I think we should return to I said, I'm 21 00:01:04,280 --> 00:01:05,560 Speaker 4: missed out on so many things. 22 00:01:05,680 --> 00:01:07,160 Speaker 1: Yes, and I have, like. 23 00:01:08,880 --> 00:01:13,319 Speaker 2: I have watched a lot of horror movies because I've 24 00:01:13,319 --> 00:01:17,160 Speaker 2: been behind recently, and I got even more thoughts about that, 25 00:01:17,200 --> 00:01:18,080 Speaker 2: so I can return. 26 00:01:18,200 --> 00:01:18,759 Speaker 1: I'm ready. 27 00:01:20,920 --> 00:01:24,080 Speaker 2: Also content warning, We're not going to go to in depth, 28 00:01:24,120 --> 00:01:26,479 Speaker 2: but there is some discussion of sexual assaults. 29 00:01:26,959 --> 00:01:27,840 Speaker 1: Yeah, I think that's it. 30 00:01:28,240 --> 00:01:31,200 Speaker 4: There's some death, there's some dead menacing. 31 00:01:30,920 --> 00:01:34,679 Speaker 2: Murder, missing murders, vigilanteism. 32 00:01:34,880 --> 00:01:37,640 Speaker 3: Perhaps a few of that happens. A few of those 33 00:01:37,680 --> 00:01:39,440 Speaker 3: things been of sexual content. 34 00:01:39,640 --> 00:01:43,880 Speaker 2: Sexual content, yes, Okay, So today we are talking about 35 00:01:43,880 --> 00:01:47,600 Speaker 2: the twenty twenty one novel by The Cash Show got 36 00:01:47,680 --> 00:01:48,480 Speaker 2: Us of Filth. 37 00:01:48,920 --> 00:01:50,360 Speaker 1: This has been on our list for a while. I 38 00:01:50,400 --> 00:01:51,480 Speaker 1: think it came out. 39 00:01:52,240 --> 00:01:55,240 Speaker 2: We've kind of continuously been like, maybe this one, maybe 40 00:01:55,240 --> 00:01:59,920 Speaker 2: this one. It follows five friends, lord s Fernanda, Perla, Anna, 41 00:02:00,040 --> 00:02:03,120 Speaker 2: and Pauline, a group of friends about to graduate high school, 42 00:02:04,080 --> 00:02:06,480 Speaker 2: and they are fans of the movie The Craft, which 43 00:02:06,480 --> 00:02:10,120 Speaker 2: is why go listen to that episode? And so they 44 00:02:10,160 --> 00:02:14,680 Speaker 2: get together to have seance together, and of course it 45 00:02:14,800 --> 00:02:18,200 Speaker 2: doesn't quite go like they want it to. The story 46 00:02:18,280 --> 00:02:22,560 Speaker 2: is largely told from lord Ess Herpiave, with some snippets 47 00:02:22,560 --> 00:02:26,800 Speaker 2: from Fernande, and they're really great friends, but in some 48 00:02:26,800 --> 00:02:29,880 Speaker 2: ways opposite, Like they're very much like lord ES's the 49 00:02:30,120 --> 00:02:34,120 Speaker 2: bad girl and heavy quotes, and Fernando's like the good 50 00:02:34,160 --> 00:02:37,000 Speaker 2: girl who's going to go to college and like succeed. 51 00:02:39,200 --> 00:02:44,040 Speaker 2: And so there's that diet dichotomy. But what happens as 52 00:02:44,040 --> 00:02:47,240 Speaker 2: a result of this night of this seance changes all 53 00:02:47,280 --> 00:02:56,639 Speaker 2: of them and touches on issues like sexuality, adolescence, friendship, religion, faith, colonization, justice, sexism, racism, 54 00:02:57,080 --> 00:02:59,240 Speaker 2: all with elements of horror. 55 00:03:00,160 --> 00:03:02,720 Speaker 3: Yeah, so from the book quote. V Castro is a 56 00:03:02,760 --> 00:03:06,560 Speaker 3: Mexican American author from San Antonio, Texas, now residing in 57 00:03:06,600 --> 00:03:09,440 Speaker 3: the UK. She is a full time mother, a LATINX 58 00:03:09,520 --> 00:03:12,960 Speaker 3: literary advocate, and co founder of Freight Girl Summer, a 59 00:03:13,000 --> 00:03:17,880 Speaker 3: platform to amplify marginalized voices. She writes LATINX novels of horror, 60 00:03:17,960 --> 00:03:21,840 Speaker 3: erotic horror, and science fiction, including her most recent Hairspray 61 00:03:21,840 --> 00:03:22,720 Speaker 3: and Switchblades. 62 00:03:23,120 --> 00:03:26,399 Speaker 2: Ooh, and I wanted to ask because we were talking 63 00:03:26,400 --> 00:03:30,040 Speaker 2: about this a little bit before. So Samantha usually listens 64 00:03:30,080 --> 00:03:33,000 Speaker 2: to the books. I usually read them, which is helpful 65 00:03:33,720 --> 00:03:36,720 Speaker 2: in terms of pronunciation for me. But you were saying 66 00:03:36,760 --> 00:03:38,680 Speaker 2: you listened to it on the plane. 67 00:03:39,000 --> 00:03:40,200 Speaker 4: I did. I did. 68 00:03:40,920 --> 00:03:43,400 Speaker 3: I knew that it was a horror, but like we 69 00:03:43,480 --> 00:03:46,160 Speaker 3: have so many different genres of horror when we listen, 70 00:03:46,280 --> 00:03:49,160 Speaker 3: like we've had the one where it's still haunting, like 71 00:03:49,320 --> 00:03:51,160 Speaker 3: the one where she goes into the castle with a 72 00:03:51,240 --> 00:03:54,160 Speaker 3: family member whatever and like gets caught up in there, can't. 73 00:03:54,000 --> 00:03:55,400 Speaker 1: Leave a good one. 74 00:03:55,600 --> 00:03:58,600 Speaker 3: So you have that which is like haunting but nothing 75 00:03:58,640 --> 00:04:01,520 Speaker 3: really graphic, just like to do what's going on weird? 76 00:04:01,720 --> 00:04:02,200 Speaker 4: Moving on. 77 00:04:03,040 --> 00:04:06,280 Speaker 3: Then we've had the short stories, which have different versions 78 00:04:06,320 --> 00:04:06,760 Speaker 3: of things. 79 00:04:06,760 --> 00:04:10,480 Speaker 4: That's very classical short stories. We had the was it the. 80 00:04:10,440 --> 00:04:13,040 Speaker 3: Snow white one that was not snow white? It was 81 00:04:13,080 --> 00:04:16,159 Speaker 3: the fairy tale one, not the fairy tale one, which 82 00:04:16,240 --> 00:04:18,800 Speaker 3: is good, but all those things so you never know 83 00:04:19,080 --> 00:04:21,400 Speaker 3: when you come into something that seems gothic and you 84 00:04:21,560 --> 00:04:23,760 Speaker 3: just kind of go with it. And the Goddess have 85 00:04:23,760 --> 00:04:25,440 Speaker 3: felt such a great name. By the way, that's a 86 00:04:25,480 --> 00:04:28,359 Speaker 3: great title. Yes, And I was like okay, and I started, 87 00:04:28,400 --> 00:04:31,080 Speaker 3: and of course it jumps in very quickly with the possession. 88 00:04:31,080 --> 00:04:32,440 Speaker 4: I was like, oh, d okay, that was a question. 89 00:04:32,680 --> 00:04:33,360 Speaker 4: That was real quick. 90 00:04:33,720 --> 00:04:36,560 Speaker 3: The unexpected part with the period, I was like, huh, 91 00:04:36,600 --> 00:04:39,440 Speaker 3: that's not written. It's not typically like horror movies talk 92 00:04:39,480 --> 00:04:42,159 Speaker 3: about it, have any windows sorted, make jokes about it. 93 00:04:42,200 --> 00:04:45,320 Speaker 3: But the habit as like a point plot or something 94 00:04:45,360 --> 00:04:47,560 Speaker 3: that shows a like like that was really interesting. So 95 00:04:47,680 --> 00:04:49,800 Speaker 3: hearing this, I was half asleep part of the time, 96 00:04:49,880 --> 00:04:52,279 Speaker 3: because I was also very tired, but like parts of 97 00:04:52,279 --> 00:04:54,479 Speaker 3: it would just wake me up and be like what 98 00:04:54,480 --> 00:04:56,039 Speaker 3: what what? 99 00:04:56,720 --> 00:04:56,800 Speaker 2: Uh? 100 00:04:57,040 --> 00:04:59,680 Speaker 3: The person who read it and acted it out did 101 00:04:59,680 --> 00:05:04,599 Speaker 3: a nominal job, very very great on point. She is 102 00:05:04,839 --> 00:05:06,919 Speaker 3: a Latin creator, I think, an actor, a voice actor. 103 00:05:07,760 --> 00:05:09,960 Speaker 3: So it was really really good. But yeah, it was. 104 00:05:10,040 --> 00:05:13,320 Speaker 3: It was shocking different parts. I was like, Oh, wasn't 105 00:05:13,320 --> 00:05:13,880 Speaker 3: expecting that. 106 00:05:15,680 --> 00:05:20,880 Speaker 2: Yeah, I really enjoyed it. It's a short it's a 107 00:05:20,920 --> 00:05:24,840 Speaker 2: short read, but it packs in a lot. Yes, in 108 00:05:25,640 --> 00:05:28,520 Speaker 2: the in the story. Uh, and I really really liked it. 109 00:05:28,800 --> 00:05:30,760 Speaker 3: I did also love that as a throwback, so it 110 00:05:30,760 --> 00:05:34,120 Speaker 3: doesn't happen like today. It happens almost in the timeframe 111 00:05:34,240 --> 00:05:37,320 Speaker 3: of when the Craft was released. So you hear her 112 00:05:37,360 --> 00:05:39,520 Speaker 3: talking about the fashion and the music and all that 113 00:05:39,720 --> 00:05:40,359 Speaker 3: during that point. 114 00:05:40,800 --> 00:05:42,880 Speaker 1: Yes, you know I love that stuff. 115 00:05:43,040 --> 00:05:46,760 Speaker 2: Oh yeah, all right, So let's get into the plot. 116 00:05:48,000 --> 00:05:50,520 Speaker 2: The book opens, yes, with a group of friends on 117 00:05:50,560 --> 00:05:55,720 Speaker 2: the cusp of graduation meeting at for a seance, which 118 00:05:55,760 --> 00:05:57,680 Speaker 2: I don't think I ever did anything like that. When 119 00:05:57,720 --> 00:05:59,920 Speaker 2: I had my seance, I was in middle school. 120 00:06:01,080 --> 00:06:02,520 Speaker 3: Yeah, I don't think so either. I think of mine 121 00:06:02,600 --> 00:06:04,960 Speaker 3: was middle school elementary. We did live as a feather 122 00:06:05,120 --> 00:06:08,039 Speaker 3: stuff as a bool. We actually lifted a girl, but 123 00:06:08,080 --> 00:06:09,840 Speaker 3: I couldn't tell because there was like eight of us 124 00:06:10,160 --> 00:06:12,960 Speaker 3: and this girl is like ninety pounds, so I don't 125 00:06:13,000 --> 00:06:17,479 Speaker 3: know if if something happened, because we actually did. We 126 00:06:17,520 --> 00:06:19,640 Speaker 3: lifted her up a good like six inches off the ground, 127 00:06:19,839 --> 00:06:24,200 Speaker 3: and then we dropped her because we ficked out. Sorry 128 00:06:24,240 --> 00:06:26,120 Speaker 3: to that girl. I think it was Christina. Sorry Christina, 129 00:06:26,200 --> 00:06:27,800 Speaker 3: not our mother, different Christina. 130 00:06:27,839 --> 00:06:32,479 Speaker 2: I know, yes, yeah, There's been a lot of signs 131 00:06:32,480 --> 00:06:34,120 Speaker 2: about that, so I'm sure. 132 00:06:34,560 --> 00:06:38,760 Speaker 1: I'm sure. Well, anyway, did not do this. 133 00:06:41,440 --> 00:06:45,400 Speaker 2: So lord S, who does most of the narrating and is, yeah, 134 00:06:45,440 --> 00:06:48,479 Speaker 2: like I said, the wild one who has to support 135 00:06:48,480 --> 00:06:52,560 Speaker 2: her family and can't afford college at least in this moment, 136 00:06:52,920 --> 00:06:55,760 Speaker 2: takes the lead, as she is used to doing in 137 00:06:55,839 --> 00:06:58,960 Speaker 2: terms of most of her relationships, and she asked for 138 00:06:59,000 --> 00:07:03,560 Speaker 2: an old spirit to contact them. And then Fernanda, who 139 00:07:03,640 --> 00:07:07,800 Speaker 2: is the innocent, sheltered one who is going to college 140 00:07:07,839 --> 00:07:13,160 Speaker 2: who was Saluturian, seemingly as a fit and starts talking 141 00:07:13,200 --> 00:07:15,640 Speaker 2: in a different language and bleeding as though she's on 142 00:07:15,720 --> 00:07:19,720 Speaker 2: her period. Lordess offers to stay with her, knowing that 143 00:07:20,600 --> 00:07:23,320 Speaker 2: they'd all get in trouble since they'd been drinking, they 144 00:07:23,320 --> 00:07:27,600 Speaker 2: weren't supposed to be out. Fernanda's mom particularly is very 145 00:07:27,720 --> 00:07:31,520 Speaker 2: very strict, so she would not have liked this. When 146 00:07:31,720 --> 00:07:36,320 Speaker 2: Fernanda wakes up, she's a little op, mostly back to herself, 147 00:07:37,280 --> 00:07:39,800 Speaker 2: but it soon becomes clear that all is not what 148 00:07:39,920 --> 00:07:43,760 Speaker 2: it was with Fernanda, and through snapshots of Fernande's POV, 149 00:07:43,920 --> 00:07:46,920 Speaker 2: we learned she is sharing her body with an ancient goddess, 150 00:07:47,360 --> 00:07:51,280 Speaker 2: the Goddess of Filth, that speaks only Nahuatl, which none 151 00:07:51,280 --> 00:07:56,840 Speaker 2: of them understand. Fernande's strict and religious mother blames Fernanda's 152 00:07:56,880 --> 00:08:00,760 Speaker 2: friend group and especially Lordess, and calls in a local priest, 153 00:08:01,160 --> 00:08:04,760 Speaker 2: father Moreno, who runs in fear after the encounter he 154 00:08:04,840 --> 00:08:10,000 Speaker 2: has with Fernanda by himself. Fernanda's eyes shift, she is 155 00:08:10,120 --> 00:08:14,160 Speaker 2: often found masturbating in the garden in the heat. Her 156 00:08:14,160 --> 00:08:18,360 Speaker 2: friends are determined to help her, especially Lordess. Eventually, Fernanda's 157 00:08:18,360 --> 00:08:21,920 Speaker 2: mother relents and lets Lordess see Fernanda, who asked to 158 00:08:21,960 --> 00:08:25,200 Speaker 2: go to the club that night, also requesting that her 159 00:08:25,280 --> 00:08:29,960 Speaker 2: crush Ruben show for them. Fernande seems to be more 160 00:08:30,040 --> 00:08:34,319 Speaker 2: or less herself, though far more outgoing and in sex 161 00:08:34,400 --> 00:08:39,360 Speaker 2: with their clothes than was her norm. Lordes finds her 162 00:08:39,400 --> 00:08:43,080 Speaker 2: in the bathroom quote sucking out the sin of a 163 00:08:43,120 --> 00:08:47,160 Speaker 2: man who drugs women and rapes them. After a heated discussion, 164 00:08:47,200 --> 00:08:49,520 Speaker 2: Lordes is convinced to take the money he had on 165 00:08:49,600 --> 00:08:51,840 Speaker 2: him and tell the bartender there was a drunk man 166 00:08:51,880 --> 00:08:54,240 Speaker 2: in the bathroom in need of help, and Lordes revelle 167 00:08:54,280 --> 00:08:58,440 Speaker 2: she's been having dreams to Anna, who ultimately realizes they 168 00:08:58,520 --> 00:09:03,200 Speaker 2: need to contact someone who's nuhatl Lordes contacts a local 169 00:09:03,280 --> 00:09:06,160 Speaker 2: college professor who speaks the language and convinces her to 170 00:09:06,200 --> 00:09:10,640 Speaker 2: come see Fernanda. The professor is shocked and they start 171 00:09:10,880 --> 00:09:15,840 Speaker 2: talking to the entity inhabiting Fernanda's body, who the professor 172 00:09:15,840 --> 00:09:19,960 Speaker 2: eventually determines to be an ancient goddess, perhaps incorrectly known 173 00:09:20,200 --> 00:09:22,720 Speaker 2: as the Goddess of Filth, who basically claims people of 174 00:09:22,760 --> 00:09:28,920 Speaker 2: sin but also represents fertility after death. The professor also 175 00:09:29,040 --> 00:09:32,160 Speaker 2: encourages lord Es to pursue her writing, and they grow 176 00:09:32,200 --> 00:09:35,439 Speaker 2: closer and closer, and through talking, Fernanda and the goddess 177 00:09:35,880 --> 00:09:39,720 Speaker 2: seem to get better and better. But while this is happening, 178 00:09:39,760 --> 00:09:42,720 Speaker 2: we learned that Fernanda's mom is not her biological mom, 179 00:09:43,040 --> 00:09:46,319 Speaker 2: and she has been struggling with how to tell Fernanda that. 180 00:09:46,720 --> 00:09:50,920 Speaker 2: And the priest killed a woman earlier, has kept her 181 00:09:50,920 --> 00:09:53,640 Speaker 2: body in the freezer and plans to do the same 182 00:09:53,679 --> 00:09:58,280 Speaker 2: to Fernanda. He arrives at the Professor's house and fatally 183 00:09:58,360 --> 00:10:02,959 Speaker 2: shoots the professor, kidnaps Fernanda. Lordesk goes to confront him 184 00:10:03,000 --> 00:10:06,040 Speaker 2: at the church and witnesses the goddess use her power 185 00:10:06,440 --> 00:10:10,120 Speaker 2: to resurrect Martha, the woman the priest had killed, and 186 00:10:10,200 --> 00:10:16,000 Speaker 2: use her to incapacitate but not kill the priest. Fernanda 187 00:10:16,040 --> 00:10:18,640 Speaker 2: and the goddess reach an agreement. They reach an agreement 188 00:10:18,679 --> 00:10:22,320 Speaker 2: to work together. Lords learns that the professor sent her 189 00:10:22,320 --> 00:10:26,319 Speaker 2: a recommendation letter that basically waived her tuition fee, and 190 00:10:26,360 --> 00:10:29,920 Speaker 2: Fernanda confronts a couple that had tried to give her 191 00:10:29,920 --> 00:10:33,360 Speaker 2: a ride earlier in the in the book and realizes 192 00:10:33,400 --> 00:10:35,439 Speaker 2: that they were the ones behind the spate of missing children, 193 00:10:36,120 --> 00:10:38,560 Speaker 2: and along with the Goddess, kills them. 194 00:10:40,080 --> 00:10:44,400 Speaker 1: End of books. Yes, I really liked it. It was good. 195 00:10:45,559 --> 00:10:48,480 Speaker 3: It was more like the shocking scene with the priest. 196 00:10:48,600 --> 00:10:51,000 Speaker 3: You knew there was something off because that way she 197 00:10:51,120 --> 00:10:54,440 Speaker 3: portrays him immediately like his obsession and then being called 198 00:10:54,440 --> 00:10:57,640 Speaker 3: out because it's kind of the u an exorcist scene 199 00:10:58,000 --> 00:11:00,720 Speaker 3: where an exercise like I See Yourself end like you 200 00:11:00,760 --> 00:11:05,920 Speaker 3: see it every time, and then that happens with this 201 00:11:05,920 --> 00:11:08,280 Speaker 3: this priest and then you find out that he's obsessed 202 00:11:08,320 --> 00:11:11,880 Speaker 3: with like the virginity slash purity of women, and so 203 00:11:11,920 --> 00:11:13,520 Speaker 3: if he finds someone that he thinks that he can 204 00:11:13,559 --> 00:11:16,200 Speaker 3: preserve the purity by killing them. Turns out she had 205 00:11:16,240 --> 00:11:18,720 Speaker 3: two kids and the husband, and like he was still 206 00:11:18,760 --> 00:11:20,120 Speaker 3: they were still coming to his church. 207 00:11:20,640 --> 00:11:24,960 Speaker 2: Little twisted it was, and there were very few chapters 208 00:11:24,960 --> 00:11:27,400 Speaker 2: from his point of view, or maybe even just sections. 209 00:11:27,440 --> 00:11:30,880 Speaker 2: There wasn't too much, but it was like enough for 210 00:11:30,960 --> 00:11:33,400 Speaker 2: you to be, Oh. 211 00:11:34,120 --> 00:11:37,760 Speaker 3: You're like, this is our criminal minds. Yeah, that's what 212 00:11:37,920 --> 00:11:38,600 Speaker 3: my thought was. 213 00:11:38,800 --> 00:11:43,920 Speaker 2: This guy needs some real help here, and he's at 214 00:11:43,960 --> 00:11:46,920 Speaker 2: first presented as like a real paragon of the community 215 00:11:47,000 --> 00:11:49,199 Speaker 2: and like someone people respect. 216 00:11:49,920 --> 00:11:54,360 Speaker 4: But then yeah, but then. 217 00:12:05,440 --> 00:12:06,400 Speaker 1: So we do. 218 00:12:06,600 --> 00:12:08,439 Speaker 2: There are a lot of themes in this. I think 219 00:12:08,480 --> 00:12:12,120 Speaker 2: one of the big ones is friendship. Obviously, so we 220 00:12:12,200 --> 00:12:15,880 Speaker 2: have some quotes five of us sat in a circle 221 00:12:15,920 --> 00:12:17,960 Speaker 2: doing our best to emulate the girls in the craft, 222 00:12:18,080 --> 00:12:20,680 Speaker 2: hoping to unleash some power to take us all away 223 00:12:20,679 --> 00:12:23,080 Speaker 2: from our home to the place of our dreams. But 224 00:12:23,160 --> 00:12:27,280 Speaker 2: we weren't witches. We were five Chicanas living in San Antonio, Texas, 225 00:12:27,640 --> 00:12:31,480 Speaker 2: one year out of high school. So like, immediately it 226 00:12:31,520 --> 00:12:36,240 Speaker 2: really sets up. Just with the language used, it really 227 00:12:36,280 --> 00:12:38,760 Speaker 2: brings you in. I was like, okay, okay, let's see 228 00:12:38,800 --> 00:12:43,440 Speaker 2: what happens here. Here's another quote. Fernanda giggled at my 229 00:12:43,520 --> 00:12:47,800 Speaker 2: sudden onset of clairvoyance. She always said, I was so dramatic. 230 00:12:48,240 --> 00:12:51,880 Speaker 2: Yes I am, was my response. When your insides are 231 00:12:51,960 --> 00:12:55,200 Speaker 2: egg white soft, you learned to develop an exterior tougher 232 00:12:55,240 --> 00:13:00,640 Speaker 2: than fossilized dead things. I mean, again, that's just great writing. 233 00:13:00,760 --> 00:13:07,080 Speaker 2: That's so good. They also have a note there is 234 00:13:07,120 --> 00:13:09,960 Speaker 2: a through line of periods and kind of just womanhood 235 00:13:10,760 --> 00:13:15,240 Speaker 2: throughout this, but there is the line of all their 236 00:13:15,240 --> 00:13:19,360 Speaker 2: periods being in sync. When Fernanda has her well, they're 237 00:13:19,400 --> 00:13:23,160 Speaker 2: not sure is a period or not. They're kind of like, wait, 238 00:13:23,360 --> 00:13:26,880 Speaker 2: wait a minute, we normally have them at the same time, 239 00:13:26,880 --> 00:13:27,880 Speaker 2: which that was funny. 240 00:13:28,880 --> 00:13:29,360 Speaker 4: Mm hmm. 241 00:13:31,200 --> 00:13:34,440 Speaker 2: And here's another quote. What drew me to these females 242 00:13:34,480 --> 00:13:37,160 Speaker 2: was their love for each other, the strength within each 243 00:13:37,200 --> 00:13:39,640 Speaker 2: of them to withstand the fires they live with and 244 00:13:39,679 --> 00:13:42,280 Speaker 2: the fires to come, so many fires you will have 245 00:13:42,360 --> 00:13:48,559 Speaker 2: to endure if your generation survives, right, Yeah, So just there. 246 00:13:49,640 --> 00:13:54,160 Speaker 2: I did really like that as Fernande was, they knew 247 00:13:54,160 --> 00:13:57,160 Speaker 2: something was wrong. They really never gave up on her 248 00:13:57,240 --> 00:14:01,400 Speaker 2: despite all of these roadblocks, and they they would contact 249 00:14:01,480 --> 00:14:06,000 Speaker 2: each other and like just like the scene with Anna 250 00:14:06,320 --> 00:14:09,280 Speaker 2: and Lord us what they like figure out about the language, 251 00:14:09,320 --> 00:14:12,000 Speaker 2: Like they were just very never giving up on each other. 252 00:14:12,360 --> 00:14:12,800 Speaker 4: They didn't. 253 00:14:13,760 --> 00:14:16,240 Speaker 3: Uh, I just had a connection about the book that 254 00:14:16,280 --> 00:14:18,120 Speaker 3: I kind of separated they just now. 255 00:14:18,200 --> 00:14:19,520 Speaker 4: I was like, oh, that's what that was. 256 00:14:19,520 --> 00:14:22,480 Speaker 3: Because I was thinking about the memorial scene, like all 257 00:14:22,480 --> 00:14:24,800 Speaker 3: these young girls were being were missing and it was 258 00:14:24,840 --> 00:14:28,120 Speaker 3: always Latina girls. So they came together and they were 259 00:14:28,120 --> 00:14:30,360 Speaker 3: really said that Fernanda wasn't there, you know, because she 260 00:14:30,400 --> 00:14:32,720 Speaker 3: would have been right there praying with them and being 261 00:14:32,760 --> 00:14:36,640 Speaker 3: a part of this. And then like, uh, that's when 262 00:14:37,440 --> 00:14:39,040 Speaker 3: one of the friends, I don't know it was Anna 263 00:14:39,080 --> 00:14:41,720 Speaker 3: a Parla's like, a we need to go check in 264 00:14:41,800 --> 00:14:42,080 Speaker 3: on her. 265 00:14:42,280 --> 00:14:43,040 Speaker 4: Is she okay? 266 00:14:43,280 --> 00:14:46,080 Speaker 3: And this is when Lord Desk is like, I'm not sure, 267 00:14:46,120 --> 00:14:48,200 Speaker 3: So I'm not gonna tell him anything yet. Yeah, because 268 00:14:48,280 --> 00:14:51,320 Speaker 3: I still don't know either, but try to try to 269 00:14:51,400 --> 00:14:53,640 Speaker 3: say everything. But they all they all care for each other. 270 00:14:53,640 --> 00:14:55,880 Speaker 3: They don't get mad or blame with each other, try 271 00:14:55,920 --> 00:14:58,800 Speaker 3: to pin each other against each other. So that's nice, 272 00:14:58,960 --> 00:15:03,200 Speaker 3: like uncraft like something. Yeah, that's good, no mean girl here. 273 00:15:03,840 --> 00:15:05,520 Speaker 3: But then I connected with the couple. I was like, 274 00:15:05,560 --> 00:15:08,160 Speaker 3: oh that was the couple. Oh okay, so the couple 275 00:15:08,160 --> 00:15:10,360 Speaker 3: at the end of the book that gets killed who 276 00:15:10,520 --> 00:15:14,240 Speaker 3: never met Fernanda at there, but Lordez. 277 00:15:13,880 --> 00:15:16,440 Speaker 4: Knew was off. She's like these people look familiar? Are 278 00:15:16,480 --> 00:15:16,840 Speaker 4: these people? 279 00:15:16,880 --> 00:15:18,760 Speaker 3: And something was off because she was the woman was 280 00:15:18,800 --> 00:15:23,120 Speaker 3: trying to take something from the memorial and they're like 281 00:15:23,160 --> 00:15:25,320 Speaker 3: this is this is an odd interaction And then coming 282 00:15:25,320 --> 00:15:27,520 Speaker 3: back to us like, oh, that's who that was because 283 00:15:27,520 --> 00:15:29,720 Speaker 3: I've never understood the significance of a couple, like what 284 00:15:29,760 --> 00:15:33,120 Speaker 3: was that? And now I'm like, oh, yeah, so spoiler 285 00:15:33,600 --> 00:15:36,200 Speaker 3: at the end who died. That's the couple who showed 286 00:15:36,240 --> 00:15:39,360 Speaker 3: up to the memorial or to the vigil rather vigial 287 00:15:39,800 --> 00:15:41,880 Speaker 3: and was a part of this. But yeah, it was 288 00:15:41,880 --> 00:15:44,280 Speaker 3: a good scene to like having Lord is trying to 289 00:15:44,280 --> 00:15:47,840 Speaker 3: be the forefront and making sure everything's controlled as well 290 00:15:47,840 --> 00:15:49,240 Speaker 3: as the fact that she was for a mom who 291 00:15:49,280 --> 00:15:53,080 Speaker 3: her mom was Fernanda's mom was controlling and over the top, 292 00:15:54,160 --> 00:15:56,280 Speaker 3: and then finally kind of like like, okay, I'm the 293 00:15:56,280 --> 00:15:58,600 Speaker 3: one who sinned, like this is my fault type of 294 00:15:58,640 --> 00:16:03,400 Speaker 3: thing to whatever will help bring whomever you need to to, 295 00:16:03,680 --> 00:16:06,320 Speaker 3: Like I need to confess my sons to all these things. 296 00:16:06,480 --> 00:16:09,040 Speaker 3: But like having lord Asby in the forefront and then 297 00:16:09,080 --> 00:16:11,760 Speaker 3: having the good friends in the background talking and trying 298 00:16:11,800 --> 00:16:13,640 Speaker 3: to like convince the right way to go, and then 299 00:16:13,680 --> 00:16:16,840 Speaker 3: all of them coming together to celebrate their graduation in college. 300 00:16:16,960 --> 00:16:19,800 Speaker 3: It was like, oh but oh yeah. 301 00:16:21,560 --> 00:16:24,520 Speaker 2: Yeah they really stuck together. And I liked that a 302 00:16:24,520 --> 00:16:25,920 Speaker 2: lot because yeah, in the craft, they. 303 00:16:25,880 --> 00:16:26,480 Speaker 1: Really did it. 304 00:16:26,680 --> 00:16:28,840 Speaker 4: I did not did not. 305 00:16:29,320 --> 00:16:35,239 Speaker 2: So another theme of course, coming of age and identity. 306 00:16:36,800 --> 00:16:40,360 Speaker 2: Here's a quote, all right, hold hands, don't let go. 307 00:16:40,600 --> 00:16:42,400 Speaker 2: I want you to believe in your hearts. We can 308 00:16:42,440 --> 00:16:44,680 Speaker 2: be heard. What I meant was I need to be 309 00:16:44,720 --> 00:16:47,400 Speaker 2: heard because my thoughts barely carried over the pop of 310 00:16:47,440 --> 00:16:50,480 Speaker 2: the deep fat friar during a double shift. I was 311 00:16:50,520 --> 00:16:53,600 Speaker 2: sick of feeling like splattered grease stuck on the wall. 312 00:16:54,800 --> 00:16:58,280 Speaker 1: Again. Yeah, it was just really good writing, Like BT dubs. 313 00:16:58,000 --> 00:17:03,040 Speaker 3: They have like Sonic in play and I really loved it. No, no, no, 314 00:17:03,080 --> 00:17:06,119 Speaker 3: not the music, just the restaurant. They talk about the 315 00:17:06,160 --> 00:17:06,960 Speaker 3: Sonic a lot. 316 00:17:07,400 --> 00:17:11,600 Speaker 4: Oh, oh, I see the restaurants. 317 00:17:11,080 --> 00:17:12,200 Speaker 1: Like oh sound effect. 318 00:17:12,440 --> 00:17:15,720 Speaker 4: No, she worked so slushy. Yeah. 319 00:17:15,920 --> 00:17:18,280 Speaker 3: I was like, they're actually using a company. This is 320 00:17:18,359 --> 00:17:19,640 Speaker 3: hysterical because I've been there. 321 00:17:20,560 --> 00:17:23,639 Speaker 2: I have too, and I hate that feeling foolishly walked through. 322 00:17:23,840 --> 00:17:27,679 Speaker 2: I walked through the drive through, and that's just not 323 00:17:27,760 --> 00:17:31,399 Speaker 2: a thing you do with Sonic. I guess I don't know. 324 00:17:31,600 --> 00:17:32,240 Speaker 1: I didn't have a. 325 00:17:32,200 --> 00:17:35,879 Speaker 2: Car, and then I realized they had like tables, but 326 00:17:35,960 --> 00:17:37,040 Speaker 2: I thought you had. 327 00:17:36,840 --> 00:17:43,000 Speaker 1: To walk through anyway. Anyway, I was in high school 328 00:17:43,000 --> 00:17:43,720 Speaker 1: at that point. 329 00:17:44,800 --> 00:17:45,760 Speaker 4: Were you trying to be funny? 330 00:17:46,240 --> 00:17:48,959 Speaker 1: No, I wasn't trying to be funny at all. I 331 00:17:49,000 --> 00:17:52,240 Speaker 1: thought I didn't know what else to do. I didn't 332 00:17:52,280 --> 00:17:52,920 Speaker 1: have a car. 333 00:17:53,640 --> 00:17:58,600 Speaker 2: That's perfect oka anyway. Anyway. One thing about lord Us 334 00:17:58,800 --> 00:18:03,560 Speaker 2: is definitely that she's angry, and she gets told that 335 00:18:03,600 --> 00:18:06,640 Speaker 2: being angry isn't pretty. That something she hears a lot. 336 00:18:07,400 --> 00:18:10,119 Speaker 2: She's also pressured into doing more than she wanted when 337 00:18:10,160 --> 00:18:13,960 Speaker 2: it comes to dating, and then again being told like, oh, 338 00:18:13,960 --> 00:18:16,680 Speaker 2: you're angry when she says no or something like that. 339 00:18:17,840 --> 00:18:20,520 Speaker 2: She's also like trying to learn more about her roots 340 00:18:20,720 --> 00:18:24,000 Speaker 2: because she doesn't speak Spanish and that makes her feel 341 00:18:24,600 --> 00:18:28,280 Speaker 2: like incompetent or bad. And then when she meets the professor, 342 00:18:28,640 --> 00:18:32,199 Speaker 2: it's like this connection that maybe she could be a 343 00:18:32,240 --> 00:18:36,040 Speaker 2: writer and learn more about this stuff. There's also a 344 00:18:36,040 --> 00:18:40,399 Speaker 2: a whole thing throughout with lord Es about class and 345 00:18:40,440 --> 00:18:43,680 Speaker 2: not being able to afford college, about having to stay 346 00:18:43,720 --> 00:18:47,000 Speaker 2: and care for her family, and yeah, that dutiful daughter 347 00:18:47,080 --> 00:18:51,000 Speaker 2: bit of like very much being expected to take care 348 00:18:51,040 --> 00:18:53,760 Speaker 2: of her family and parentification, which we've talked about before 349 00:18:54,320 --> 00:18:58,560 Speaker 2: on here, and for her specifically feeling like you can't 350 00:18:58,560 --> 00:19:01,520 Speaker 2: confide in anyone ask her help because she does like 351 00:19:03,160 --> 00:19:05,200 Speaker 2: as much as the friend group helps each other out. 352 00:19:05,440 --> 00:19:08,520 Speaker 2: Lord Es definitely is like, I don't want to worry anybody, 353 00:19:08,560 --> 00:19:10,920 Speaker 2: which makes sense if you're in charge of keeping the 354 00:19:10,960 --> 00:19:15,640 Speaker 2: peace in your family. But she's like, let's know, I'll 355 00:19:15,680 --> 00:19:18,160 Speaker 2: wait and tell them about this until later. I'll wait 356 00:19:18,240 --> 00:19:23,760 Speaker 2: and see. Here's another quote. Be smart but not too smart. 357 00:19:23,920 --> 00:19:25,960 Speaker 2: Be beautiful but not so pretty as to make other 358 00:19:26,000 --> 00:19:29,640 Speaker 2: females mad. Be successful but not bossy or overly ambitious. 359 00:19:29,960 --> 00:19:33,399 Speaker 2: Nobody likes a mouthy brown woman be a decloued kitten, 360 00:19:34,200 --> 00:19:38,600 Speaker 2: which yeah, again goes back to like how it clashes 361 00:19:38,600 --> 00:19:40,960 Speaker 2: with who she is and how she interacts with the 362 00:19:41,000 --> 00:19:44,960 Speaker 2: world and her anger that she feels, and rightfully so. 363 00:19:45,119 --> 00:19:48,840 Speaker 1: But I love the writing. I think it's so good. 364 00:19:51,840 --> 00:19:52,320 Speaker 4: Yeah. 365 00:19:52,359 --> 00:19:54,639 Speaker 3: And they of course have a big thing about faith. 366 00:19:55,240 --> 00:19:57,560 Speaker 3: Of the group, it looks like Lordez is the one 367 00:19:57,560 --> 00:20:01,399 Speaker 3: that is the least religious, talking about how she doesn't 368 00:20:01,440 --> 00:20:03,399 Speaker 3: believe in any of this and why she doesn't believe 369 00:20:03,400 --> 00:20:03,879 Speaker 3: in any of this. 370 00:20:04,160 --> 00:20:04,760 Speaker 4: Here's a quote. 371 00:20:05,280 --> 00:20:07,679 Speaker 3: I was as broken faith as I was in pocket. 372 00:20:07,840 --> 00:20:09,960 Speaker 3: This was a time when you had ice storming around 373 00:20:10,080 --> 00:20:13,560 Speaker 3: like possessed stormtroopers on crack, people getting shot, trying to 374 00:20:13,640 --> 00:20:16,879 Speaker 3: learn or pray or buy milk, stories of people going missing, 375 00:20:17,000 --> 00:20:20,720 Speaker 3: bodies of displaced people washed up on riverbeds and coastlines 376 00:20:20,760 --> 00:20:23,840 Speaker 3: for all to see to cry about, but ultimately forgot. 377 00:20:24,400 --> 00:20:28,560 Speaker 3: I'm trying to remember when the young boy, the picture 378 00:20:28,560 --> 00:20:31,600 Speaker 3: of the young boy, refugee boy who had been found 379 00:20:31,680 --> 00:20:34,960 Speaker 3: on shore, because I like, that's the first imagery I 380 00:20:35,040 --> 00:20:37,240 Speaker 3: actually popped in my head when we had that huge 381 00:20:37,240 --> 00:20:41,840 Speaker 3: conversation about refugees and constant like inhumane language, when things 382 00:20:41,880 --> 00:20:42,679 Speaker 3: like that would happen. 383 00:20:43,119 --> 00:20:45,199 Speaker 4: So yeah, that's the first thing I thought. I was like, 384 00:20:45,200 --> 00:20:45,720 Speaker 4: oh damn. 385 00:20:46,160 --> 00:20:46,520 Speaker 1: Yeah. 386 00:20:46,560 --> 00:20:48,359 Speaker 2: And also the line I was broken faith as I 387 00:20:48,440 --> 00:20:53,080 Speaker 2: was in pocketing. Yeah, excellent. Here's another quote. Being a 388 00:20:53,080 --> 00:20:56,000 Speaker 2: young woman isn't a crime. This wasn't Salem. But at 389 00:20:56,040 --> 00:20:58,240 Speaker 2: the same time I knew this wouldn't be let go. 390 00:20:58,640 --> 00:21:01,120 Speaker 2: It's about how visible you're v are beneath your skin 391 00:21:01,240 --> 00:21:03,680 Speaker 2: and what hangs between your legs. If I didn't feel 392 00:21:03,720 --> 00:21:08,160 Speaker 2: absolutely before, I did now And so this is that 393 00:21:08,240 --> 00:21:12,560 Speaker 2: was in regards to realizing like, oh, they're going to 394 00:21:12,600 --> 00:21:15,399 Speaker 2: be blamed for this because they're not religious enough, or 395 00:21:15,640 --> 00:21:19,719 Speaker 2: because they're women, or because they aren't white, because they 396 00:21:19,760 --> 00:21:22,400 Speaker 2: want sex, or that they've had drugs or maybe they've 397 00:21:22,440 --> 00:21:26,720 Speaker 2: had alcohol, like all of those things that idea of like, oh, 398 00:21:26,840 --> 00:21:29,000 Speaker 2: I will I will be blamed for this. I will 399 00:21:29,000 --> 00:21:33,040 Speaker 2: not be believed when it comes to what happened to Fernande. 400 00:21:33,840 --> 00:21:39,560 Speaker 2: There's also a lot of Christian imagery in this. There's 401 00:21:39,600 --> 00:21:42,159 Speaker 2: a lot of like virgin candbells, which I thought was 402 00:21:42,160 --> 00:21:49,879 Speaker 2: pretty on point. Here's another quote, purity in mind and 403 00:21:49,960 --> 00:21:53,000 Speaker 2: purity and heart you are for your husband in Christ, 404 00:21:53,040 --> 00:21:56,480 Speaker 2: and no one else was the preacher's mantra every Wednesday, 405 00:21:56,840 --> 00:22:00,479 Speaker 2: Every Wednesday. Who goes to church on a Wednesday. I 406 00:22:00,520 --> 00:22:03,560 Speaker 2: watched my mother, who wouldn't carry a note, seeing happily 407 00:22:03,600 --> 00:22:06,240 Speaker 2: in church choir because her man was happy. She bounced 408 00:22:06,240 --> 00:22:08,679 Speaker 2: around up here. I glowered at the sight and sound. 409 00:22:08,960 --> 00:22:11,160 Speaker 2: It seemed so inauthentic. 410 00:22:12,520 --> 00:22:17,600 Speaker 3: Yeah, like the Wednesday, but yeah. 411 00:22:17,320 --> 00:22:19,560 Speaker 2: And I love that. I feel like so much of 412 00:22:19,560 --> 00:22:23,840 Speaker 2: what Luridas is saying is like she's seeing through the 413 00:22:23,960 --> 00:22:27,880 Speaker 2: superficial veil that is up. She's seeing through like you're 414 00:22:27,920 --> 00:22:31,600 Speaker 2: going to church almost for it, like putting on airs, 415 00:22:31,640 --> 00:22:34,159 Speaker 2: like you're going to church on Wednesday. But we all know, 416 00:22:34,560 --> 00:22:39,920 Speaker 2: like you're not your mantra. We're not following that, no one, 417 00:22:40,359 --> 00:22:43,080 Speaker 2: and we all know it. It's an open secret, like 418 00:22:44,000 --> 00:22:46,680 Speaker 2: we're just pretending, right. 419 00:22:47,080 --> 00:22:50,199 Speaker 3: Which is religion in itself. It's especially more now. And 420 00:22:50,200 --> 00:22:52,600 Speaker 3: then it goes goes on with another one. The only 421 00:22:52,640 --> 00:22:55,920 Speaker 3: thing you hear where I come from is don't get pregnant. 422 00:22:56,200 --> 00:22:59,360 Speaker 3: Don't get pregnant, because that is always the beginning for us, 423 00:22:59,440 --> 00:23:02,919 Speaker 3: a prophecy, a failure come true. All the pointed fingers 424 00:23:02,960 --> 00:23:06,560 Speaker 3: could say, see not just stereotypes. Another one is born. 425 00:23:07,119 --> 00:23:09,840 Speaker 3: We were modern girls. We knew where planned parenthood was, 426 00:23:10,000 --> 00:23:13,639 Speaker 3: at least the ones that remained open. True, it made 427 00:23:13,800 --> 00:23:16,280 Speaker 3: me almost wish I had been born without a womb, 428 00:23:16,400 --> 00:23:18,720 Speaker 3: so that no man would want me and no God 429 00:23:18,760 --> 00:23:21,040 Speaker 3: would expect me to be leashed. The rest of me 430 00:23:21,160 --> 00:23:22,560 Speaker 3: could be mine and mine alone. 431 00:23:23,280 --> 00:23:31,879 Speaker 2: Ah yeah, oof, it hits hard. Here's another quote, and 432 00:23:31,960 --> 00:23:36,240 Speaker 2: this is about the Goddess of Filth. Everything about her 433 00:23:36,240 --> 00:23:39,159 Speaker 2: could be considered a nightmare. But I wasn't scared. She 434 00:23:39,320 --> 00:23:43,439 Speaker 2: glowed with fury, beauty and power. Half woman, half beast. 435 00:23:43,760 --> 00:23:47,199 Speaker 2: This was no ghost or demon. She was everything I 436 00:23:47,280 --> 00:23:51,440 Speaker 2: wished I could be. Fire and anger, with bitterness wet 437 00:23:51,480 --> 00:23:54,359 Speaker 2: my lips, my soul wanted to fall to its knees 438 00:23:54,400 --> 00:23:56,639 Speaker 2: and beg her to tell me her secrets. 439 00:23:57,160 --> 00:23:58,520 Speaker 1: So I think that's great, Like the. 440 00:24:00,560 --> 00:24:08,600 Speaker 2: Kind of is that just unrestrained anger, and her being 441 00:24:09,880 --> 00:24:13,240 Speaker 2: the Goddess of Philth, being so unrepetent in who she 442 00:24:13,440 --> 00:24:17,840 Speaker 2: is and what she is, and how that really connected 443 00:24:17,920 --> 00:24:22,480 Speaker 2: with lord Ess and eventually Fernando as well, Like they've 444 00:24:22,480 --> 00:24:26,080 Speaker 2: become kind of best buddies in the same body. 445 00:24:27,119 --> 00:24:28,840 Speaker 3: Lordes was the one that was getting all the dreams 446 00:24:28,880 --> 00:24:33,000 Speaker 3: because the goddess felt the most connected with her, even 447 00:24:33,080 --> 00:24:37,320 Speaker 3: though Fernando was the one the most willing and open. 448 00:24:38,240 --> 00:24:40,320 Speaker 3: So it was like an interesting and she needed both 449 00:24:40,359 --> 00:24:41,919 Speaker 3: of them. But of course this was because she was 450 00:24:41,920 --> 00:24:45,680 Speaker 3: trying to tell the whole point of her possessing Fernando's 451 00:24:45,680 --> 00:24:49,439 Speaker 3: because she wanted to tell her story in this original language, 452 00:24:49,680 --> 00:24:53,439 Speaker 3: but because Fernando wasn't aware of what was happening. Lordes 453 00:24:53,640 --> 00:24:56,359 Speaker 3: was the original intent to write the stories, which is 454 00:24:56,359 --> 00:24:58,840 Speaker 3: why she went into college to learn this language, to 455 00:24:58,840 --> 00:25:00,439 Speaker 3: do all these things. 456 00:24:59,760 --> 00:25:15,560 Speaker 2: Yes, yes, which I love. There's also some themes of 457 00:25:15,560 --> 00:25:19,520 Speaker 2: female sexuality being taboo. We've talked about. There's homophobia in there, 458 00:25:19,600 --> 00:25:23,160 Speaker 2: for sure. Here's another quote. I didn't want to bother 459 00:25:23,280 --> 00:25:26,800 Speaker 2: saving myself for anyone special, because my body didn't need saving. 460 00:25:30,840 --> 00:25:36,639 Speaker 2: And then here's a quote about the preacher. So the preacher, 461 00:25:36,640 --> 00:25:38,840 Speaker 2: as I said, kind of like ran out in a 462 00:25:38,880 --> 00:25:43,720 Speaker 2: panic the first time that he spoke with Nanda after 463 00:25:43,880 --> 00:25:47,879 Speaker 2: she had been possessed. And here's a quote about that 464 00:25:48,520 --> 00:25:53,239 Speaker 2: from Fernanda Slash, the Goddess of filth. I asked him 465 00:25:53,240 --> 00:25:55,840 Speaker 2: if he wanted to eat my sin. She opened her 466 00:25:55,880 --> 00:25:57,840 Speaker 2: legs so I could see in the mirror. She wasn't 467 00:25:57,880 --> 00:26:00,920 Speaker 2: wearing any underwear. That man has just as much sin 468 00:26:01,000 --> 00:26:04,280 Speaker 2: inside of him as everyone else. She told me, who 469 00:26:04,359 --> 00:26:07,760 Speaker 2: is he to tell me I'm evil? Who anointed him? 470 00:26:08,320 --> 00:26:12,600 Speaker 2: And he does have There are a lot of kind 471 00:26:12,680 --> 00:26:18,159 Speaker 2: of cues that before you know what he did, that 472 00:26:18,240 --> 00:26:20,040 Speaker 2: something is amiss with him. And one is like he 473 00:26:20,200 --> 00:26:22,879 Speaker 2: always feels like his caller is choking him like his 474 00:26:23,000 --> 00:26:31,160 Speaker 2: priestly collar. He is obsessed with purity, and through that 475 00:26:31,240 --> 00:26:37,240 Speaker 2: you see kind of this whole conversation about colonialism and 476 00:26:37,280 --> 00:26:41,000 Speaker 2: religion and him thinking, you know, like he is the 477 00:26:41,000 --> 00:26:42,159 Speaker 2: better person. 478 00:26:43,240 --> 00:26:46,880 Speaker 1: And it and all the kind of. 479 00:26:48,320 --> 00:26:51,720 Speaker 2: The vigilanti stuff that for Nanda and the Goddess of 480 00:26:51,800 --> 00:26:55,840 Speaker 2: failt doing at the end, which is fun to kind 481 00:26:55,880 --> 00:27:01,600 Speaker 2: of remedy that or at least address that in some way. Yeah, yeah, 482 00:27:01,720 --> 00:27:05,040 Speaker 2: I heard another quote. She is a fierce goddess when 483 00:27:05,080 --> 00:27:08,080 Speaker 2: I believe to be misunderstood but important. She is known 484 00:27:08,080 --> 00:27:10,840 Speaker 2: as the goddess of filth. She's the eater of sin 485 00:27:11,080 --> 00:27:15,879 Speaker 2: and the unclean. However, she also represents fertility after death. 486 00:27:17,520 --> 00:27:22,600 Speaker 2: So I think it's interesting that late we mentioned earlier 487 00:27:22,680 --> 00:27:27,080 Speaker 2: that it's the Professor's kind of like it's it's sort 488 00:27:27,119 --> 00:27:29,960 Speaker 2: of a misnomer, like the name Goddess of filth, because 489 00:27:29,960 --> 00:27:32,480 Speaker 2: that makes it sound like she's filthy, but really she's 490 00:27:32,520 --> 00:27:38,920 Speaker 2: like eating yes the sin and has been misunderstood or 491 00:27:38,920 --> 00:27:47,040 Speaker 2: purposely misrepresented right since then. But yeah, here's a final quote. 492 00:27:47,320 --> 00:27:49,080 Speaker 2: I want to say that I no longer want to 493 00:27:49,119 --> 00:27:51,359 Speaker 2: be seen as crazy or a thing to be forgotten. 494 00:27:51,800 --> 00:27:54,240 Speaker 2: My existence is more than a bloody, dirty rag you 495 00:27:54,320 --> 00:27:57,359 Speaker 2: cast away every month. I am here because would you 496 00:27:57,440 --> 00:28:00,520 Speaker 2: not answer a cry for help? I looked at My 497 00:28:00,640 --> 00:28:03,439 Speaker 2: language is something not everyone understands. But the stories from 498 00:28:03,440 --> 00:28:06,919 Speaker 2: the past are important. Human history has been one of chaos, 499 00:28:06,960 --> 00:28:11,280 Speaker 2: and in chaos many things become lost. People are subjugated 500 00:28:11,320 --> 00:28:14,600 Speaker 2: and integrated, whether they like it or not. I am 501 00:28:14,680 --> 00:28:17,679 Speaker 2: here to revive those stories from the source. I have 502 00:28:17,760 --> 00:28:21,560 Speaker 2: traveled a long way through light and volatile startist. The 503 00:28:21,600 --> 00:28:24,520 Speaker 2: stars in the night sky are moll holes and space 504 00:28:24,600 --> 00:28:27,320 Speaker 2: time and the bodies of the larvae between each hole 505 00:28:27,760 --> 00:28:30,480 Speaker 2: are the means of travel. But here I am. 506 00:28:31,000 --> 00:28:31,240 Speaker 4: Yeah. 507 00:28:31,320 --> 00:28:34,000 Speaker 3: I think it's like a great because it's a So 508 00:28:34,040 --> 00:28:36,520 Speaker 3: the theme is that that everybody's like she's possessed. 509 00:28:36,160 --> 00:28:36,600 Speaker 4: By a demon. 510 00:28:36,640 --> 00:28:39,640 Speaker 3: She's possessed by a demon in actuality, she's possessed by 511 00:28:39,680 --> 00:28:42,000 Speaker 3: a goddess and not like I don't think they actually 512 00:28:42,000 --> 00:28:44,120 Speaker 3: say possessed. I think they try to take that war 513 00:28:44,240 --> 00:28:48,520 Speaker 3: back they do because that implication possesses meaning like demon 514 00:28:48,880 --> 00:28:52,600 Speaker 3: because Fernanda does have a choice, for Nanda asks her 515 00:28:52,640 --> 00:28:55,960 Speaker 3: to stay because she loves this new power of freedom, 516 00:28:56,240 --> 00:28:59,880 Speaker 3: she loves finding herself as a whole woman. That like 517 00:29:00,200 --> 00:29:02,920 Speaker 3: we took it to see, Like I did really appreciate 518 00:29:03,320 --> 00:29:06,200 Speaker 3: the romance scene between her and Ruben and her choices 519 00:29:06,760 --> 00:29:11,720 Speaker 3: because everything was really slow in itself, and also everything 520 00:29:11,840 --> 00:29:16,440 Speaker 3: was like lovingly consented and I'm like, oh, wouldn't that 521 00:29:16,480 --> 00:29:18,960 Speaker 3: be nice if people experienced. 522 00:29:18,440 --> 00:29:19,960 Speaker 4: That as their first time for will for real? 523 00:29:20,040 --> 00:29:22,800 Speaker 3: Like you know, I don't know, I don't know if 524 00:29:22,840 --> 00:29:26,920 Speaker 3: she meant to like taking what sexuality can be seen, 525 00:29:27,120 --> 00:29:29,440 Speaker 3: especially when it's a young woman with her first time, 526 00:29:29,880 --> 00:29:33,719 Speaker 3: and instead of like making it sad or over the 527 00:29:33,720 --> 00:29:37,360 Speaker 3: top or like like really painful or hurtful or like 528 00:29:37,440 --> 00:29:40,440 Speaker 3: really damaging traumatizing, it made it this way. And I 529 00:29:40,480 --> 00:29:43,920 Speaker 3: think that implication was that, you know, the goddess helped 530 00:29:43,920 --> 00:29:46,840 Speaker 3: her to see what she wanted and then do as 531 00:29:46,880 --> 00:29:49,360 Speaker 3: she wanted and be able to be in control and 532 00:29:50,160 --> 00:29:52,959 Speaker 3: like have it being able to be outspoken on what 533 00:29:53,040 --> 00:29:55,440 Speaker 3: she did and didn't like, like I was like, oh, 534 00:29:55,480 --> 00:29:57,480 Speaker 3: and then also when she wanted to do something or 535 00:29:57,520 --> 00:29:59,360 Speaker 3: when she didn't. So I really felt like that was 536 00:29:59,360 --> 00:30:03,400 Speaker 3: a great turn in portraying these types of thcene because 537 00:30:03,400 --> 00:30:05,680 Speaker 3: we've seen it in so many different ways and it's 538 00:30:05,720 --> 00:30:09,400 Speaker 3: always like ugh, like that's you know, like just so 539 00:30:09,480 --> 00:30:12,800 Speaker 3: almost dismissive and almost things that you're like eh, but 540 00:30:12,880 --> 00:30:17,040 Speaker 3: like the goddess really helps her capture her own womanhood essentially, 541 00:30:17,280 --> 00:30:19,200 Speaker 3: is kind of the idea, and I love that. And 542 00:30:19,200 --> 00:30:21,680 Speaker 3: then in Fernanda, because like I couldn't bend this person 543 00:30:21,720 --> 00:30:24,560 Speaker 3: without you, please stay and the compromises, Yeah, we'll kill 544 00:30:24,600 --> 00:30:27,400 Speaker 3: some people and take film, but if you'll help make 545 00:30:27,480 --> 00:30:32,320 Speaker 3: him remain control, you know, those things with that also 546 00:30:32,480 --> 00:30:35,680 Speaker 3: telling her story, which is so important, Like I feel 547 00:30:35,720 --> 00:30:38,200 Speaker 3: like that's such a great conversation that we've had, like 548 00:30:38,240 --> 00:30:42,280 Speaker 3: women being erased in history in general, and then like 549 00:30:42,360 --> 00:30:45,560 Speaker 3: even we've talked about legends and how they've turned from 550 00:30:45,640 --> 00:30:48,920 Speaker 3: something that used to be cool to like this awful, sexualize, 551 00:30:48,960 --> 00:30:54,080 Speaker 3: over the top thing or like very domesticated or subservient 552 00:30:54,160 --> 00:30:57,600 Speaker 3: creatures which they weren't originally supposed to be, like because 553 00:30:57,600 --> 00:31:00,680 Speaker 3: it was a narrative that fit patriarch. So I really 554 00:31:00,880 --> 00:31:03,360 Speaker 3: liked that idea too, like it just portrayed a lot. 555 00:31:04,080 --> 00:31:06,160 Speaker 3: And then coming back to that being the demon part, 556 00:31:06,240 --> 00:31:09,120 Speaker 3: which is what the priest who is the center of 557 00:31:09,160 --> 00:31:11,720 Speaker 3: patriarchy thinking that he was going to prove everybody wrong 558 00:31:11,760 --> 00:31:14,560 Speaker 3: by showing that demons existed and he's the one that's 559 00:31:14,600 --> 00:31:19,360 Speaker 3: been given visions and that he can justify killing women 560 00:31:20,000 --> 00:31:22,880 Speaker 3: for their purity by saying I'm doing this because God 561 00:31:22,920 --> 00:31:25,440 Speaker 3: has put me in this place and I can see. 562 00:31:25,280 --> 00:31:27,000 Speaker 4: It and it's like rah. 563 00:31:27,040 --> 00:31:29,120 Speaker 3: So it was a really great turn of like flipping 564 00:31:29,720 --> 00:31:31,160 Speaker 3: so many of those narratives. 565 00:31:31,520 --> 00:31:36,400 Speaker 2: Yeah, and I really like to that whole like telling 566 00:31:36,440 --> 00:31:39,600 Speaker 2: your story bit that lord es you know, goes to 567 00:31:39,640 --> 00:31:42,840 Speaker 2: school for that and is learning this language and is 568 00:31:42,880 --> 00:31:45,760 Speaker 2: connecting to her heritage in that way. But also yeah, 569 00:31:45,840 --> 00:31:50,560 Speaker 2: I mean the Goddess asks Fernanda like are you cool 570 00:31:50,640 --> 00:31:53,560 Speaker 2: with what happened with Ruben? 571 00:31:53,720 --> 00:31:56,320 Speaker 1: Like are you good? She's like checking in. 572 00:31:57,040 --> 00:32:01,600 Speaker 2: She's also kind of representative of just womanhood in general, 573 00:32:01,680 --> 00:32:05,320 Speaker 2: like when she's talking about you know, and not every 574 00:32:05,480 --> 00:32:07,360 Speaker 2: woman has a period. But when she's talking about, like, 575 00:32:07,360 --> 00:32:10,920 Speaker 2: you know, every month here here, it is this idea 576 00:32:11,160 --> 00:32:19,000 Speaker 2: of her and that we've been shamed for being women 577 00:32:19,080 --> 00:32:21,680 Speaker 2: for so long, and she's like, no, no, no, that's 578 00:32:21,680 --> 00:32:24,320 Speaker 2: not what it was supposed to be and trying to 579 00:32:24,360 --> 00:32:30,000 Speaker 2: correct where that has gone wrong. But also it does 580 00:32:30,040 --> 00:32:33,560 Speaker 2: feel very as so many hard movies do that sort 581 00:32:33,600 --> 00:32:38,080 Speaker 2: of like oh, young women coming into age having their 582 00:32:38,120 --> 00:32:43,120 Speaker 2: periods being sexual. It's terrifying. But the Goddess turns around 583 00:32:43,120 --> 00:32:45,080 Speaker 2: and is like, no, this could be great, like let's 584 00:32:46,840 --> 00:32:48,840 Speaker 2: let's just make sure that this is what you want. 585 00:32:49,440 --> 00:32:52,640 Speaker 2: And I do love that. I really really enjoyed that. 586 00:32:53,280 --> 00:32:59,160 Speaker 2: And it's honestly, in the beginning when Fernande is like suffering, 587 00:33:00,160 --> 00:33:03,880 Speaker 2: it's because she's fighting the goddess and she's having to 588 00:33:03,920 --> 00:33:08,520 Speaker 2: deal with this priest. I guess when she sort of accepts, oh, no, 589 00:33:08,640 --> 00:33:12,360 Speaker 2: this is what I want and this is who I am, 590 00:33:13,080 --> 00:33:16,920 Speaker 2: that the pain and suffering starts to ease and she 591 00:33:16,960 --> 00:33:18,320 Speaker 2: starts to feel more herself. 592 00:33:18,920 --> 00:33:19,920 Speaker 1: So I really liked it. 593 00:33:21,080 --> 00:33:25,960 Speaker 2: Liked it a lot, Yes, and I would definitely say 594 00:33:26,040 --> 00:33:29,760 Speaker 2: check it out. It's a great read. It's pretty quick. Also, 595 00:33:29,800 --> 00:33:33,360 Speaker 2: as we're recording this it is Halloween, so quick shout out. 596 00:33:33,600 --> 00:33:37,240 Speaker 2: My Thirteen Days of Halloween episode is out, yes, episode 597 00:33:37,280 --> 00:33:40,560 Speaker 2: six defense. I was also on an episode of Stuff 598 00:33:40,560 --> 00:33:44,400 Speaker 2: to Blow Your Mind where I was a monster hunter 599 00:33:45,520 --> 00:33:48,040 Speaker 2: in the most recent listener mail, so check that out 600 00:33:48,040 --> 00:33:50,880 Speaker 2: if you're still looking for Halloween stuff. And I don't 601 00:33:50,880 --> 00:33:53,800 Speaker 2: think we're done yet, so probably some more to come. 602 00:33:54,320 --> 00:33:58,600 Speaker 2: But in the meantime, we hope that you whatever you celebrated, 603 00:33:58,640 --> 00:34:00,920 Speaker 2: don't celebrate. You're doing well, You're having a good time 604 00:34:01,360 --> 00:34:03,200 Speaker 2: and we've loved to hear from you. As always, if 605 00:34:03,240 --> 00:34:05,760 Speaker 2: you have any suggestions for our next book, you can 606 00:34:05,760 --> 00:34:08,600 Speaker 2: emails at stephidm mom Stuff at iHeartMedia dot com. You 607 00:34:08,640 --> 00:34:10,560 Speaker 2: can find us on Twitter at mom Stuff Podcast, or 608 00:34:10,560 --> 00:34:13,239 Speaker 2: on Instagram and TikTok at Stefan Never Told You. We 609 00:34:13,280 --> 00:34:16,399 Speaker 2: have a tea public store. We have a book. There's 610 00:34:16,440 --> 00:34:18,640 Speaker 2: a lot of horror stuff in there as well. You 611 00:34:18,719 --> 00:34:21,319 Speaker 2: can get it wherever you get your books. Thanks as 612 00:34:21,320 --> 00:34:24,160 Speaker 2: Ali's to our super producer Christina, our executive producer Maya, 613 00:34:24,280 --> 00:34:25,560 Speaker 2: and our contributor Joey. 614 00:34:25,640 --> 00:34:27,560 Speaker 1: Thank you and thanks to you for listening. 615 00:34:27,840 --> 00:34:30,040 Speaker 2: Steffan Never Told You use production of iHeartRadio for more 616 00:34:30,040 --> 00:34:31,600 Speaker 2: podcasts from my heart Radio. You can check out the 617 00:34:31,640 --> 00:34:33,799 Speaker 2: heart Radio app, Apple podcasts, wherever you listen to your 618 00:34:33,800 --> 00:34:41,960 Speaker 2: favorite shows.