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Speaker 1: On the dol Cast. The questions asked if movies have

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Speaker 1: women in um, are all their discussions just boyfriends and

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Speaker 1: husbands or do they have individualism the patriarchy ZF and

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Speaker 1: best start changing it with the Bedel Cast. Hi, welcome

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Speaker 1: to the Bechtel Cast. My name is Jamie, my name

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Speaker 1: is Caitlin, and this is the vac dol Cast. This

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Speaker 1: is a movie podcast where we talked about the portrayal

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Speaker 1: of women in movies. Oh yeah, I forgot first. We

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Speaker 1: wanted to. It was announced recently, keeping some housekeeping things,

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Speaker 1: some cool things. It was announced recently. I found an

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Speaker 1: article on end gadget dot com, the whole website for

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Speaker 1: tech heads. Oh, I am not super familiar with it.

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Speaker 1: I'm going to pretend to be cool. The article is

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Speaker 1: IMDb adds an F rating to help users identify feminist

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Speaker 1: friendly movies. Does that seem a little bit condescending the

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Speaker 1: F or just like confusing? Like, oh, this movie has

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Speaker 1: an F but it's good should be a for ally,

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Speaker 1: So I like that. I like it. I like that

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Speaker 1: a lot, so be on the lookout for that. I'm

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Speaker 1: not sure when they're launching that exactly. But and then

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Speaker 1: the the other thing that we learned about since our

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Speaker 1: last episode is the sexy lamp test, which is sort

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Speaker 1: of a contemporary spin on the back Dolt test that

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Speaker 1: in the sexy lamp that's a reference to Christmas story,

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Speaker 1: is it not? Okay? So the sexy lamp test is

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Speaker 1: none of the women can be replaced by a sexy

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Speaker 1: lamp and have the plot remain intact. So it's basically

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Speaker 1: just like a lesson in objectification, which we're down for.

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Speaker 1: We're down. There's so many variations on tests. I mean,

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Speaker 1: I mean on this website alone, the backtel test, sexy

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Speaker 1: lamp test, the Mako Morey test. The Macho Morey test

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Speaker 1: says a movie has to have at least one female

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Speaker 1: character with her own narrative arc that is not about

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Speaker 1: supporting a man's story, so it has to be her own.

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Speaker 1: She has to have her own story that doesn't have

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Speaker 1: anything to do with a man's goal or desires. And

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Speaker 1: then there's the furious A test, which I think is

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Speaker 1: mislabeled here because I'm pretty sure I created that test,

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Speaker 1: and it's more the furious A rule, which is that

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Speaker 1: the baldest woman in the movie is in charge. And

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Speaker 1: I think that that rule pretty much holds up. Name

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Speaker 1: me a movie with a bald woman who is not

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Speaker 1: in charge. I don't know if I can name you

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Speaker 1: a movie with a bald woman apart from mad Max,

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Speaker 1: Fury Road and I Jane. Oh damn it, I was

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Speaker 1: like truck card. There's another one. The anti freeze test

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Speaker 1: says that no woman assaulted, injured, or killed to further

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Speaker 1: the story of another character, so that cannot happen or

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Speaker 1: else it does not pass the anti freeze test. So um,

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Speaker 1: someone had tweeted at us a while back letting us

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Speaker 1: know about the sexy lamp test. I wish I could

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Speaker 1: remember that person's Twitter handle. I don't. Sorry, we'll put

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Speaker 1: it in the description. Yeah. Anyway, these you with these

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Speaker 1: tests were brought to our attention. So we got some

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Speaker 1: other litmus tests to apply to the movies we talk

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Speaker 1: about if we want anyway, let's get this moving right along,

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Speaker 1: all right, Let's do it and introduce our wonderful guests.

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Speaker 1: She's a screenwriter and she has written for Reductress Natalie Basement. Hi,

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Speaker 1: thanks for being here. Oh, it is a pleasure to

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Speaker 1: be here. O, my god, thank you for having me. So.

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Speaker 1: One of the things we often mentioned on the podcast,

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Speaker 1: and I don't like to bring it up, is that

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Speaker 1: I have a screenwriting master's degree. Guest, who else has

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Speaker 1: a screenwriting masters degree? Natalie does? Goddamn it? So serious, serious, guys.

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Speaker 1: So I'm a trigger. So I'm going home. You know,

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Speaker 1: you understand my struggle. It's hard. It's that I went

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Speaker 1: to film school because I love movies, and it it

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Speaker 1: made me so I can't watch a movie without destroying it.

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Speaker 1: I have a much more critical eye when I I

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Speaker 1: can see the screenwriter's hand in like every decision that's

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Speaker 1: made when I'm watching a movie, but I'm still able

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Speaker 1: to enjoy them. Yeah. Well, if the movie is good enough,

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Speaker 1: I'll forget about it, like the movie we're going to

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Speaker 1: talk about. I went to radio school to kill my

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Speaker 1: new England accent and develop a very smooth delivery voice,

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Speaker 1: and it's working. Thank you so much. I used to

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Speaker 1: I used to host a late night R and B

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Speaker 1: show and be like, this is eight eight nine at night.

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Speaker 1: If you have any calls, feel free to call in

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Speaker 1: for your loved one, and then it would be like

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Speaker 1: CVS brand Delilah. It was nice. I was like, I

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Speaker 1: hope people are sucking to this, and sometimes it would

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Speaker 1: just be like horny older guys have calling and be

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Speaker 1: like play a song for my wife, and I'd be

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Speaker 1: like this next song goes out to Louisa on her

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Speaker 1: thirtieth anniversary. I definitely what I've listened to your show,

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Speaker 1: Thank you so much. I also hosted a show called

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Speaker 1: The Playground where I only talked in a nasal tone.

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Speaker 1: So that's what I did. That's why I'm in it good.

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Speaker 1: Thank you. My mom told me today that she has

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Speaker 1: a hard time distinguishing our voices whenever she was listening

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Speaker 1: to the podcast. I have sometimes too, Really, do we

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Speaker 1: say enough alike? I think that we have. Maybe I

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Speaker 1: should start talking in like an Australian accent. Hey are

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Speaker 1: we It's that? What's silent? So that's really good? Bad,

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Speaker 1: that's really good. Thanks. I only have like two voices,

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Speaker 1: which is tricky. I can talk like my former co

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Speaker 1: worker Nick, and then I can just talk hear it, Hey, Nick,

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Speaker 1: what's going on? Hey that's going a nice Nick Hanson? Yeah, Nick,

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Speaker 1: I have a blag about turkey sandwiches. I live in Minnesota.

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Speaker 1: I'm the nicest by a lot, and I used to

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Speaker 1: like write sketches about Nick everyone following on Twitter at

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Speaker 1: Nick Hanson m N. I used to write sketches about

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Speaker 1: Nick when we worked together, and I would always make

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Speaker 1: him like a vicious murderer and kept his name like.

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Speaker 1: There was one thing used to do where I would

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Speaker 1: be like wearing a wig and I'd have a gun

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Speaker 1: under the wig. I would be just Nick going from

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Speaker 1: table to table being Hella, I have again under my wig.

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Speaker 1: Do you believe me? And then people would be like no,

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Speaker 1: He'd be like, take off my wig. I defy it.

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Speaker 1: To take off my wig. It was so much fun.

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Speaker 1: I missed it. That is a pretty good Nick impression.

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Speaker 1: Though you and I went to grad school together. Again,

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Speaker 1: I don't like. I don't like. Oh my god, guys,

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Speaker 1: in spite of the fact that I've been making cartoons

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Speaker 1: about Nick being a murderer and the cartoons are making

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Speaker 1: fun of his Turkey sandwich blog. He sent me and

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Speaker 1: my dad a Christmas cards. Last act, he's a very Nicholas.

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Speaker 1: He sent me a DVD of Ferris Bueller's Day Off

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Speaker 1: on my birthday. I don't even have a DVD player.

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Speaker 1: I love it. Hey, speaking to DVDs, let's talk about

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Speaker 1: the movie that we're here to talk about. Okay, don't

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Speaker 1: sound so defeated, because it's a movie that we enjoy,

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Speaker 1: we really like. We we're talking about Moanna. It came

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Speaker 1: out last year, so it's not as though any of

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Speaker 1: us have a huge history with this movie. But you

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Speaker 1: saw in theaters, right, Natalie. I saw it at a

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Speaker 1: It was a special preview at my grad school. WHOA

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Speaker 1: what you went to grad school? Sometimes they do at

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Speaker 1: special previews data special screen of Mohanna that was presented

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Speaker 1: by the Pacific Islanders Group at the school, which was

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Speaker 1: really great because there were a lot of students there

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Speaker 1: who are either from the Pacific Islands Hawaii or around

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Speaker 1: there or are descended from there, and I live here

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Speaker 1: and so they were all super pumped for it. So

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Speaker 1: it was just a really great vibe going into it.

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Speaker 1: And then there was an interview with the screenwriter after

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Speaker 1: overtty cool. Yeah, and this was this before like the

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Speaker 1: theatrical release. Yeah, just a couple of weeks there. And

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Speaker 1: I didn't know that the screenwriter of this had had

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Speaker 1: a hell of a year last year because he also

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Speaker 1: wrote and directed Utopia. Kidding, Yeah, he was like a

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Speaker 1: low gas animator last year and he looks like just

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Speaker 1: the widest dad. Yeah, exactly. Yeah, he for sure golfs,

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Speaker 1: but he also had an amazing So you saw it

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Speaker 1: a little bit before because it came out in two

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Speaker 1: around November, was it, Yeah, it was right, it was

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Speaker 1: right before the holidays, and I just I just kept

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Speaker 1: thinking about it. I left the theater and I went

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Speaker 1: in with very low expectations, maybe a little bit higher

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Speaker 1: because I did enjoy Frozen so much, And then I

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Speaker 1: was just so blown away and just listened to the

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Speaker 1: soundtrack forever after and it's still stuck in my head.

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Speaker 1: And I rewatched it for the third time last night

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Speaker 1: in preparation for this, and it is. It's just a

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Speaker 1: beautiful movie. It is. It's almost everything I ever wanted

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Speaker 1: out of a Disney princess movie, but never never knew

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Speaker 1: I wanted. Yeah, exactly. Every time I've seen it, I've

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Speaker 1: been so emotional because it's like, this is the this

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Speaker 1: is what Disney movies should have been like all along.

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Speaker 1: Caitlin didn't cry, but she did sing. I did, right.

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Speaker 1: So I watched it twice in the past day and

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Speaker 1: a half. So the story is Moanna is the daughter

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Speaker 1: of a chief on an island, called Moutanui, and we

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Speaker 1: learned about this sort of creation legend in the very

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Speaker 1: beginning where this demigod Maui has stolen the heart. I

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Speaker 1: like to call it the heart of the Ocean, Titanic

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Speaker 1: reference call it. I know that they ever actually do it.

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Speaker 1: They always call it the heart of Taffiti, because I mean,

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Speaker 1: like that would be like I would have loved that

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Speaker 1: there was an overt tan reference. Well, she wears it

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Speaker 1: around her neck if it were true, and Mauie drops

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Speaker 1: her naked. Yeah, so Maui steals the heart from this

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Speaker 1: mother island, and then it creates this sort of leg

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Speaker 1: that is spreading to the other islands and like diseasing

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Speaker 1: the crops and all this stuff. So this starts to

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Speaker 1: happen to the island that Mowana lives on with her family,

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Speaker 1: her mom and her dad and her grandma. She also,

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Speaker 1: throughout the course of her childhood is drawn to the ocean,

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Speaker 1: and her dad's like, you can't go out. It's dangerous.

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Speaker 1: You have to stay on the island. You can't go

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Speaker 1: out sailing, And she's like, but I wanna. So I

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Speaker 1: think it would be funny if we subbed in cocaine

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Speaker 1: for the ocean. She's like, I can't stay away. I

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Speaker 1: was born with this desire to snort coke. And then

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Speaker 1: she sings the same song about it would explain how

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Speaker 1: she got to the island so quickly, right, just just

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Speaker 1: very focused. She's like, I kinda go right now. I'm

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Speaker 1: being fast. Oh yeah, I know she Yeah, she's got

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Speaker 1: that co cattled brain. Yeah. So she's drawn to the ocean,

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Speaker 1: and the ocean sort of chooses her to it, like

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Speaker 1: delivers her this heart, this little rock that's the heart

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Speaker 1: of the ocean, and she's a baby, but she doesn't

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Speaker 1: really know about it. Turns out her grandma found it

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Speaker 1: for her and has been keeping it for her. And

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Speaker 1: then when the crops start to get to disease and

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Speaker 1: there's no fish, she's like, I gotta go and fix this.

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Speaker 1: There's a whole global warming climate change. I made notes

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Speaker 1: about it. So she decides to she gets the call

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Speaker 1: to adventure. She goes off and she takes a boat

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Speaker 1: because she learns that their ancestors were all voyagers, and

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Speaker 1: so she's like, I gotta get on these boats. I'm

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Speaker 1: gonna go off and I'm gonna go to Maui. The

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Speaker 1: stemigod who fucked everything up. I went back up a

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Speaker 1: little bit to say, ten minutes of topless baby, we

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Speaker 1: do see some babies nipples. We see baby nips and

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Speaker 1: progressive in every way. I'm like, you know what, loving

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Speaker 1: not aroused by these baby nips. Just happy they're here.

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Speaker 1: I didn't even think about that, and I'm so happy

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Speaker 1: that's the case. I think I literally shouted baby nips.

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Speaker 1: All right, we watched it together. This is we did.

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Speaker 1: We watched together. Oh, we're hottest couffle. Oh. And when

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Speaker 1: the grandmother, when she's sick and dying, she brings Mohana

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Speaker 1: close and says go and she says, grab Mauie, and

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Speaker 1: you tell him I am mo Wanna from Montanui and

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Speaker 1: you will do this. You will sail across the ocean

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Speaker 1: and you will do this, and just so forceful and beautiful.

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Speaker 1: It was great. So she does, she goes, and she

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Speaker 1: um kind of self teaches herself. I do feel like

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Speaker 1: with the death of the grandma, they do shoehorn in

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Speaker 1: a maternal death as a motivation. Um. But but I

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Speaker 1: wasn't bothered by it. I wasn't either, but it just

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Speaker 1: felt worth mentioning. So she goes, she finds Mauie. He

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Speaker 1: is a dick, but we love him, and he agreed.

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Speaker 1: He agrees to reluctantly help her after she convinces him, Yeah,

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Speaker 1: you thought you were great, but no one likes you anymore,

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Speaker 1: so you have to redeem yourself. And they, you know,

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Speaker 1: encounter some coconut pirates along the way. They only agrees

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Speaker 1: so he can go get his magical hook bad and

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Speaker 1: then they go do that, and there's a very sexy

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Speaker 1: song shiny yeah, Oh my god, the yeah, the Germaine

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Speaker 1: Clement pulling a bowie. I loved that. That was so good.

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Speaker 1: And You're welcome, which is the ultimate man's bliny song.

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Speaker 1: The rock just really delivers so on every level. So

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Speaker 1: where he's a shape shifter and but he needs a

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Speaker 1: magical hook that was bestowed to him by the gods

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Speaker 1: to be able to shape shift. So they go and

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Speaker 1: they get his hook, and then he, like again reluctantly

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Speaker 1: agrees to help her restore the heart and they go

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Speaker 1: and there's a lot of a monster they have to defeat,

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Speaker 1: and she questions who she is the whole time, like,

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Speaker 1: am I the right person for this? Why was I chosen?

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Speaker 1: And he's just like egging her on, being like, yeah,

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Speaker 1: why were you chosen? And so she has all this

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Speaker 1: self doubt, um, but she's very driven throughout the entire thing.

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Speaker 1: And then finally they get to DEFETI. She restores the heart.

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Speaker 1: She's the one who does it, even though the whole

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Speaker 1: time it's like, now you have to be the one

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Speaker 1: to do it, and then she realizes, no, I have

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Speaker 1: to be the one to do it. So she is

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Speaker 1: integral and the like actual climax and resolution of the story,

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Speaker 1: which is great. Last night, I was watching it by

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Speaker 1: myself and I was basically crying the whole time. So

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Speaker 1: what are your crime moments? Because I cry every time

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Speaker 1: I've seen this movie, and I've cried listening to soundtrack

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Speaker 1: and it is last night I tried to write down

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Speaker 1: when I cried so we could compare it. What are

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Speaker 1: the most moment? The biggest one that makes me the

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Speaker 1: most emotional is toward the end, after Maui has decided

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Speaker 1: to leave, Like, they attempted defeating I forget what the

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Speaker 1: law of monster's name is. Um, they attempt defeating her

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Speaker 1: once and they fail. So mal he's like, I'm going

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Speaker 1: to get out of here. And Molana is like, I've

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Speaker 1: made a mistake. I shouldn't even you chose the wrong person.

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Speaker 1: Please choose someone else, Ocean, and then her grandma shows

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Speaker 1: up and they sing a song together and she's like,

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Speaker 1: I am mo wanna. That's so just like so good.

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Speaker 1: Water works the lyrics of that song because I was

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Speaker 1: singing along and then realized I actually don't know the

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Speaker 1: lyrics and I'm just singing the emotions. But then I

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Speaker 1: looked up the lyrics and was bawling because they are beautiful.

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Speaker 1: It's like there's a line about how the scars make

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Speaker 1: you stronger, and I mean, well, might as well jump

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Speaker 1: into it. But I really think this movie is so

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Speaker 1: much about overcoming trauma and overcoming these hard things that

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Speaker 1: can happen to you. And and even though Mohanna doesn't

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Speaker 1: necessarily she's she's the savior of the victim and it's

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Speaker 1: and it's in that moment she is so defeated and

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Speaker 1: then overcomes it by just repeating who she is, and

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Speaker 1: it's beautiful. The Disney movie that it most closely reflected

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Speaker 1: for me was Pocahon Tests, which was my first favorite movie.

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Speaker 1: I believe that there are hours of home video footage

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Speaker 1: of me just screaming colors of the wind out a

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Speaker 1: mountain in New Hampshire, like Age three, but for for

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Speaker 1: a couple of reasons, even though like it's a you know,

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Speaker 1: Pocahon is hinged on, you know, she falls in love

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Speaker 1: with the man, but also she lets him go at

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Speaker 1: the end. But more so like this young woman who

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Speaker 1: goes on an adventure and then at the end she

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Speaker 1: learns about herself. She learns about A, B and C,

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Speaker 1: but then decides that her place is at home with

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Speaker 1: her family, and there's some sort of duty connected to

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Speaker 1: her home into family, which I wasn't sure where this

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Speaker 1: movie was going to end. I wasn't sure if Moana

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Speaker 1: was going to leave home or stay and and I

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Speaker 1: think I would have been happy with either. And it

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Speaker 1: didn't bother me one bit that she returned home at

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Speaker 1: for this journey all wise and coming away, Well, she

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Speaker 1: returns home, but then she's like, guys, let's all be

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Speaker 1: voyagers again. She teaches her dad how to be away

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Speaker 1: finder and stuff. It is beautiful. Caitlin, What was your

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Speaker 1: Disney Princess movie growing up? If you had one. The

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Speaker 1: ones that I connected with most were Little Mermaid Aladdin,

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Speaker 1: which I mean, Jasmine is a princess and it's kind

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Speaker 1: of a Disney princess. She's like, yeah, she's barely in it.

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Speaker 1: I also really loved Being but those are both like

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Speaker 1: so problematic that I don't even want a bit. Yeah,

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Speaker 1: I was a big Cinderella girl, and I would I

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Speaker 1: would watch both the Disney version and then like every

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Speaker 1: other version, I could get Rogers and Hammerstein Baby the best,

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Speaker 1: the Brandy version. And what is so great about Mohana

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Speaker 1: is that they really play with the tropes of the

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Speaker 1: fairy Tale and of the Disney Princess movie and turn

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Speaker 1: it on its on its head, but in ways that

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Speaker 1: are not jarring, but in ways that may right. So

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Speaker 1: like the Fairy Godmother and Cinderella saves the day, and

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Speaker 1: also Cinderella would still be there if the fair Godmother

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Speaker 1: never came, and the fairy Godler saves her over and

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Speaker 1: over again, whereas the fairy Godmother in this movie, I

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Speaker 1: would say, is the ocean. And yes, she is saved

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Speaker 1: by the ocean over and over again, but the ocean

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Speaker 1: is presented as very dangerous at the start of the movie,

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Speaker 1: almost kills her, and she saves herself. She gets her

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Speaker 1: foot caught underneath a rock and then breaks it away

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Speaker 1: and swims away. And she whenever I was trying to

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Speaker 1: pay attention to it this last time, I watch it.

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Speaker 1: Every time the ocean saves her, she has done something

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Speaker 1: to try and save herself before the ocean does, right right, Yeah,

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Speaker 1: I mean I was worried about the ocean kind of

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Speaker 1: becoming a device to get her out of situate, but

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Speaker 1: it never really came to that. It was always I mean,

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Speaker 1: there were times where it came in as an assistant,

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Speaker 1: but you know, she she was always the one taking action.

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Speaker 1: She does all the heavy lifting. Yeah, yeah, there's ah man.

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Speaker 1: It was so good, And I totally agree with the

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Speaker 1: Natalie that, like all the you know, displacements of the

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Speaker 1: basic Disney Princess tropes were I didn't feel shoehorned or

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Speaker 1: forced or like overdone, which they totally could have been.

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Speaker 1: And the fact that I feel like it's worth mentioning

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Speaker 1: that Moana's body type is like normal, It's like mildly realistic,

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Speaker 1: as close to proportional as probably a Princess style character

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Speaker 1: has ever been, which is really really cool. No like

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Speaker 1: two inch waste and and all this stuff. She seems

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Speaker 1: like strong, like physically strong and able, which need to

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Speaker 1: be and we see her like doing these like pretty

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Speaker 1: amazing feats of strength. Every time she'd pull a rope,

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Speaker 1: I'd be like, well, that is, I couldn't do that.

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Speaker 1: She's kind of like Aladdin in that way. She's from

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Speaker 1: the beginning of the movie. She is doing these feats

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Speaker 1: of strength in these of acrobatics, and she runs up

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Speaker 1: and fixes the pomp fronds in the building and stops

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Speaker 1: the leaking, and and then everything with the ship requires

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Speaker 1: so much physical strength. On the same topic of like

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Speaker 1: the bodies and stuff one of crime moment number one,

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Speaker 1: the first time I saw it was so the grandmother

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Speaker 1: was like just a beautiful character and the relationship is wonderful,

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Speaker 1: but the grandmother's arms like hit something inside of me

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Speaker 1: that I didn't know was there really, And it was like,

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Speaker 1: you know, even when they show uh different figures on TV,

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Speaker 1: it's often larger hips, a larger bust, even a larger waist,

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Speaker 1: but you know something like arms are still very skinny

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Speaker 1: and trim and like or like sleeved or sleeved or

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Speaker 1: and and to see this like woman's skin that is alive,

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Speaker 1: that is an old woman's body. That was like, oh

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Speaker 1: my god, those are my grandmother's arm show me that

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Speaker 1: decay baby, I was. I was actually going to bring

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Speaker 1: up the grandmother too, because that was the other big

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Speaker 1: thing that reminded me of Pocahontas, except the role of

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Speaker 1: the grandmother is a tree. But that tree is dope

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Speaker 1: and very helpful, like Moana's grandma. My mom. We had

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Speaker 1: like a tree that it was not a willow tree.

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Speaker 1: It looked nothing like the tree. But I was so

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Speaker 1: into Pocahontas as a kid that I think she like

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Speaker 1: brought a sharpie out to her tree and there was

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Speaker 1: like a little hole in it like grandmother Willa's face,

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Speaker 1: and she added a little smiley face with eyelashes and

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Speaker 1: then she'd be like Jamie, look, and I would just

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Speaker 1: go talk to the tree. It was maybe to get

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Speaker 1: rid of me for a while because I would just

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Speaker 1: go confess to the tree, that's amazing. Oh. The thing

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Speaker 1: I wanted to mention about her just being physically strong,

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Speaker 1: which that is oftentimes when movies want to like show

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Speaker 1: that a woman character is like not your typical lady

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Speaker 1: like the others, like stronger than normal or a trope

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Speaker 1: you see over and over again when just I don't

387
00:22:01,000 --> 00:22:05,879
Speaker 1: really understand is she's good at fixing cars, but like

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Speaker 1: nickan Fox and transforming and something I forgot to mention

389
00:22:10,200 --> 00:22:14,120
Speaker 1: in Um Runaway Bride, Julia Roberts knows how to fix

390
00:22:14,240 --> 00:22:17,800
Speaker 1: cars and that makes you more handy. But anyway, it

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Speaker 1: wasn't like, oh, what a stupid trope to rely on

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Speaker 1: in mo Wana, Like she lives on an island and

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Speaker 1: you know they're farming in harvesting crops, and like she

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Speaker 1: would have to be right. It's so justified and we

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Speaker 1: see her getting trained for it, so it like comes

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Speaker 1: from somewhere and it doesn't feel like one of those

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Speaker 1: lay mass like action movie tropes of like you know,

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00:22:38,359 --> 00:22:40,520
Speaker 1: there's is great. I think it's a mixed Wheeney's piece

399
00:22:40,560 --> 00:22:43,080
Speaker 1: that I think about at least once a week about

400
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Speaker 1: like I'm the woman and I can kick and it's like,

401
00:22:46,440 --> 00:22:48,720
Speaker 1: you know, like the one amazing thing the woman can do.

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00:22:48,920 --> 00:22:51,480
Speaker 1: And then the guys turned to her like what the

403
00:22:51,560 --> 00:22:54,359
Speaker 1: woman could do a thing? And she's like, whatever, I

404
00:22:54,480 --> 00:22:57,760
Speaker 1: guess I can, and that's like the one display of

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Speaker 1: female strength. She like kicks open a door and they're like, wow,

406
00:23:01,200 --> 00:23:04,200
Speaker 1: we're more horny now, you know. And it's just like

407
00:23:05,280 --> 00:23:09,520
Speaker 1: so infuriating, and you can feel the screenwriter like grabbing

408
00:23:09,640 --> 00:23:13,680
Speaker 1: his crotch in a congratulatory fashion. Of course. Yeah, there's

409
00:23:13,680 --> 00:23:18,520
Speaker 1: a moment when Maui abandons her on the island. Yeah,

410
00:23:19,280 --> 00:23:25,000
Speaker 1: there's this episode maybe two hours long I have loved

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Speaker 1: to talk about. So she gets trapped on the island

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00:23:28,680 --> 00:23:31,399
Speaker 1: because Maui traps her in a cave and there's like

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Speaker 1: a statue that he clearly made of himself yea, and

414
00:23:35,080 --> 00:23:37,159
Speaker 1: she like crawls up it and then like kicks it

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Speaker 1: over and like uses it to jump into which is

416
00:23:40,000 --> 00:23:44,040
Speaker 1: very like Raiders of the Lost Arc. Yeah uh. And

417
00:23:44,119 --> 00:23:45,720
Speaker 1: then she like has to climb out of this like

418
00:23:46,320 --> 00:23:48,280
Speaker 1: hole in this ceiling and stuff, and I'm just like

419
00:23:48,560 --> 00:23:53,879
Speaker 1: fu yeah, dude, she defies Mauie so much. I love it.

420
00:23:54,520 --> 00:23:56,920
Speaker 1: I love I love her. In Mauie's relationship, I was

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Speaker 1: the whole time, I was like, Caitlin, will they kiss?

422
00:23:59,760 --> 00:24:02,119
Speaker 1: And well, I feel okay about it because there were

423
00:24:02,240 --> 00:24:05,159
Speaker 1: moments where I was like, is this daddy or boyfriend?

424
00:24:05,400 --> 00:24:07,640
Speaker 1: You know, Like there's moments where their hands would touch

425
00:24:07,680 --> 00:24:09,960
Speaker 1: and I'd be like, hmmm, he has one million years old,

426
00:24:10,000 --> 00:24:12,119
Speaker 1: am I okay with this? And then by the end

427
00:24:12,160 --> 00:24:14,119
Speaker 1: it was sort of like, you know what, I am

428
00:24:14,200 --> 00:24:16,840
Speaker 1: okay with it, but then nothing happens. But that's like

429
00:24:16,920 --> 00:24:19,040
Speaker 1: one of the amazing things about this movie is there

430
00:24:19,160 --> 00:24:24,480
Speaker 1: is a complete void of romantic interest and and that

431
00:24:24,880 --> 00:24:28,400
Speaker 1: is part of Oh my god, I'm doing a great

432
00:24:28,480 --> 00:24:33,000
Speaker 1: job because from the show room downstairs. Um, that's like

433
00:24:33,080 --> 00:24:36,639
Speaker 1: part of what makes this movie so amazing. And because

434
00:24:36,680 --> 00:24:40,480
Speaker 1: I think I'm so first of all trained to expect

435
00:24:40,680 --> 00:24:43,639
Speaker 1: and second of all genuinely love princess movies that I

436
00:24:43,920 --> 00:24:46,120
Speaker 1: was sort of waiting for a love interest to arrive

437
00:24:46,200 --> 00:24:49,960
Speaker 1: and it never happened. And in retrospect, that's great. Had

438
00:24:50,080 --> 00:24:53,840
Speaker 1: she kissed Mauie, I would be like, okay, oh, I

439
00:24:53,880 --> 00:24:56,920
Speaker 1: would have been furious. I would have I would have

440
00:24:57,440 --> 00:24:59,960
Speaker 1: the first time I saw I would have common media.

441
00:25:00,080 --> 00:25:04,040
Speaker 1: The second time, I'd be like, hey, maybe that's when

442
00:25:04,080 --> 00:25:07,600
Speaker 1: he's a million and I think that's I think that's

443
00:25:07,680 --> 00:25:12,040
Speaker 1: a real Um. The only reason why we like Maui

444
00:25:12,359 --> 00:25:17,200
Speaker 1: is because the rock is amazing and because Mauie, like,

445
00:25:17,400 --> 00:25:21,320
Speaker 1: when you break down what he does, he steals the

446
00:25:21,440 --> 00:25:24,640
Speaker 1: heart of this island, which is a god who made him.

447
00:25:25,040 --> 00:25:30,600
Speaker 1: He essentially rapes her, takes her power, uses it to

448
00:25:31,400 --> 00:25:34,920
Speaker 1: do all kinds of ship It becomes his power, and

449
00:25:35,080 --> 00:25:38,760
Speaker 1: then Moanna is tasked to bring that heart back to

450
00:25:38,880 --> 00:25:43,120
Speaker 1: the island. And all he does is try and kill Moanna.

451
00:25:44,280 --> 00:25:47,080
Speaker 1: He is constantly trying to throw her off a boat

452
00:25:47,200 --> 00:25:51,399
Speaker 1: and the multiple time of her just leave her on

453
00:25:51,520 --> 00:25:54,960
Speaker 1: this island that he was deserted for years and years.

454
00:25:55,760 --> 00:25:59,879
Speaker 1: He talks down to her, He is rude, he calls her.

455
00:26:00,400 --> 00:26:05,879
Speaker 1: He derogatorily calls her a princess, which is very interesting

456
00:26:06,000 --> 00:26:08,960
Speaker 1: because it was I found that to be a little

457
00:26:09,040 --> 00:26:11,399
Speaker 1: heavy handed that, you know, they wanted to get the

458
00:26:11,480 --> 00:26:13,800
Speaker 1: princess thing in there, but the way they did it

459
00:26:14,600 --> 00:26:17,760
Speaker 1: I liked because she stood up for herself was just

460
00:26:17,920 --> 00:26:20,280
Speaker 1: like I'm not a princess. Yeah. There's a line where

461
00:26:20,600 --> 00:26:22,920
Speaker 1: he's like, if you wear a dress and you have

462
00:26:23,040 --> 00:26:25,600
Speaker 1: an animal sidekick, you're a princess. And she's like, no,

463
00:26:25,920 --> 00:26:27,960
Speaker 1: I'm the daughter of a chief. I see his boy

464
00:26:28,240 --> 00:26:33,240
Speaker 1: off and it's both, Yeah, I can't be both. I

465
00:26:33,359 --> 00:26:35,880
Speaker 1: almost found it too third wave that she's like, I'm

466
00:26:35,920 --> 00:26:38,360
Speaker 1: not a princess. I was like, you can be a princess.

467
00:26:38,480 --> 00:26:41,320
Speaker 1: You can just be a better princess. This is the

468
00:26:41,480 --> 00:26:47,159
Speaker 1: final wave of feminism, and it's invented by me. She's

469
00:26:47,440 --> 00:26:51,560
Speaker 1: final way feminism is the last one is there was

470
00:26:52,080 --> 00:26:53,639
Speaker 1: I was going to try to make a pun about

471
00:26:53,760 --> 00:26:58,840
Speaker 1: ocean waves. Speaking of bad pun. Fuck. The twitter joke

472
00:26:58,920 --> 00:27:03,080
Speaker 1: in this movie makes a twitter every time there's like,

473
00:27:03,320 --> 00:27:06,440
Speaker 1: I was like, why this movie is dated in no

474
00:27:06,640 --> 00:27:11,159
Speaker 1: other way except for that horrible joke. And so that

475
00:27:11,320 --> 00:27:15,159
Speaker 1: twitter joke in so many ways encapsulate his his character.

476
00:27:15,280 --> 00:27:18,639
Speaker 1: So he makes a joke that's dumb and bad. He

477
00:27:18,800 --> 00:27:22,360
Speaker 1: makes a bad joke which is, uh, you know when

478
00:27:22,440 --> 00:27:25,440
Speaker 1: you're doing a great job, oh thank you. When you

479
00:27:25,560 --> 00:27:29,639
Speaker 1: write with a bird, it's called tweet, or it's called twitter,

480
00:27:30,520 --> 00:27:33,439
Speaker 1: which is a real growner. And then later on they

481
00:27:33,480 --> 00:27:36,960
Speaker 1: get attacked by these coconut things. Oh my god, this

482
00:27:37,080 --> 00:27:38,960
Speaker 1: point of the mind, and we'll get there too, because

483
00:27:39,160 --> 00:27:43,480
Speaker 1: it's a lot of violence but emoji coconuts. But he

484
00:27:43,840 --> 00:27:47,600
Speaker 1: she loses the heart, which is the whole reason why

485
00:27:47,680 --> 00:27:49,680
Speaker 1: she's doing everything, the heart of this ocean, which is

486
00:27:49,720 --> 00:27:52,560
Speaker 1: this green stone. And he smiles and he's like, but

487
00:27:52,680 --> 00:27:54,440
Speaker 1: you got one right here, and he holds up the

488
00:27:54,480 --> 00:27:57,879
Speaker 1: paddle where he etched that stupid Twitter joke where he

489
00:27:57,920 --> 00:28:00,159
Speaker 1: signed his name in a heart, and it's like, you

490
00:28:00,560 --> 00:28:04,280
Speaker 1: piece of shit. You are not taking her seriously at

491
00:28:04,480 --> 00:28:10,320
Speaker 1: any moment. And I love Mauie. I love him. He's charming,

492
00:28:10,600 --> 00:28:14,960
Speaker 1: and he's got a hot bod. His tattoos are ridiculous.

493
00:28:15,119 --> 00:28:19,920
Speaker 1: A beefcake, He's a beefcake beyond. He's a demigod, he's

494
00:28:19,960 --> 00:28:23,320
Speaker 1: hercules and everything he does. When I write it down,

495
00:28:23,440 --> 00:28:27,040
Speaker 1: it's like, I fucking hate you. I hate you. Are

496
00:28:27,119 --> 00:28:29,800
Speaker 1: the villain. You are the villain of this movie. This

497
00:28:30,080 --> 00:28:34,240
Speaker 1: is the point where I would usually say in the podcast,

498
00:28:34,640 --> 00:28:38,760
Speaker 1: I could fix fixing. I could fix him with my

499
00:28:38,840 --> 00:28:41,280
Speaker 1: love on my body. And I would like Jamie No

500
00:28:41,800 --> 00:28:45,080
Speaker 1: to be afforded that opportunity. And you know, okay, it is.

501
00:28:45,320 --> 00:28:49,160
Speaker 1: The Rock plays a major thing in what makes me

502
00:28:49,400 --> 00:28:53,800
Speaker 1: horny for Mauie, and also probably some internalized misogyny. But

503
00:28:54,480 --> 00:28:57,480
Speaker 1: the Rock is the most talented man to ever live.

504
00:28:57,560 --> 00:29:00,240
Speaker 1: If he ever turns out to be a fucking mon stir,

505
00:29:00,720 --> 00:29:03,920
Speaker 1: I will throw myself off a building because he is perfect.

506
00:29:04,120 --> 00:29:07,480
Speaker 1: I had the same thought today, and like, what does

507
00:29:07,560 --> 00:29:10,040
Speaker 1: that say? What does that say about us? That we

508
00:29:10,120 --> 00:29:13,040
Speaker 1: are waiting for the other shoe to drop on these

509
00:29:13,120 --> 00:29:16,160
Speaker 1: men that we love, I mean more often than not. Yeah,

510
00:29:16,920 --> 00:29:19,760
Speaker 1: like it, you know every time. I feel like every

511
00:29:19,800 --> 00:29:23,719
Speaker 1: time I mentioned being a fan of a straight man

512
00:29:23,880 --> 00:29:26,960
Speaker 1: of of any distinction, someone goes like, oh no, but

513
00:29:27,120 --> 00:29:32,920
Speaker 1: didn't You are like, yeah, he killed people using a

514
00:29:33,080 --> 00:29:36,440
Speaker 1: shank he made out of soap. But he's not in jail,

515
00:29:36,560 --> 00:29:38,960
Speaker 1: you know, And then I'm just like, oh great, now, my,

516
00:29:39,640 --> 00:29:43,640
Speaker 1: you know I can't love Kelsey Grammar anymore. Kelsey Grammar,

517
00:29:45,120 --> 00:29:48,520
Speaker 1: yeah them all? Fuck? You know. Have we lost Alex

518
00:29:48,640 --> 00:29:50,920
Speaker 1: Alex Trebek yet? Can I keep him? I see a

519
00:29:51,000 --> 00:29:53,320
Speaker 1: good boy. I haven't heard anything. Have you ever seen

520
00:29:53,800 --> 00:29:58,240
Speaker 1: a good boy? I mean, not a felon? You know,

521
00:29:58,280 --> 00:30:00,640
Speaker 1: if you're listening right now and you haven't seen pictures

522
00:30:00,680 --> 00:30:06,120
Speaker 1: of shirtless young Alex Trebec, treat yourself. He has the

523
00:30:06,360 --> 00:30:14,800
Speaker 1: same mustache, incredible abs. It's weird, amazing. I have a

524
00:30:14,880 --> 00:30:17,760
Speaker 1: real thing I would like to say, as we tend

525
00:30:17,880 --> 00:30:20,720
Speaker 1: to find again and again. In spite of the fact

526
00:30:20,800 --> 00:30:23,160
Speaker 1: that this is so well done in regards to how

527
00:30:23,200 --> 00:30:25,840
Speaker 1: it treats his female characters, obviously, it passes the Backtel

528
00:30:25,880 --> 00:30:28,800
Speaker 1: test with flying colors. It is directed by and written

529
00:30:28,840 --> 00:30:32,600
Speaker 1: by straight white men, which is kind of par for

530
00:30:32,680 --> 00:30:34,400
Speaker 1: the course when it comes to stuff like this. But

531
00:30:34,520 --> 00:30:37,920
Speaker 1: I went into watching it with you blind and didn't

532
00:30:37,960 --> 00:30:40,280
Speaker 1: do my research until after i'd already finished, because I

533
00:30:40,400 --> 00:30:42,600
Speaker 1: didn't want to find out anything that would disappoint me

534
00:30:42,680 --> 00:30:45,680
Speaker 1: in advance, such as it was written and directed completely

535
00:30:45,760 --> 00:30:48,960
Speaker 1: by straight white men. And it's like, it's not surprising,

536
00:30:49,080 --> 00:30:53,360
Speaker 1: and in some regards, it's encouraging straight white men at least,

537
00:30:54,000 --> 00:30:56,480
Speaker 1: you know, giving them the least benefit of the doubt,

538
00:30:56,640 --> 00:31:00,600
Speaker 1: understand that it's now marketable to be re suitable to

539
00:31:00,640 --> 00:31:04,080
Speaker 1: their female characters and to empower them. But it's still,

540
00:31:04,720 --> 00:31:08,280
Speaker 1: you know, it's disappointing in its way that it's like, Okay,

541
00:31:08,640 --> 00:31:12,480
Speaker 1: it's great that these guys understand that people are interested

542
00:31:12,520 --> 00:31:16,080
Speaker 1: in a movie with a female protagonist with a normal

543
00:31:16,200 --> 00:31:20,920
Speaker 1: body and ambition and you know, like a really grounded character.

544
00:31:21,840 --> 00:31:24,880
Speaker 1: But come on, like, I mean, there are plenty of

545
00:31:25,240 --> 00:31:28,880
Speaker 1: women screenwriters and directors and other four. There's two of

546
00:31:28,960 --> 00:31:35,200
Speaker 1: them in the room right now, so we are Hirer's

547
00:31:35,440 --> 00:31:38,840
Speaker 1: I'm here too when you are else. You are a

548
00:31:39,000 --> 00:31:44,640
Speaker 1: very talented animator and editor and filmmaker. When I went

549
00:31:44,720 --> 00:31:46,760
Speaker 1: and saw this at school, and there was an interview

550
00:31:46,880 --> 00:31:50,160
Speaker 1: with the screenwriter at the end. It was very disappointing

551
00:31:50,240 --> 00:31:53,440
Speaker 1: to see him walk on stage that it was another

552
00:31:53,920 --> 00:31:56,880
Speaker 1: white guy who works at Disney looks like the same,

553
00:31:57,680 --> 00:32:01,440
Speaker 1: and I do wonder. I think you make an interesting point, Jamie,

554
00:32:01,560 --> 00:32:05,240
Speaker 1: and that how much of corporate interest kind of goes

555
00:32:05,280 --> 00:32:08,440
Speaker 1: into those decisions. Because one of the interesting things he said,

556
00:32:08,640 --> 00:32:14,320
Speaker 1: someone had asked, you made the decision to have Moanna's

557
00:32:14,440 --> 00:32:18,560
Speaker 1: mother be alive because most Disney princesses have dead mothers,

558
00:32:18,800 --> 00:32:22,120
Speaker 1: and he said, oh, yeah, well she was dead to

559
00:32:22,200 --> 00:32:26,080
Speaker 1: begin with. Then someone pointed out that it was dead

560
00:32:26,160 --> 00:32:29,719
Speaker 1: mother and we had to change it. And I was like, oh, okay,

561
00:32:29,920 --> 00:32:33,760
Speaker 1: So how many other points did you have to change

562
00:32:33,880 --> 00:32:37,280
Speaker 1: because someone was like, no, you can't, you can't do that.

563
00:32:37,520 --> 00:32:41,960
Speaker 1: Maybe this is jaded, but I would say probably a lot.

564
00:32:42,240 --> 00:32:47,240
Speaker 1: Like if they thought that feminism and positive betrayal of

565
00:32:47,400 --> 00:32:51,040
Speaker 1: of women characters was in no way marketable, there's no

566
00:32:52,040 --> 00:32:53,640
Speaker 1: chance to me that this would have been like a

567
00:32:53,800 --> 00:32:58,640
Speaker 1: major Disney release, Like they've received so much criticism over

568
00:32:58,720 --> 00:33:01,880
Speaker 1: the years, and I'm like, I feel like, you know,

569
00:33:02,120 --> 00:33:08,320
Speaker 1: with the Internet that's only grown larger and more pervasive

570
00:33:08,600 --> 00:33:12,000
Speaker 1: and it's I don't know. I mean, it really is

571
00:33:12,480 --> 00:33:15,000
Speaker 1: kind of the best case scenario where it's like, well,

572
00:33:15,040 --> 00:33:18,160
Speaker 1: at least this movie was made and it's really good

573
00:33:18,280 --> 00:33:21,360
Speaker 1: and it's corporate interests aside. It sends the right message

574
00:33:21,480 --> 00:33:26,040
Speaker 1: to the right people. With just young girls seeing this movie, Um,

575
00:33:26,360 --> 00:33:28,880
Speaker 1: it's a start. It's it's a start, and it means

576
00:33:28,960 --> 00:33:31,760
Speaker 1: that there are let a let a woman get a

577
00:33:32,080 --> 00:33:35,680
Speaker 1: fucking job for once, Jesus Christ. And what's upsetting is

578
00:33:35,760 --> 00:33:39,120
Speaker 1: that so there were women in this process. There were tons,

579
00:33:39,360 --> 00:33:41,200
Speaker 1: tons of people worked on this film. So there were

580
00:33:41,800 --> 00:33:44,840
Speaker 1: dozens and dozens, if not more, women who worked on

581
00:33:44,920 --> 00:33:47,880
Speaker 1: this movie. And they obviously listened to them because if

582
00:33:47,960 --> 00:33:49,760
Speaker 1: they were getting that kind of feedback, and I know,

583
00:33:50,240 --> 00:33:53,640
Speaker 1: I know their process is very collaborative, but when it

584
00:33:53,720 --> 00:33:55,800
Speaker 1: comes down to it, when you give the man the

585
00:33:55,880 --> 00:33:59,120
Speaker 1: writing credit, when you give the man that paycheck, it

586
00:33:59,240 --> 00:34:01,760
Speaker 1: sucks that that does suck. And I know they are

587
00:34:01,880 --> 00:34:04,560
Speaker 1: changing a little bit, but the infrastructure of how Disney

588
00:34:04,640 --> 00:34:06,800
Speaker 1: works is you have to work your way up and

589
00:34:06,920 --> 00:34:09,320
Speaker 1: you have to be with them for so long and

590
00:34:09,440 --> 00:34:12,880
Speaker 1: they test you over and over and over again, and

591
00:34:13,040 --> 00:34:16,959
Speaker 1: that's it's it's a then becomes a systemic problem. I'd

592
00:34:17,000 --> 00:34:21,360
Speaker 1: be interested in learning more about that process, because that

593
00:34:21,560 --> 00:34:24,359
Speaker 1: definitely makes a lot of sense that if even if

594
00:34:24,400 --> 00:34:26,560
Speaker 1: women are being mentored and groomed for these kind of

595
00:34:26,640 --> 00:34:29,200
Speaker 1: jobs now, we won't see it until, you know, ten

596
00:34:29,360 --> 00:34:32,280
Speaker 1: years from now, when they're given the opportunity to finally

597
00:34:32,400 --> 00:34:35,960
Speaker 1: do it. But my question is our women being mentored?

598
00:34:36,320 --> 00:34:39,719
Speaker 1: I feel like so often and and I don't know

599
00:34:39,800 --> 00:34:41,840
Speaker 1: how much of this even factors into prejudice, but like

600
00:34:41,920 --> 00:34:45,040
Speaker 1: people gravitate towards you know, you remind me of a

601
00:34:45,160 --> 00:34:48,960
Speaker 1: younger me to mentor. And if everyone working at a

602
00:34:49,040 --> 00:34:52,279
Speaker 1: high level there is a white guy and custom sort

603
00:34:52,320 --> 00:34:55,920
Speaker 1: of trains you. And this goes for powerful women training

604
00:34:56,040 --> 00:34:59,080
Speaker 1: younger powerful women as well. But like, if you're drawn

605
00:34:59,160 --> 00:35:01,439
Speaker 1: to someone who room I into of a younger version

606
00:35:01,480 --> 00:35:05,160
Speaker 1: of you with potential, then who is supposed to mentor

607
00:35:05,320 --> 00:35:08,359
Speaker 1: these like younger women animators are like aspiring dirt. I mean,

608
00:35:08,840 --> 00:35:10,640
Speaker 1: it's something that's brought up again and again, but it's

609
00:35:10,719 --> 00:35:14,680
Speaker 1: so fucking frustrating. I'm like, does does a woman need

610
00:35:14,760 --> 00:35:19,280
Speaker 1: to just completely self educate herself and not be guided

611
00:35:19,320 --> 00:35:22,160
Speaker 1: along in the same way that that, uh, you know,

612
00:35:22,320 --> 00:35:24,960
Speaker 1: a guy would be. And it seems like that might

613
00:35:25,040 --> 00:35:27,279
Speaker 1: be the case of just like, Okay, you've got worked

614
00:35:27,320 --> 00:35:29,440
Speaker 1: twice as hard to get the same thing, and you're

615
00:35:29,440 --> 00:35:31,600
Speaker 1: gonna have to take all the ship along the way.

616
00:35:31,719 --> 00:35:35,480
Speaker 1: I'm just like, I'm just ranting. No, you're making all

617
00:35:35,560 --> 00:35:38,480
Speaker 1: the right points, because yeah, then women are put in

618
00:35:38,520 --> 00:35:40,440
Speaker 1: a position where they, yeah, like you said, have to

619
00:35:40,480 --> 00:35:43,040
Speaker 1: work so much harder. It takes them so much longer.

620
00:35:43,160 --> 00:35:46,480
Speaker 1: They don't have the same connections as someone's a powerful

621
00:35:46,560 --> 00:35:51,000
Speaker 1: mentor it does have, so them having those same opportunities

622
00:35:51,239 --> 00:35:54,319
Speaker 1: is just so much less likely to happen. I mean, yeah,

623
00:35:54,520 --> 00:35:56,320
Speaker 1: and and it you know, it's like sort of that

624
00:35:56,360 --> 00:35:59,680
Speaker 1: thing where it boils down to like is your work good?

625
00:36:00,160 --> 00:36:04,800
Speaker 1: Which I don't think men have to confront that basic

626
00:36:04,920 --> 00:36:07,960
Speaker 1: truth as much of not only are you not going

627
00:36:08,000 --> 00:36:10,920
Speaker 1: to get the mentor opportunities that this person working on

628
00:36:10,960 --> 00:36:13,320
Speaker 1: an equal level is you who's a man will, but

629
00:36:13,760 --> 00:36:17,160
Speaker 1: also like, show me what you can do in spite

630
00:36:17,200 --> 00:36:19,000
Speaker 1: of the fact that you don't have the same amount

631
00:36:19,040 --> 00:36:20,960
Speaker 1: of access and you have to work twice as hard

632
00:36:21,000 --> 00:36:24,400
Speaker 1: to get the same thing. And I mean, it is

633
00:36:24,600 --> 00:36:28,120
Speaker 1: nitpicky to an extent, because Molana does so well, but

634
00:36:28,239 --> 00:36:30,879
Speaker 1: I would I would hazard to guess that so much

635
00:36:30,920 --> 00:36:34,800
Speaker 1: of the success of this movie comes from gentle guidance

636
00:36:35,480 --> 00:36:39,680
Speaker 1: or hinting heavy or not from I would guess women

637
00:36:40,520 --> 00:36:43,960
Speaker 1: that eventually the credit ends up going to these men.

638
00:36:44,120 --> 00:36:47,239
Speaker 1: And the fact that you were saying that the mother

639
00:36:47,520 --> 00:36:50,240
Speaker 1: was dead in the original draft is like a fucking

640
00:36:50,400 --> 00:36:53,920
Speaker 1: course she was. And it's just another example of like, Okay,

641
00:36:54,040 --> 00:36:57,800
Speaker 1: the woman's going to actually know the right thing to do,

642
00:36:58,239 --> 00:36:59,800
Speaker 1: but someone else is going to get credit for it,

643
00:37:00,000 --> 00:37:03,400
Speaker 1: and just I'm gonna flip. It's very frustrating. Yeah, I

644
00:37:03,560 --> 00:37:08,640
Speaker 1: just ran. Can we talk about the climax of it? Yeah,

645
00:37:12,880 --> 00:37:21,960
Speaker 1: ninety she realizes, uh, he says, you have to return

646
00:37:22,760 --> 00:37:26,279
Speaker 1: the heart to the spiral, and so she goes and

647
00:37:26,360 --> 00:37:30,880
Speaker 1: she makes she's running from Taka the fire Monster, and

648
00:37:31,000 --> 00:37:34,520
Speaker 1: she runs up to the top of the island chain

649
00:37:34,719 --> 00:37:38,600
Speaker 1: and she looks and sees that it's missing, and then

650
00:37:38,680 --> 00:37:41,120
Speaker 1: she looks at Taka and sees that there's a spiral

651
00:37:41,239 --> 00:37:44,200
Speaker 1: on her chest. And when you're watching a scene, you

652
00:37:44,239 --> 00:37:47,759
Speaker 1: can kind of see leading up to them that it

653
00:37:47,880 --> 00:37:51,359
Speaker 1: has a human form, the monster, but also a very

654
00:37:51,680 --> 00:37:57,279
Speaker 1: feminine form totally, and so you she realizes that it is.

655
00:37:58,239 --> 00:38:04,640
Speaker 1: It is is is t and bawling, and she just

656
00:38:04,840 --> 00:38:10,120
Speaker 1: like she sings this Lulla by this, this mournful song

657
00:38:10,320 --> 00:38:14,279
Speaker 1: saying I'm sorry you were hurt, you were victimized, and

658
00:38:14,360 --> 00:38:17,800
Speaker 1: I'm here to make that good again. And I know

659
00:38:17,920 --> 00:38:23,040
Speaker 1: who you are, right right, and she listens like I

660
00:38:23,400 --> 00:38:26,360
Speaker 1: was so prepared. Again. I feel like you're conditioned by

661
00:38:26,440 --> 00:38:29,680
Speaker 1: these types of movies for that villain to be killed

662
00:38:30,320 --> 00:38:34,320
Speaker 1: and not somehow reformed or revealed to have good qualities.

663
00:38:34,360 --> 00:38:37,000
Speaker 1: Because the lava monster again to hark him back to

664
00:38:37,040 --> 00:38:41,200
Speaker 1: another princess movie, vaguely reminded me of the part in

665
00:38:41,280 --> 00:38:44,840
Speaker 1: The Little Mermaid where Ursula gets huge, where she steals

666
00:38:44,880 --> 00:38:46,879
Speaker 1: the ground. She's like, I'm huge now, and she gets

667
00:38:46,960 --> 00:38:51,680
Speaker 1: harpooned by a man by by Prince Eric, the hottest prince,

668
00:38:53,080 --> 00:38:56,279
Speaker 1: and and she dies and then everything is fine. But

669
00:38:56,480 --> 00:39:00,640
Speaker 1: this seemed like, Okay, here's this other monstrous, the villainous

670
00:39:00,680 --> 00:39:03,920
Speaker 1: female character, and not only is it resolved by the

671
00:39:04,000 --> 00:39:08,880
Speaker 1: female protagonists, but no killing happened. I don't think anyone

672
00:39:09,040 --> 00:39:12,040
Speaker 1: is killed in this movie as except the some coconuts.

673
00:39:12,600 --> 00:39:16,000
Speaker 1: Coconut is just a broad representation of male violence. It's

674
00:39:16,040 --> 00:39:22,560
Speaker 1: a massacre that is a massacre. But another another what

675
00:39:22,680 --> 00:39:26,879
Speaker 1: I thought was like more Indiana Jones illusions were when

676
00:39:27,000 --> 00:39:30,080
Speaker 1: they're finally escaping the Coconut pirates there two of their

677
00:39:30,080 --> 00:39:32,440
Speaker 1: ships start to collide and they have to escape through them,

678
00:39:32,480 --> 00:39:35,279
Speaker 1: which is what happens in Last Crusade. And I was like, yeah,

679
00:39:36,760 --> 00:39:38,560
Speaker 1: now that you say that, I'm sorry to keep going

680
00:39:38,600 --> 00:39:40,520
Speaker 1: back to the mother character, but now that you say

681
00:39:40,560 --> 00:39:43,400
Speaker 1: that she originally wasn't there, that totally checks out because

682
00:39:43,440 --> 00:39:46,719
Speaker 1: she barely play. That was one thing I noticed where

683
00:39:46,840 --> 00:39:50,080
Speaker 1: every all the criticism of like Moana, don't go it

684
00:39:50,560 --> 00:39:52,680
Speaker 1: is from the dad. And so it makes sense that

685
00:39:52,840 --> 00:39:55,000
Speaker 1: that mother was sort of written out because we have

686
00:39:55,080 --> 00:39:58,680
Speaker 1: a few moments between her and Moana, but nothing plot

687
00:39:58,840 --> 00:40:01,320
Speaker 1: changing her significant that I can think of. Most of

688
00:40:01,440 --> 00:40:04,880
Speaker 1: the oppositional forces her dad. It is her mother who

689
00:40:05,120 --> 00:40:08,680
Speaker 1: gives her, almost gives her permission to leave, that brings her,

690
00:40:08,960 --> 00:40:12,839
Speaker 1: brings her food for the journey and says, right, maybe

691
00:40:12,840 --> 00:40:15,040
Speaker 1: even doesn't she She comes in, Yeah, she comes in,

692
00:40:15,120 --> 00:40:18,000
Speaker 1: and she sees mo wanna packing for this trip that

693
00:40:18,080 --> 00:40:20,239
Speaker 1: she has to go on, and like realizes what's about

694
00:40:20,280 --> 00:40:22,879
Speaker 1: to happen, and we as audience might expect Oh, she's

695
00:40:22,880 --> 00:40:24,680
Speaker 1: about to try to dissuade her from this or tell

696
00:40:24,680 --> 00:40:27,359
Speaker 1: her she can't go, and instead she like gives her

697
00:40:27,440 --> 00:40:30,399
Speaker 1: gesture like, yes, here you go, here's the maybe you need.

698
00:40:31,040 --> 00:40:36,000
Speaker 1: She understands the drastic nature of of what's happening to

699
00:40:36,080 --> 00:40:39,800
Speaker 1: their islands dying, and the father will would have just

700
00:40:40,040 --> 00:40:42,719
Speaker 1: let it die. The chief would have just let them

701
00:40:42,760 --> 00:40:47,640
Speaker 1: all die. Male pride. Yeah, Basically, the metaphor I came

702
00:40:47,719 --> 00:40:50,360
Speaker 1: up with is that the heart was is the e

703
00:40:50,560 --> 00:40:53,439
Speaker 1: p A and all the men in the story are

704
00:40:53,640 --> 00:40:56,759
Speaker 1: like the Republicans, who are like, we don't need this. Well,

705
00:40:56,920 --> 00:41:00,440
Speaker 1: it doesn't matter that the world is dying. We're fine.

706
00:41:01,000 --> 00:41:05,120
Speaker 1: And I think a white man wrote it wild. At

707
00:41:05,160 --> 00:41:08,560
Speaker 1: the end, I would like to say that Molana receives

708
00:41:09,200 --> 00:41:14,320
Speaker 1: a Georgia O'Keefe seashell, that she the conch shell, the

709
00:41:14,400 --> 00:41:17,880
Speaker 1: vagina conch. Yeah, it was beautiful. I was like, I

710
00:41:18,400 --> 00:41:22,040
Speaker 1: it's perfect that this movie ends on a beautiful vaginal note.

711
00:41:23,040 --> 00:41:25,400
Speaker 1: I liked it a lot. They did not need to

712
00:41:25,440 --> 00:41:27,960
Speaker 1: make a pink However, they're like, you know what they

713
00:41:27,960 --> 00:41:31,080
Speaker 1: should look like? I think that's what look like. They're

714
00:41:31,120 --> 00:41:33,880
Speaker 1: usually they're sometimes white on the outside and pink on

715
00:41:33,960 --> 00:41:37,239
Speaker 1: the inside. But this was like just like like you

716
00:41:37,320 --> 00:41:40,640
Speaker 1: could also see this is a pus yeah, and the

717
00:41:41,160 --> 00:41:46,040
Speaker 1: shell did come just squirted salt water. I was like,

718
00:41:46,080 --> 00:41:51,920
Speaker 1: all right, we get it. Movie. Yeah. Molana fucking rules.

719
00:41:52,080 --> 00:41:55,359
Speaker 1: She's the best UM. I like that she's such an

720
00:41:55,400 --> 00:41:58,440
Speaker 1: empowered character that they didn't need to give her the

721
00:41:58,640 --> 00:42:02,560
Speaker 1: standard best friend character um, which I feel like a

722
00:42:02,600 --> 00:42:05,160
Speaker 1: lot of Disney princesses have, is like a female friend

723
00:42:05,239 --> 00:42:08,400
Speaker 1: to be like, hey, you're great, and you know, Mohanna

724
00:42:08,719 --> 00:42:10,920
Speaker 1: is great, and that just comes across. We don't need

725
00:42:10,960 --> 00:42:13,960
Speaker 1: this ancillary person to be like like you're hot, Yeah,

726
00:42:14,080 --> 00:42:16,400
Speaker 1: we like you. It's like, of course we like you,

727
00:42:16,560 --> 00:42:19,840
Speaker 1: You're Mohanna. And she knows it too. She's so confident

728
00:42:20,400 --> 00:42:23,040
Speaker 1: she screams, I am Moanna. I was like, oh god,

729
00:42:23,080 --> 00:42:25,359
Speaker 1: I want that for one second or I feel that way.

730
00:42:25,560 --> 00:42:27,839
Speaker 1: She's confident, but it's also balanced by, like, like I said,

731
00:42:27,880 --> 00:42:29,640
Speaker 1: the self doubt that she has about like is this

732
00:42:29,760 --> 00:42:31,719
Speaker 1: mission the thing that I'm supposed to be doing? Am

733
00:42:31,760 --> 00:42:34,759
Speaker 1: I capable of this? Which is just very realistic. It

734
00:42:34,920 --> 00:42:38,200
Speaker 1: just shows that she's a dynamic, well written, interesting character

735
00:42:38,920 --> 00:42:41,400
Speaker 1: and not just like what a lot of Disney Princesses

736
00:42:41,440 --> 00:42:44,719
Speaker 1: have Been, which is pretty just one dimensional and flat

737
00:42:44,840 --> 00:42:48,920
Speaker 1: and boring. One of my favorite moments of the film,

738
00:42:49,400 --> 00:42:53,919
Speaker 1: and it's a film, it's a film, is right after

739
00:42:54,080 --> 00:42:59,600
Speaker 1: she sings I Am Mo Wanna and she dives down

740
00:42:59,719 --> 00:43:01,919
Speaker 1: to at the heart back because she's thrown it into

741
00:43:02,000 --> 00:43:05,440
Speaker 1: the ocean like Rose at the end of Titanic, giving

742
00:43:05,480 --> 00:43:08,239
Speaker 1: it back. She goes and she gets and she and

743
00:43:08,360 --> 00:43:10,560
Speaker 1: it's the music swells and she burst back up and

744
00:43:10,640 --> 00:43:13,480
Speaker 1: the music cuts out, and she's the ghost of her

745
00:43:13,520 --> 00:43:16,400
Speaker 1: grandmother is gone, her boat is broken, and she is

746
00:43:16,520 --> 00:43:19,560
Speaker 1: alone in the ocean, and it is just this beautiful

747
00:43:19,640 --> 00:43:24,520
Speaker 1: moment of oh my god, this is still so dangerous

748
00:43:24,640 --> 00:43:27,560
Speaker 1: for her, and this is the moment where she has

749
00:43:27,640 --> 00:43:30,040
Speaker 1: the most confidence and where she is about to kick ass.

750
00:43:30,840 --> 00:43:34,200
Speaker 1: Yet it is stark and quiet and she is alone,

751
00:43:34,880 --> 00:43:36,960
Speaker 1: and it was just it's just like a punch in

752
00:43:37,000 --> 00:43:39,279
Speaker 1: the gut, but then a like a good a good

753
00:43:39,400 --> 00:43:45,920
Speaker 1: punch in the gut, and we have stupid chicken for

754
00:43:46,080 --> 00:43:48,240
Speaker 1: like the younger kids who went to see the movie,

755
00:43:48,280 --> 00:43:51,480
Speaker 1: who like, aren't it's the ice age squirrel, right yeah,

756
00:43:51,719 --> 00:43:54,719
Speaker 1: right there, Like this is a goofy speaking that's the

757
00:43:54,800 --> 00:43:59,120
Speaker 1: other that's your voice I can do. Yeah, I stick that. Hey, guys,

758
00:44:00,680 --> 00:44:04,960
Speaker 1: I don't know what to do with myself. I uh so.

759
00:44:05,400 --> 00:44:07,840
Speaker 1: I did some research on the directors, and I know

760
00:44:07,920 --> 00:44:09,440
Speaker 1: we touched on the fact that their straight white men.

761
00:44:09,520 --> 00:44:11,839
Speaker 1: But I think their history with Disney is also super

762
00:44:11,920 --> 00:44:15,680
Speaker 1: interesting because they also directed, um, I guess what is

763
00:44:15,719 --> 00:44:20,719
Speaker 1: considered the second most groundbreaking Disney Princess movie, which is

764
00:44:20,800 --> 00:44:25,320
Speaker 1: Princess in the Frog, first African American Disney Princess. So

765
00:44:26,560 --> 00:44:28,640
Speaker 1: I guess it sort of makes sense that they were

766
00:44:28,719 --> 00:44:32,439
Speaker 1: selected to do this other female progressive movie. I would

767
00:44:32,480 --> 00:44:35,360
Speaker 1: also argue Brave did a lot of great things, so

768
00:44:35,440 --> 00:44:38,040
Speaker 1: I thought that was interesting. And then years and years back,

769
00:44:38,200 --> 00:44:43,080
Speaker 1: they directed both The Little Mermaid and Aladdin, which I

770
00:44:43,200 --> 00:44:46,799
Speaker 1: think we've referenced in different ways in both of these.

771
00:44:46,880 --> 00:44:49,840
Speaker 1: So one of the interesting things that the that the

772
00:44:49,880 --> 00:44:54,000
Speaker 1: screenwriter talked about is it John Wills. Is that his name? John?

773
00:44:54,160 --> 00:44:57,520
Speaker 1: Let me look it up. It's yeah, the one who's

774
00:44:57,680 --> 00:45:01,000
Speaker 1: who's kind of credited John Muska. Oh oh wait, No,

775
00:45:01,160 --> 00:45:04,040
Speaker 1: that's one of the directors, Jared Bush. Yes, that is right,

776
00:45:04,360 --> 00:45:07,320
Speaker 1: Jared Bush. Okay, I said John Wilson, it was I

777
00:45:07,360 --> 00:45:10,279
Speaker 1: don't know who John Willson's, but one of the things

778
00:45:10,320 --> 00:45:15,000
Speaker 1: he was saying was they Disney overall because they had

779
00:45:15,160 --> 00:45:20,880
Speaker 1: these basically patriarchs of the of Disney animation, we're working

780
00:45:20,960 --> 00:45:24,560
Speaker 1: on this project, that they wanted to have some of

781
00:45:24,680 --> 00:45:28,880
Speaker 1: that kind of old school Disney animation in the film,

782
00:45:29,480 --> 00:45:35,760
Speaker 1: and so specifically it was their idea that when during

783
00:45:36,000 --> 00:45:39,040
Speaker 1: your Welcome the song, when it switches to both two

784
00:45:39,160 --> 00:45:42,880
Speaker 1: D animation and three D animation, that was their owed

785
00:45:43,080 --> 00:45:45,640
Speaker 1: to kind of harkening back to that time because they

786
00:45:45,680 --> 00:45:48,919
Speaker 1: were so good with it. I that's so fun because

787
00:45:49,080 --> 00:45:51,400
Speaker 1: I remember thinking when we were watching that that that

788
00:45:51,719 --> 00:45:55,200
Speaker 1: number vaguely reminded me of friend like me when they

789
00:45:55,320 --> 00:45:57,960
Speaker 1: kept switching to different backgrounds, and that sort of carried

790
00:45:58,000 --> 00:46:00,319
Speaker 1: through as oh that and they were the directors of Lennon.

791
00:46:00,360 --> 00:46:03,560
Speaker 1: There you go. Also, we've got to talk about lin

792
00:46:03,680 --> 00:46:09,120
Speaker 1: Manuel Miranda love Hamilton's as a person. I think lin

793
00:46:09,239 --> 00:46:14,080
Speaker 1: Manual Miranda is so obnoxious, hate watching him talk, respect

794
00:46:14,120 --> 00:46:16,560
Speaker 1: the funk out of his work. And that is my

795
00:46:16,640 --> 00:46:19,800
Speaker 1: stance on Linden wal Miranda. But um, I would like

796
00:46:19,880 --> 00:46:21,640
Speaker 1: to take a moment to brag and say I once

797
00:46:21,719 --> 00:46:26,360
Speaker 1: went to a college party Miranda. Wait where he is

798
00:46:26,760 --> 00:46:32,280
Speaker 1: that Emass and his his improv team Freestyle of Supreme

799
00:46:34,400 --> 00:46:37,960
Speaker 1: there his beat boxer went to you mass and so

800
00:46:38,120 --> 00:46:43,279
Speaker 1: they came back. Course he has a beef boxer. Uh so,

801
00:46:44,239 --> 00:46:47,440
Speaker 1: I don't remember anything about him from the party, but

802
00:46:47,560 --> 00:46:51,160
Speaker 1: I remember he was there. That's pretty cool, and that's

803
00:46:51,200 --> 00:46:54,880
Speaker 1: really and I loved in the Heights. His first musical

804
00:46:55,000 --> 00:46:58,080
Speaker 1: is so good and he's so good in it. But

805
00:46:58,239 --> 00:47:02,279
Speaker 1: he's just as with any major figure, it reaches the

806
00:47:02,320 --> 00:47:04,359
Speaker 1: point where it's like, Okay, you're too present, Like take

807
00:47:04,400 --> 00:47:07,480
Speaker 1: a step back, pulling Adele, have a baby, you know,

808
00:47:07,640 --> 00:47:09,960
Speaker 1: get your life to get Yeah, take a step back

809
00:47:10,000 --> 00:47:11,239
Speaker 1: and then come back and we'll be like, oh, we

810
00:47:11,320 --> 00:47:13,560
Speaker 1: missed this guy right now. It's like, get out of

811
00:47:13,680 --> 00:47:17,600
Speaker 1: my targeted ads. I'm sick of this. But uh no,

812
00:47:18,360 --> 00:47:20,400
Speaker 1: he didn't write all the songs. He wrote some of

813
00:47:20,440 --> 00:47:22,520
Speaker 1: the songs in this movie, and I feel like you

814
00:47:22,600 --> 00:47:25,000
Speaker 1: can sort of tell exactly what they are once you

815
00:47:25,120 --> 00:47:27,600
Speaker 1: know that he wrote on this movie like You're welcome,

816
00:47:28,440 --> 00:47:33,319
Speaker 1: like stinks of one Manua Miranda and his style um

817
00:47:34,440 --> 00:47:37,120
Speaker 1: in a good way. It's stinks of him. Can we

818
00:47:37,200 --> 00:47:40,919
Speaker 1: talk about top knots in this movie. Yes, I loved

819
00:47:41,000 --> 00:47:43,160
Speaker 1: the role of top Knots in this movie. What is

820
00:47:44,200 --> 00:47:48,080
Speaker 1: the hairstyle of Like when it made sense for Moanna's

821
00:47:48,080 --> 00:47:49,920
Speaker 1: hair to be out of her face, it was fucking

822
00:47:49,960 --> 00:47:56,439
Speaker 1: out of her face. It was great. Same with Little

823
00:47:58,360 --> 00:48:01,960
Speaker 1: I had no idea. Let's let here beef cake top

824
00:48:02,080 --> 00:48:05,759
Speaker 1: Now that's the name of my new really bad improfive. Yeah,

825
00:48:06,800 --> 00:48:09,640
Speaker 1: beef cake top not I one of the things. This

826
00:48:09,880 --> 00:48:12,080
Speaker 1: is a little off topic, but going back to the

827
00:48:12,520 --> 00:48:17,040
Speaker 1: beginning of the story where she's poised as she's going

828
00:48:17,080 --> 00:48:20,400
Speaker 1: to be the next chief even though she's a woman,

829
00:48:20,520 --> 00:48:23,879
Speaker 1: she's a girl. Um never usually yeah, never questioned. She's

830
00:48:23,920 --> 00:48:25,759
Speaker 1: just like, you're our daughter. You're going to be the

831
00:48:25,840 --> 00:48:29,680
Speaker 1: chief because you're the daughter. So it's never like, oh

832
00:48:29,800 --> 00:48:31,800
Speaker 1: but you're a woman, so you need to marry a

833
00:48:31,920 --> 00:48:37,520
Speaker 1: boy so that he can be the chief introduced right exactly. So, UM,

834
00:48:38,080 --> 00:48:41,840
Speaker 1: I love that. That's just never a thing that's brought up.

835
00:48:41,880 --> 00:48:43,960
Speaker 1: It's just like, yeah, you're the chief because you're the

836
00:48:44,000 --> 00:48:46,200
Speaker 1: descendant of the current chief. Doesn't have anything to do

837
00:48:46,280 --> 00:48:50,000
Speaker 1: with your gender. UM love that. And you see her

838
00:48:50,160 --> 00:48:53,160
Speaker 1: making she's like kind of in training when she before

839
00:48:53,239 --> 00:48:56,440
Speaker 1: she leaves, Uh, the island to go off on the journey,

840
00:48:56,920 --> 00:49:00,719
Speaker 1: and she's like making important decisions about the crowd. These

841
00:49:00,800 --> 00:49:02,480
Speaker 1: trees are diseased, so we have to plan a new

842
00:49:02,520 --> 00:49:05,279
Speaker 1: growth over there, and here's all my suggestions about how

843
00:49:05,360 --> 00:49:07,080
Speaker 1: we can fish differently and all this stuff, and she's

844
00:49:07,120 --> 00:49:11,000
Speaker 1: like giving sound advice and really like making important decisions.

845
00:49:11,200 --> 00:49:15,319
Speaker 1: And it was just like so refreshing to see she was, Yeah,

846
00:49:15,400 --> 00:49:19,640
Speaker 1: she was never really questioning herself. Ye she only really

847
00:49:19,680 --> 00:49:22,480
Speaker 1: started to question herself when she got into the ocean,

848
00:49:22,600 --> 00:49:26,800
Speaker 1: when she explicitly had her father's and that not opposite

849
00:49:26,840 --> 00:49:30,400
Speaker 1: of permission and that and that made sense in context

850
00:49:30,480 --> 00:49:32,680
Speaker 1: because she genuinely did not know what she was doing

851
00:49:33,160 --> 00:49:34,560
Speaker 1: at the first time. Where it's not like she's not

852
00:49:34,680 --> 00:49:37,200
Speaker 1: doubting herself because she's a woman. She's doubting herself because

853
00:49:37,239 --> 00:49:39,400
Speaker 1: she doesn't know what she's doing, ever done this before,

854
00:49:39,440 --> 00:49:42,080
Speaker 1: And then when she figures it out, that doubt more

855
00:49:42,160 --> 00:49:46,520
Speaker 1: or less goes away. So that was dope. Another thing

856
00:49:46,560 --> 00:49:49,080
Speaker 1: I wanted to point out is that it's so seldom

857
00:49:49,760 --> 00:49:52,920
Speaker 1: that when there's sort of like a chosen one in

858
00:49:53,000 --> 00:49:58,000
Speaker 1: a story, it's almost always a man. Harry Potter, you

859
00:49:58,120 --> 00:50:00,759
Speaker 1: got your yea Neo from the Main Tricks. You got

860
00:50:00,880 --> 00:50:07,239
Speaker 1: your uh, your Frodo Baggins is in your diminutive men

861
00:50:07,800 --> 00:50:12,480
Speaker 1: are chosen as the one. Yeah when uh the second

862
00:50:12,560 --> 00:50:15,040
Speaker 1: time I watched this, I watched it with my boite

863
00:50:15,080 --> 00:50:17,200
Speaker 1: friend and halfway through he was like, oh, so this

864
00:50:17,360 --> 00:50:21,359
Speaker 1: is Star Wars. Yeah, yeah, it's it's Star Wars. Yeah.

865
00:50:21,440 --> 00:50:24,480
Speaker 1: I mean it's like in the hero's journey my kind

866
00:50:24,480 --> 00:50:27,479
Speaker 1: of sense, a classical call to adventure, but so often

867
00:50:27,600 --> 00:50:30,160
Speaker 1: it's the man who's is doing that. It's so just

868
00:50:30,360 --> 00:50:33,200
Speaker 1: again so refreshing to see it is a woman, because

869
00:50:33,239 --> 00:50:36,880
Speaker 1: we so rarely see that. Although I do when someone

870
00:50:37,200 --> 00:50:40,560
Speaker 1: says chosen one, I do automatically think of Buffy. But

871
00:50:40,760 --> 00:50:44,799
Speaker 1: that's because Buffy hit me real hard at a very

872
00:50:44,880 --> 00:50:48,120
Speaker 1: specific age, and so that's just stuck with me. I

873
00:50:48,239 --> 00:50:51,759
Speaker 1: think I think it is cool that because this when

874
00:50:51,800 --> 00:50:54,080
Speaker 1: you met it out, it really is a very very

875
00:50:54,280 --> 00:50:58,080
Speaker 1: very standard hero's journey, but a hero's journey that is

876
00:50:58,239 --> 00:51:02,640
Speaker 1: usually for a male character. Like it's not a princess's journey.

877
00:51:02,680 --> 00:51:05,880
Speaker 1: It's a hero's journey, which I mean, I don't know.

878
00:51:06,239 --> 00:51:09,080
Speaker 1: If this were a story about a man, it would

879
00:51:09,160 --> 00:51:12,560
Speaker 1: be boring, it would not be super interesting to see

880
00:51:12,600 --> 00:51:15,400
Speaker 1: a man be like I can do things, but sometimes

881
00:51:15,440 --> 00:51:18,400
Speaker 1: I'm said, you know, but when we see Moana do it,

882
00:51:18,760 --> 00:51:22,040
Speaker 1: it's it's so crazy and like reflective of our own

883
00:51:22,080 --> 00:51:25,000
Speaker 1: culture that we're like, what, this is the coolest thing ever.

884
00:51:25,280 --> 00:51:27,680
Speaker 1: Because if we made her a man, I don't know

885
00:51:27,840 --> 00:51:29,480
Speaker 1: how much I would have liked this movie. Probably not

886
00:51:29,560 --> 00:51:33,120
Speaker 1: that much. It would have just okay, cool, Yeah, another one,

887
00:51:33,160 --> 00:51:36,320
Speaker 1: good for you. She really didn't have any major flaws

888
00:51:37,239 --> 00:51:40,200
Speaker 1: that were, you know, kind of preyed upon for story

889
00:51:40,400 --> 00:51:43,960
Speaker 1: or or as false of her own. Do you think

890
00:51:44,000 --> 00:51:46,719
Speaker 1: that's a bad thing or an okay thing? I don't.

891
00:51:47,000 --> 00:51:49,040
Speaker 1: I don't have any problem with it in this movie.

892
00:51:49,120 --> 00:51:51,279
Speaker 1: I mean, I'm the only person who really goes after

893
00:51:51,960 --> 00:51:56,320
Speaker 1: her is Maui, and she's gone. She's gone after mostly

894
00:51:56,400 --> 00:51:58,879
Speaker 1: for youth and an experience, and I feel like that's

895
00:51:58,880 --> 00:52:01,960
Speaker 1: the most commonly I did thing of He doesn't toss

896
00:52:02,000 --> 00:52:05,200
Speaker 1: her out of the boat to certain death because she's

897
00:52:05,239 --> 00:52:08,120
Speaker 1: a woman, per se, rather because he doesn't see value

898
00:52:08,239 --> 00:52:11,560
Speaker 1: in her skills, because she's he keeps saying, because you're mortal,

899
00:52:11,960 --> 00:52:14,600
Speaker 1: very human, right right. Regardless, she is tossed out of

900
00:52:14,640 --> 00:52:19,120
Speaker 1: a boat multiple time, I left to die constantly like yeah, yeah,

901
00:52:19,680 --> 00:52:22,360
Speaker 1: the ocean saves her tat. He gets the tat of

902
00:52:22,400 --> 00:52:27,400
Speaker 1: her at the end, like aspiration. There's a couple so

903
00:52:27,719 --> 00:52:33,680
Speaker 1: when the coconut pirates attack them, um, the coconuts, there's

904
00:52:34,160 --> 00:52:38,240
Speaker 1: a couple of different times where she either saves Maui

905
00:52:38,480 --> 00:52:41,960
Speaker 1: or saves herself or and then towards the end of

906
00:52:42,000 --> 00:52:44,960
Speaker 1: that scene or that sequence, she's like, all right, you're

907
00:52:44,960 --> 00:52:46,560
Speaker 1: not gonna help me. I'm gonna go do it. And

908
00:52:46,680 --> 00:52:49,719
Speaker 1: she has to be the one because she knows coconuts.

909
00:52:49,920 --> 00:52:53,840
Speaker 1: She knows coconuts. Now they're just sentient. Yeah, it's interesting.

910
00:52:53,920 --> 00:52:56,640
Speaker 1: It's when when they were far away and when they

911
00:52:56,640 --> 00:52:58,960
Speaker 1: were lots of them, and when they were approaching and

912
00:52:59,000 --> 00:53:01,680
Speaker 1: they were menacing, she was scared. And then when she

913
00:53:01,800 --> 00:53:04,439
Speaker 1: found out that they were coconuts, she lost her fear

914
00:53:04,560 --> 00:53:06,440
Speaker 1: and she was like, oh, I can handle that. I

915
00:53:06,520 --> 00:53:10,120
Speaker 1: can handle this. Even though they still were dangerous. It

916
00:53:10,239 --> 00:53:14,600
Speaker 1: still were shoots, coconuts, head darts, and knives. They're also

917
00:53:14,640 --> 00:53:17,680
Speaker 1: talk about like and not to take away from the

918
00:53:17,800 --> 00:53:21,320
Speaker 1: value of the coconuts as characters, uh, not that that

919
00:53:21,400 --> 00:53:23,560
Speaker 1: scene could have easily been taken out, but that was

920
00:53:23,719 --> 00:53:26,120
Speaker 1: For me, that was like, what a what an excellent

921
00:53:26,280 --> 00:53:30,680
Speaker 1: marketing move. Let's introduce these adorable emoji like characters that

922
00:53:30,800 --> 00:53:34,839
Speaker 1: are slightly violent but ultimately very cute that we can

923
00:53:34,880 --> 00:53:37,879
Speaker 1: put on a backpack. Like it was. I think when

924
00:53:37,920 --> 00:53:40,480
Speaker 1: we were watching it, I equate them completely to the

925
00:53:40,640 --> 00:53:44,200
Speaker 1: aliens in the Alien Toys and Toy story of just

926
00:53:44,360 --> 00:53:47,520
Speaker 1: like you're cute things that people will be like, oh

927
00:53:49,960 --> 00:53:54,959
Speaker 1: my little the Coconut Boys movie can make more money

928
00:53:55,040 --> 00:54:02,439
Speaker 1: and merchandise. Give boys, give little alien backpack. That that said,

929
00:54:02,480 --> 00:54:04,560
Speaker 1: I would get a backpack of the Coconut Voice. I

930
00:54:05,000 --> 00:54:09,000
Speaker 1: have a whole collection of the figurines. True, there was

931
00:54:09,120 --> 00:54:10,960
Speaker 1: the one part of the movie that felt like, oh

932
00:54:11,080 --> 00:54:13,640
Speaker 1: this is this feels like for kids? That could have

933
00:54:13,719 --> 00:54:18,839
Speaker 1: been Yeah, that's also the kids movie, so that's okay, true, true, true,

934
00:54:19,400 --> 00:54:20,840
Speaker 1: that was Yeah. That was the one scene that I

935
00:54:21,000 --> 00:54:24,000
Speaker 1: was like, how different would the movie be if that were?

936
00:54:24,120 --> 00:54:28,320
Speaker 1: You know, there's so many scenes for Moanna takes action

937
00:54:28,640 --> 00:54:32,080
Speaker 1: an agency that I feel like that's the the emoji

938
00:54:32,160 --> 00:54:35,319
Speaker 1: coconut scene that was for the backpacks. Can we talk

939
00:54:35,360 --> 00:54:39,120
Speaker 1: about her going to the Monster Realm? Yes, yes, yes,

940
00:54:39,280 --> 00:54:43,680
Speaker 1: because it's it again. She is told to stay put,

941
00:54:44,719 --> 00:54:47,279
Speaker 1: but she's she's not going into the monster realm, and

942
00:54:47,400 --> 00:54:54,000
Speaker 1: she immediately follows him up this giant uh made of

943
00:54:54,080 --> 00:54:57,680
Speaker 1: these pillars like the giants causeway, and goes there and

944
00:54:57,719 --> 00:54:59,520
Speaker 1: then he's like, all right, are you going to jump

945
00:54:59,600 --> 00:55:02,359
Speaker 1: in with me? Doesn't think she's going to, and then does,

946
00:55:03,320 --> 00:55:05,399
Speaker 1: which is awesome, and it was very scary and all

947
00:55:05,440 --> 00:55:09,480
Speaker 1: these cutes great like scary crazy monsters. And then we

948
00:55:09,560 --> 00:55:13,560
Speaker 1: meet this like amazing crab who is another version of

949
00:55:14,280 --> 00:55:19,800
Speaker 1: greed and masculinity in the in this pompous way, but

950
00:55:20,040 --> 00:55:24,520
Speaker 1: also in a very lovable way. Yeah, what a lovable

951
00:55:24,640 --> 00:55:30,359
Speaker 1: villain song. U Soyland songs are always the best Disney song,

952
00:55:30,480 --> 00:55:33,759
Speaker 1: always always. I was worried. I mean, I was telling you.

953
00:55:33,880 --> 00:55:35,840
Speaker 1: I was like, is there not a Dylan song just

954
00:55:35,960 --> 00:55:40,759
Speaker 1: because song? Where's the best song? This is a this

955
00:55:40,920 --> 00:55:43,320
Speaker 1: is a great song. Yeah, I really enjoyed it. Dan

956
00:55:43,400 --> 00:55:46,520
Speaker 1: crushes it. He's so sexy. How many times so I

957
00:55:46,600 --> 00:55:50,920
Speaker 1: guess so he's the horniest person alive every time he

958
00:55:51,280 --> 00:55:54,560
Speaker 1: speaks or especially when he sings. I'm just like, you're

959
00:55:54,680 --> 00:55:57,759
Speaker 1: for sure rock hard. Like how he's seing this song

960
00:55:57,840 --> 00:56:00,800
Speaker 1: as a crab, He's like for sure, arex Are you

961
00:56:00,920 --> 00:56:03,560
Speaker 1: sure that's not just how he makes you feel? No,

962
00:56:03,920 --> 00:56:10,160
Speaker 1: I don't get an I'm a sexless being. I don't

963
00:56:10,320 --> 00:56:15,840
Speaker 1: see sex, but I'm a person of sex. I'm a

964
00:56:15,920 --> 00:56:19,640
Speaker 1: person of sex. But like I don't see sex. But

965
00:56:20,000 --> 00:56:26,320
Speaker 1: but he's he's extremely he's deeply horny. And in that scene,

966
00:56:26,360 --> 00:56:29,320
Speaker 1: it's Mowanna who saves the day. Again. She does not

967
00:56:29,480 --> 00:56:32,960
Speaker 1: get horny. She does she does not get distracted by

968
00:56:34,440 --> 00:56:39,320
Speaker 1: sexual glam rock at play. She staves Maui and she

969
00:56:40,120 --> 00:56:44,040
Speaker 1: it allows them to escape. This is another example of

970
00:56:44,680 --> 00:56:47,279
Speaker 1: one of the very few movies with a woman lead

971
00:56:47,600 --> 00:56:51,160
Speaker 1: that the stakes are life and death, because so often

972
00:56:52,000 --> 00:56:54,920
Speaker 1: if there's a female lead in a movie, it's a

973
00:56:55,080 --> 00:56:57,640
Speaker 1: rom com, where like the stakes are very low. Am

974
00:56:57,680 --> 00:56:59,920
Speaker 1: I going to get a date? Right? And there's a

975
00:57:00,040 --> 00:57:02,800
Speaker 1: sky gonna fall in love with me? Um? And the

976
00:57:02,840 --> 00:57:05,680
Speaker 1: stakes are related mostly to men, And the stakes were

977
00:57:05,760 --> 00:57:09,880
Speaker 1: not related to men, they were right, I mean people.

978
00:57:10,320 --> 00:57:12,400
Speaker 1: I feel like a lot of times with like the

979
00:57:13,040 --> 00:57:16,240
Speaker 1: Princess movies too, it's like the biggest risk for the

980
00:57:16,280 --> 00:57:18,800
Speaker 1: female character is just going back to where she started,

981
00:57:19,240 --> 00:57:23,200
Speaker 1: where like had a Laddin not swept Jasmine off rr

982
00:57:23,280 --> 00:57:25,840
Speaker 1: feet she would just still be a princess. She'd be

983
00:57:25,960 --> 00:57:30,280
Speaker 1: married to that prince Ahmed who was a jerk with

984
00:57:30,480 --> 00:57:35,080
Speaker 1: sunch a punk, and then Ariel. If she couldn't get

985
00:57:35,160 --> 00:57:37,840
Speaker 1: Eric to kiss her in three days, she well, I

986
00:57:37,880 --> 00:57:40,120
Speaker 1: guess she would have turned into a weird ursula shrub.

987
00:57:40,520 --> 00:57:43,240
Speaker 1: I guess that was a little bit higher stakes bell,

988
00:57:43,600 --> 00:57:47,120
Speaker 1: But she risked her whole life for him. The whole

989
00:57:47,200 --> 00:57:50,400
Speaker 1: thing starts because she has a bone for Eric, which

990
00:57:51,440 --> 00:57:56,280
Speaker 1: get it, but grow up, grow up. But it's I

991
00:57:56,400 --> 00:57:58,840
Speaker 1: think it's the show years old. I'm not a child. Yeah,

992
00:57:58,920 --> 00:58:02,400
Speaker 1: they're both sixteen because the sixteen So it's nice to

993
00:58:02,480 --> 00:58:07,160
Speaker 1: show I wasn't sexual at sixteen. I was thinking about things,

994
00:58:07,200 --> 00:58:10,560
Speaker 1: but I didn't know what. I had no tangible idea

995
00:58:10,560 --> 00:58:14,520
Speaker 1: of what sex actually was. Moana is a much more

996
00:58:14,640 --> 00:58:17,959
Speaker 1: relatable character to me because I didn't get my first

997
00:58:18,240 --> 00:58:21,280
Speaker 1: kiss until I was sixteen. It was scary. I didn't

998
00:58:21,280 --> 00:58:23,880
Speaker 1: know what interaction felling. I was like, oh no, wait,

999
00:58:23,960 --> 00:58:27,680
Speaker 1: why was your first on him? I don't know it

1000
00:58:27,880 --> 00:58:30,120
Speaker 1: was on him? It was it was I think he

1001
00:58:30,200 --> 00:58:31,960
Speaker 1: told this story. You guys were standing on a rock

1002
00:58:32,080 --> 00:58:35,800
Speaker 1: or something. Bona rock was standing on bona rock as

1003
00:58:35,880 --> 00:58:40,200
Speaker 1: it was henceforth known as and the first saxophone player

1004
00:58:40,240 --> 00:58:42,960
Speaker 1: of the band was like, I think you're great. I

1005
00:58:43,120 --> 00:58:45,480
Speaker 1: was like, and then he kissed me. And then I

1006
00:58:45,560 --> 00:58:47,920
Speaker 1: was like, what's going on? Because we stood up and

1007
00:58:48,000 --> 00:58:50,760
Speaker 1: we should not have stood up. But also there I

1008
00:58:50,880 --> 00:58:53,160
Speaker 1: was so under educated about sex that the first time

1009
00:58:53,240 --> 00:58:55,959
Speaker 1: someone went down on me I was horrified and thought

1010
00:58:56,080 --> 00:58:58,320
Speaker 1: it was his idea, like he had made it up.

1011
00:58:59,200 --> 00:59:02,160
Speaker 1: He did oral sex and a woman because I was,

1012
00:59:02,280 --> 00:59:05,160
Speaker 1: you know, it was what like seventeen eighteen, he wasn't

1013
00:59:05,200 --> 00:59:07,520
Speaker 1: good at it and it was happening. I was just

1014
00:59:07,680 --> 00:59:11,520
Speaker 1: remember thinking like this is dev and behavior, Like why

1015
00:59:12,160 --> 00:59:15,920
Speaker 1: would someone do this? I am? I'm just I feel

1016
00:59:16,640 --> 00:59:19,520
Speaker 1: far away from the action. Do you not learn about

1017
00:59:19,800 --> 00:59:23,080
Speaker 1: I feel it? I did not get sex education. All

1018
00:59:23,160 --> 00:59:25,760
Speaker 1: I got like abstinence plus education, but I think they

1019
00:59:25,840 --> 00:59:28,560
Speaker 1: mentioned oral sex. Yeah, the first time someone went down

1020
00:59:28,600 --> 00:59:32,160
Speaker 1: at me, I was I fully I consulted someone younger

1021
00:59:32,240 --> 00:59:34,400
Speaker 1: than me. I consulted as sophomore in high school. It's like,

1022
00:59:34,440 --> 00:59:37,000
Speaker 1: have you ever heard of this? Like what or do

1023
00:59:37,080 --> 00:59:40,040
Speaker 1: I need to call the police? And she's like, no,

1024
00:59:40,200 --> 00:59:44,040
Speaker 1: that's exxtremely common and actually is considered like maybe a

1025
00:59:44,120 --> 00:59:46,800
Speaker 1: good thing, and I was like, oh, okay, well I

1026
00:59:46,880 --> 00:59:49,400
Speaker 1: don't want it again, but glad that I don't need

1027
00:59:49,480 --> 00:59:53,960
Speaker 1: to call an ambulance for myself. I wish i'd called

1028
00:59:54,000 --> 00:59:57,520
Speaker 1: the cops. Um someone's faces on my vagina and I

1029
00:59:57,800 --> 01:00:07,840
Speaker 1: don't like it. Patrol car. There's a moment. There's a

1030
01:00:07,880 --> 01:00:14,080
Speaker 1: moment where Mohanna has to stroke Maui's frail old male

1031
01:00:14,200 --> 01:00:18,240
Speaker 1: ego because he's like, I'm not Mallie with all my

1032
01:00:18,360 --> 01:00:25,400
Speaker 1: hook and she's like, just grow up, yeah, and she yeah,

1033
01:00:25,520 --> 01:00:27,480
Speaker 1: he just well, I mean, I would argue he sort

1034
01:00:27,520 --> 01:00:31,320
Speaker 1: of does the same thing for her when she's feeling insecure. Uh,

1035
01:00:32,520 --> 01:00:35,480
Speaker 1: not to say he is like this terrific character, but

1036
01:00:35,560 --> 01:00:37,760
Speaker 1: I think that that is almost a mutual thing. Where

1037
01:00:37,760 --> 01:00:40,320
Speaker 1: there are times in the movie where Mohanna needs to

1038
01:00:40,400 --> 01:00:42,520
Speaker 1: be pumped up a little bit and made you stre confident,

1039
01:00:42,720 --> 01:00:45,920
Speaker 1: and the grandmother character serves as that boost a lot.

1040
01:00:46,080 --> 01:00:48,840
Speaker 1: But there is at least one instance where Maui is like, no,

1041
01:00:49,080 --> 01:00:50,600
Speaker 1: you know what, you're doing a good job, and you're

1042
01:00:50,600 --> 01:00:53,040
Speaker 1: ready and you're capable. It doesn't come to later in

1043
01:00:53,080 --> 01:00:55,000
Speaker 1: the movie. It takes him a long time. That didn't

1044
01:00:55,000 --> 01:00:58,000
Speaker 1: bother me too much that she encouraged him once that

1045
01:00:58,080 --> 01:01:00,400
Speaker 1: almost felt like I didn't bother me. I'm merely just

1046
01:01:00,480 --> 01:01:02,040
Speaker 1: pointing it out. That is a thing that needed to

1047
01:01:02,120 --> 01:01:07,800
Speaker 1: happen because he needed to return. It's very fragile egos

1048
01:01:08,000 --> 01:01:12,040
Speaker 1: that need. And he owed her more than he owed her,

1049
01:01:12,160 --> 01:01:14,320
Speaker 1: more of like a boost than she ever owed him

1050
01:01:14,360 --> 01:01:17,280
Speaker 1: because he is not great to her. Oh he again.

1051
01:01:17,640 --> 01:01:20,240
Speaker 1: I love Mauie. I'm so glad everything works out at

1052
01:01:20,280 --> 01:01:25,240
Speaker 1: the end, But if it wasn't the rock, he gets forgiven,

1053
01:01:25,800 --> 01:01:29,920
Speaker 1: he gets elated into being this demigod again, and forgiven

1054
01:01:30,040 --> 01:01:34,760
Speaker 1: because he helps Molanna restore the heart to Tafiti, which

1055
01:01:34,840 --> 01:01:38,560
Speaker 1: is which is great, But it is interesting that Taffiti

1056
01:01:38,840 --> 01:01:42,920
Speaker 1: forgives him and gives him his hook back, gives him

1057
01:01:43,000 --> 01:01:46,880
Speaker 1: a new hook. And I think that is incredibly female,

1058
01:01:47,680 --> 01:01:51,960
Speaker 1: not just forgiveness, but forgiveness on such an incredible scale

1059
01:01:53,240 --> 01:01:56,080
Speaker 1: because he he doesn't really deserve it, and even at

1060
01:01:56,080 --> 01:01:58,480
Speaker 1: the end, Molanna has to like hit him to like

1061
01:01:58,880 --> 01:02:04,640
Speaker 1: bow to her respect. And it's and we're supposed to

1062
01:02:04,720 --> 01:02:08,840
Speaker 1: have empathy for him because his parents tried to kill

1063
01:02:08,960 --> 01:02:10,760
Speaker 1: him or threw him into the ocean when he was

1064
01:02:10,800 --> 01:02:12,800
Speaker 1: a baby, and then he was saved by God's and

1065
01:02:12,880 --> 01:02:16,920
Speaker 1: it's like, if that isn't such a male narrative, I

1066
01:02:17,000 --> 01:02:19,400
Speaker 1: don't know what is the same thing happened to Shrek.

1067
01:02:19,520 --> 01:02:22,560
Speaker 1: It's like, because of this, because of this horrible thing

1068
01:02:22,640 --> 01:02:26,640
Speaker 1: that happened to you very early on, you immediately got

1069
01:02:27,160 --> 01:02:30,760
Speaker 1: incredible power. And then you abused it and abused it

1070
01:02:30,800 --> 01:02:33,360
Speaker 1: and abused it, and we're punished for it and are

1071
01:02:33,400 --> 01:02:36,240
Speaker 1: now punishing the world trying to get it back. That's

1072
01:02:36,240 --> 01:02:40,400
Speaker 1: a Shrek narrative. If ever, Shrek is isolated by his

1073
01:02:40,480 --> 01:02:42,640
Speaker 1: parents at a very young age, as is the Ogre tradition,

1074
01:02:43,040 --> 01:02:46,680
Speaker 1: strikes out on his own establishes his own swamp. To

1075
01:02:46,920 --> 01:02:49,160
Speaker 1: his credit, you know, he comes from nothing. He's guys

1076
01:02:49,200 --> 01:02:51,200
Speaker 1: own swamp. Now he's a small business owner. He's a

1077
01:02:51,240 --> 01:02:53,680
Speaker 1: small business owner. He's guys own swamp. He build a

1078
01:02:53,760 --> 01:02:56,080
Speaker 1: life for himself. But he's kind of mean, he's kind

1079
01:02:56,080 --> 01:02:58,080
Speaker 1: of resentful towards the world, and he's a bully to

1080
01:02:58,120 --> 01:03:01,160
Speaker 1: all the other fairytale creatures. And then you know, and

1081
01:03:01,280 --> 01:03:04,320
Speaker 1: then there is the movie takes place. Yeah, kind of

1082
01:03:04,360 --> 01:03:10,400
Speaker 1: Shrek narrative. Yeah, Shrek another beefcake, but it's I mean,

1083
01:03:10,560 --> 01:03:15,800
Speaker 1: it's a relatable narrative both for men and women ogre

1084
01:03:15,920 --> 01:03:21,760
Speaker 1: people oger Americans as we call them. Right. Bottom line

1085
01:03:22,480 --> 01:03:27,040
Speaker 1: is that all of her actions and her choices drive

1086
01:03:27,120 --> 01:03:31,200
Speaker 1: the narrative throughout the entire movie. Like everything she's doing

1087
01:03:32,040 --> 01:03:34,360
Speaker 1: it has a consequence, it has a bearing on the story.

1088
01:03:34,560 --> 01:03:38,680
Speaker 1: She is the driver of the vehicle that is the plot,

1089
01:03:39,000 --> 01:03:42,000
Speaker 1: and like you mentioned before, she's the one who determines

1090
01:03:42,040 --> 01:03:44,040
Speaker 1: the outcome of the story. Like she's the one who

1091
01:03:44,480 --> 01:03:47,000
Speaker 1: more stores at heart and like more often than not,

1092
01:03:47,200 --> 01:03:49,480
Speaker 1: it's like a man who's throwing a wrench into things

1093
01:03:49,640 --> 01:03:53,360
Speaker 1: rather than swooping in as a savior like Maui. For

1094
01:03:53,440 --> 01:03:55,880
Speaker 1: the most part, he he does play a role, and

1095
01:03:55,920 --> 01:03:59,120
Speaker 1: he does help, and there's teamwork, but more often than not,

1096
01:03:59,240 --> 01:04:02,800
Speaker 1: I feel like he presents the problem. Yeah, he's They're

1097
01:04:02,840 --> 01:04:06,040
Speaker 1: often to create obstacles for her. One of the reasons

1098
01:04:06,120 --> 01:04:09,280
Speaker 1: why I cried so hard when I when I saw

1099
01:04:09,400 --> 01:04:11,760
Speaker 1: Frozen for the first time and then again when I

1100
01:04:11,840 --> 01:04:17,320
Speaker 1: saw this, was just thinking about a generation of children

1101
01:04:17,600 --> 01:04:20,280
Speaker 1: of young women who get to see this movie. Yes,

1102
01:04:20,520 --> 01:04:23,320
Speaker 1: I had the same thought, and it's beautiful and it's

1103
01:04:23,360 --> 01:04:27,680
Speaker 1: beautiful for them to see Moanna as a hero. But

1104
01:04:27,880 --> 01:04:33,160
Speaker 1: also to see Maui how to interact with Maui's because

1105
01:04:33,840 --> 01:04:36,800
Speaker 1: we all you were going to come up against Maui's

1106
01:04:37,200 --> 01:04:39,800
Speaker 1: for your entire life, and if the lesson of this

1107
01:04:39,920 --> 01:04:41,680
Speaker 1: movie is that you have to grab them by the

1108
01:04:41,760 --> 01:04:45,160
Speaker 1: ear and tell them what you want and make them

1109
01:04:45,360 --> 01:04:49,400
Speaker 1: do it. And it's uh in this world that has

1110
01:04:49,440 --> 01:04:53,240
Speaker 1: to be done. Yeah, it's great how defiant she is

1111
01:04:53,840 --> 01:04:56,760
Speaker 1: toward him and like and toward her father. Her father

1112
01:04:56,880 --> 01:05:00,120
Speaker 1: kept being like, don't go off beyond the re if

1113
01:05:00,160 --> 01:05:03,000
Speaker 1: it's too dangerous, and time and time again, she just

1114
01:05:03,560 --> 01:05:05,440
Speaker 1: and it got to the point where it was it

1115
01:05:05,520 --> 01:05:08,200
Speaker 1: became the inciting incident where she then ventures off into

1116
01:05:08,280 --> 01:05:12,800
Speaker 1: the great unknown. But again it's about the ocean with Heroin.

1117
01:05:15,080 --> 01:05:17,520
Speaker 1: It was cooking, but now let's let's raise the stakes.

1118
01:05:19,400 --> 01:05:23,160
Speaker 1: He's like no, and she's like, I am naturally inclined

1119
01:05:23,280 --> 01:05:29,080
Speaker 1: to enjoy this beautiful natural element that is blind. Anyway,

1120
01:05:29,280 --> 01:05:32,840
Speaker 1: why haven't any princess has been addicted to drugs? Where's

1121
01:05:32,920 --> 01:05:36,240
Speaker 1: that movie? I'll direct it. I My my goal in

1122
01:05:36,360 --> 01:05:40,040
Speaker 1: my life is to make a movie about conjoined twin

1123
01:05:40,840 --> 01:05:43,800
Speaker 1: royalty MM and then they try to get separated and

1124
01:05:43,920 --> 01:05:49,040
Speaker 1: like one dies and any inciting incident is that she

1125
01:05:49,240 --> 01:05:52,520
Speaker 1: got to go and there's a whole I have an outline.

1126
01:05:52,560 --> 01:05:55,000
Speaker 1: I'll send it to you. Okay, I'll give you. I'll

1127
01:05:55,040 --> 01:06:00,120
Speaker 1: give you a note thank you. Hey. Here's the thing

1128
01:06:00,160 --> 01:06:02,360
Speaker 1: I thought this isn't just a dumb fun thought I

1129
01:06:02,440 --> 01:06:07,200
Speaker 1: had is on the coconut ships, there's this big drum

1130
01:06:07,760 --> 01:06:09,960
Speaker 1: and they're all attached to ropes and they like come

1131
01:06:10,000 --> 01:06:11,520
Speaker 1: down on the drum and beat the drum. And I

1132
01:06:11,920 --> 01:06:16,440
Speaker 1: reminded me of mad Max fury Road there ago the

1133
01:06:16,600 --> 01:06:21,120
Speaker 1: steam punk drum guy. Another fun thing in the outline

1134
01:06:21,160 --> 01:06:26,160
Speaker 1: of this this Conjoined Twin Princess movie that I've outlined,

1135
01:06:28,000 --> 01:06:32,280
Speaker 1: the Surviving Conjoined Twin is a woman in stem so good,

1136
01:06:32,560 --> 01:06:37,240
Speaker 1: Oh my gosh. So it really is the most empowering

1137
01:06:37,320 --> 01:06:39,880
Speaker 1: movie of all time. And she's also a lesbian because

1138
01:06:39,920 --> 01:06:42,320
Speaker 1: she has to dedicate her life. Also can fly a

1139
01:06:42,480 --> 01:06:49,760
Speaker 1: plane and she's pretty amazing. That's great. Definitely, it might

1140
01:06:49,800 --> 01:06:55,479
Speaker 1: be extremely bad cool. Does anyone have any like final

1141
01:06:55,600 --> 01:06:59,720
Speaker 1: thoughts about the movie. I just love it. It's amazing.

1142
01:07:00,000 --> 01:07:02,560
Speaker 1: It's an amazing movie. I was worried you might not

1143
01:07:02,680 --> 01:07:05,640
Speaker 1: like it, Jamie could really because you just saw it earlier.

1144
01:07:05,720 --> 01:07:08,720
Speaker 1: Today and uh so, Yeah, I don't know. I had

1145
01:07:08,800 --> 01:07:10,280
Speaker 1: hyped it so much that I was afraid that it

1146
01:07:10,280 --> 01:07:12,760
Speaker 1: wouldn't live up to the hype that I had created. Yeah,

1147
01:07:12,760 --> 01:07:14,280
Speaker 1: I mean I knew you loved it since you saw

1148
01:07:14,280 --> 01:07:17,160
Speaker 1: it in theaters, but no, I mean, it's like it's

1149
01:07:17,240 --> 01:07:20,040
Speaker 1: so good on every level, Like we don't even need

1150
01:07:20,080 --> 01:07:22,080
Speaker 1: to talk about whether it passes the Battel test. It

1151
01:07:22,120 --> 01:07:24,600
Speaker 1: absolutely does. In the first like ten minutes, I was

1152
01:07:24,680 --> 01:07:28,720
Speaker 1: talking to a comic who um had seen it and

1153
01:07:28,840 --> 01:07:32,120
Speaker 1: taken his son see it, and it had been too

1154
01:07:32,160 --> 01:07:35,400
Speaker 1: worked up and they did not like it. Um. And

1155
01:07:35,480 --> 01:07:38,480
Speaker 1: the thing is, I didn't care. It was like, it's

1156
01:07:38,480 --> 01:07:41,840
Speaker 1: not for them exactly, It's not for you, And I

1157
01:07:42,000 --> 01:07:46,040
Speaker 1: don't care. I want little boys to love this movie,

1158
01:07:46,760 --> 01:07:50,680
Speaker 1: but it's not made for them. See, I think it

1159
01:07:50,800 --> 01:07:53,000
Speaker 1: is important for them to at least see it and

1160
01:07:53,160 --> 01:07:55,960
Speaker 1: understand them and like at least take away something from

1161
01:07:56,000 --> 01:08:00,720
Speaker 1: it because it might put a damper on toxic masculinity.

1162
01:08:00,920 --> 01:08:04,520
Speaker 1: That is part of why the patriarchy is still a thing.

1163
01:08:05,440 --> 01:08:08,120
Speaker 1: So I think the more you know, little boys can

1164
01:08:08,480 --> 01:08:13,400
Speaker 1: become enlightened to I mean, I got something from Toy Story,

1165
01:08:13,520 --> 01:08:17,160
Speaker 1: but that movie wasn't made for me? Um right, I mean,

1166
01:08:17,240 --> 01:08:20,120
Speaker 1: and and we as little kids were forced to see

1167
01:08:20,280 --> 01:08:24,760
Speaker 1: all fucking manner of male heroes journeys or like this

1168
01:08:24,920 --> 01:08:28,280
Speaker 1: beautiful French woman's fucking a dog in a suit. Like

1169
01:08:28,479 --> 01:08:32,360
Speaker 1: we were presented with very few this beauty and the beast.

1170
01:08:34,520 --> 01:08:38,720
Speaker 1: There's like but there's you know, it's I would love

1171
01:08:38,800 --> 01:08:41,320
Speaker 1: for little boys to be forced to watch Moanna, but

1172
01:08:41,400 --> 01:08:44,040
Speaker 1: there's so many other options for them where they can

1173
01:08:44,120 --> 01:08:48,280
Speaker 1: be like, Oh, I'm really I'm great, and I hope

1174
01:08:48,360 --> 01:08:51,880
Speaker 1: that that goes away. It's hard. I mean it's hard

1175
01:08:51,960 --> 01:08:55,639
Speaker 1: because I don't know how Moana was marketed, but so often,

1176
01:08:55,760 --> 01:09:00,760
Speaker 1: like these really good, empowering female driven movies are sort

1177
01:09:00,800 --> 01:09:04,120
Speaker 1: of Barbie marketed to the point where it's like, oh,

1178
01:09:04,640 --> 01:09:09,880
Speaker 1: if you were you know, the everyday parent, you wouldn't think, oh,

1179
01:09:09,960 --> 01:09:12,080
Speaker 1: I should bring my little boy to this movie, you know.

1180
01:09:12,880 --> 01:09:15,640
Speaker 1: And I don't know what the solution to that is.

1181
01:09:15,840 --> 01:09:17,840
Speaker 1: I mean, you can unbarbify it, but I don't know

1182
01:09:17,920 --> 01:09:21,240
Speaker 1: how much inherent press like prejudice goes into I think

1183
01:09:21,400 --> 01:09:24,360
Speaker 1: I think having I think Maui's character was kind of

1184
01:09:24,479 --> 01:09:27,559
Speaker 1: big in every marketing piece. I think they were selling

1185
01:09:27,760 --> 01:09:30,160
Speaker 1: the rock pretty hard on it. I mean if when

1186
01:09:30,200 --> 01:09:34,840
Speaker 1: they've got the rock, I do kind of want to

1187
01:09:34,880 --> 01:09:36,960
Speaker 1: talk about the scenes that passed the backdel test though,

1188
01:09:37,320 --> 01:09:42,320
Speaker 1: um just for one consistency of our podcast and too

1189
01:09:42,479 --> 01:09:45,519
Speaker 1: because they're great. First one comes when ma Wana and

1190
01:09:45,720 --> 01:09:49,519
Speaker 1: her mom are talking about Mowanna's desire to just be

1191
01:09:49,680 --> 01:09:52,559
Speaker 1: out on the ocean and to venture off, and her

1192
01:09:52,640 --> 01:09:55,720
Speaker 1: dad is mentioned, so but it's not the context of

1193
01:09:55,760 --> 01:09:58,479
Speaker 1: the conversation is not really about him. It's more about

1194
01:09:59,040 --> 01:10:02,599
Speaker 1: just her desire, her longing to be on the ocean

1195
01:10:02,680 --> 01:10:05,559
Speaker 1: and in the ocean. Similar conversation happens a little later

1196
01:10:05,640 --> 01:10:09,680
Speaker 1: on between mo Wanna and her grandmother, where Mama is

1197
01:10:09,680 --> 01:10:12,120
Speaker 1: talking about putting the stone on the top of the mountain,

1198
01:10:12,120 --> 01:10:14,800
Speaker 1: which is like symbolic of her accepting her role is

1199
01:10:15,360 --> 01:10:18,920
Speaker 1: the leader in the chief of the community and she's

1200
01:10:19,040 --> 01:10:22,040
Speaker 1: questioning like who she's meant to be, and again her

1201
01:10:22,120 --> 01:10:23,880
Speaker 1: dad is mentioned, but again that's not really what the

1202
01:10:23,920 --> 01:10:26,479
Speaker 1: conversation is about. It's more about like her destiny and

1203
01:10:26,560 --> 01:10:30,439
Speaker 1: her desires. And then another conversation between her and her

1204
01:10:30,479 --> 01:10:33,640
Speaker 1: grandma happens. Oh. I think it's just like after she

1205
01:10:33,800 --> 01:10:38,160
Speaker 1: discovers that her ancestors or voyagers, and her grandmother shows

1206
01:10:38,200 --> 01:10:40,519
Speaker 1: her at that, right, Yeah, her grandmother's like bang on

1207
01:10:40,560 --> 01:10:43,280
Speaker 1: the drum and her questions will be answered. And then

1208
01:10:43,360 --> 01:10:46,120
Speaker 1: after that, her grandma's like on her deathbed and that's

1209
01:10:46,120 --> 01:10:49,000
Speaker 1: when she's like, you have to go find Maui and

1210
01:10:49,120 --> 01:10:52,920
Speaker 1: tell him to restore the heart. Also, they they do

1211
01:10:53,400 --> 01:10:56,360
Speaker 1: a rare displacement of the horny grandma trope. This grandma

1212
01:10:56,360 --> 01:10:59,400
Speaker 1: doesn't get horny? Does she just horny for sea creatures?

1213
01:10:59,520 --> 01:11:04,320
Speaker 1: That's right, that's God damn it. Because the other grandma

1214
01:11:04,680 --> 01:11:06,920
Speaker 1: character that I can think of, besides Grandmother Willow, who

1215
01:11:06,920 --> 01:11:09,840
Speaker 1: can't get horny, she has a tree, uh, is the

1216
01:11:09,880 --> 01:11:13,719
Speaker 1: grandmother in Mulan, who is very horny, also very helpful,

1217
01:11:14,360 --> 01:11:16,559
Speaker 1: helpful and horny. Well, it's I don't think it's actually

1218
01:11:16,600 --> 01:11:19,280
Speaker 1: fair to say that she's horny for these stingrays. She

1219
01:11:19,360 --> 01:11:21,559
Speaker 1: wants to be one and she admires them and doesn't

1220
01:11:21,560 --> 01:11:24,080
Speaker 1: mean she wants to fun. She's empowered by this stinger. Okay,

1221
01:11:24,160 --> 01:11:26,479
Speaker 1: I really want to get this grandma every benefit of

1222
01:11:26,520 --> 01:11:29,160
Speaker 1: the doubt because I really love her, and all the

1223
01:11:29,200 --> 01:11:32,519
Speaker 1: other grandma's besides the tree are horny. Um, Hey, should

1224
01:11:32,520 --> 01:11:34,760
Speaker 1: we write the movie. Let's do it. So we read

1225
01:11:34,880 --> 01:11:37,879
Speaker 1: each movie on a scale of zero to five nipples,

1226
01:11:39,120 --> 01:11:43,280
Speaker 1: and the way you describe the nipples, if we so choose, um,

1227
01:11:43,439 --> 01:11:50,200
Speaker 1: I'll go first is five great, yeah, which I think

1228
01:11:50,640 --> 01:11:56,799
Speaker 1: might be what I give this movie might nipple movie.

1229
01:11:58,200 --> 01:12:01,240
Speaker 1: The only thing that would make hesitated about it is

1230
01:12:01,400 --> 01:12:05,519
Speaker 1: the fact that the filmmakers, the directors, and writers were

1231
01:12:06,000 --> 01:12:09,680
Speaker 1: white dudes. But that doesn't really seem to have a

1232
01:12:09,760 --> 01:12:12,479
Speaker 1: bearing on the story the way we might think. So

1233
01:12:12,600 --> 01:12:15,639
Speaker 1: if you're just isolating the narrative itself and not thinking

1234
01:12:15,720 --> 01:12:18,840
Speaker 1: about the filmmaking aspect of it, it does such a

1235
01:12:18,920 --> 01:12:24,160
Speaker 1: terrific job representing women in a way that Disney movies, uh,

1236
01:12:24,360 --> 01:12:27,400
Speaker 1: in movies that young girls are seeing I haven't really

1237
01:12:27,439 --> 01:12:33,080
Speaker 1: done before. The relationships between the women characters are so

1238
01:12:33,320 --> 01:12:36,559
Speaker 1: wonderful and strong and refreshing to see. Mowanna just has

1239
01:12:36,640 --> 01:12:38,960
Speaker 1: so much agency, and she's so active in all of

1240
01:12:39,040 --> 01:12:44,320
Speaker 1: her decisions, and she's just a great, dynamic, multidimensional, very

1241
01:12:44,400 --> 01:12:50,720
Speaker 1: lovable character. And I ever so much. Five nipples describe them? Well,

1242
01:12:50,800 --> 01:12:55,000
Speaker 1: I'm not okay five of them at night? So I

1243
01:12:55,120 --> 01:13:01,120
Speaker 1: know that crabs don't have nipples, but five nipples belonged

1244
01:13:01,240 --> 01:13:15,160
Speaker 1: to Jermaine, Like it's my aust Brand Kitling Britain. Bringemine Britt.

1245
01:13:15,400 --> 01:13:18,519
Speaker 1: I give this movie five nipples as well. I would

1246
01:13:18,560 --> 01:13:22,160
Speaker 1: be interested if anyone's listening, um in how if anyone

1247
01:13:22,320 --> 01:13:26,280
Speaker 1: is familiar or integrated into Pacific Islander culture, Um, how

1248
01:13:26,360 --> 01:13:29,320
Speaker 1: you felt the movie represented that, because I really don't

1249
01:13:29,360 --> 01:13:32,400
Speaker 1: have a context for that. In a layman sense, it

1250
01:13:32,520 --> 01:13:36,000
Speaker 1: seemed like it was pretty respectful of the culture. But again,

1251
01:13:36,120 --> 01:13:40,240
Speaker 1: if if you have more or outsiders, I did love

1252
01:13:40,280 --> 01:13:42,560
Speaker 1: to hear it. I was trying to read about like

1253
01:13:43,560 --> 01:13:46,800
Speaker 1: whether or not Molana was based on any um folklore

1254
01:13:47,160 --> 01:13:51,439
Speaker 1: or mythology or anything like that. And Maui and the

1255
01:13:51,520 --> 01:13:53,640
Speaker 1: different creation stories and stuff like that. It seems that

1256
01:13:53,960 --> 01:13:56,760
Speaker 1: they took like a combination of different like Polynesian and

1257
01:13:56,840 --> 01:13:59,200
Speaker 1: Pacific Islander things and sort of like molded it into

1258
01:13:59,240 --> 01:14:01,719
Speaker 1: one thing. And I think there was some criticism about

1259
01:14:01,760 --> 01:14:04,720
Speaker 1: that from those communities that like, oh, like why did

1260
01:14:04,800 --> 01:14:08,160
Speaker 1: you mesh them all together? Kind of thing. Disney has

1261
01:14:08,200 --> 01:14:13,200
Speaker 1: a resort in Hawaii. There was also a Maui costume

1262
01:14:13,280 --> 01:14:16,639
Speaker 1: that was released that was considered disrespectful and was pulled

1263
01:14:16,760 --> 01:14:20,760
Speaker 1: from the sheuse a real merch mix up regardless, my

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01:14:21,040 --> 01:14:25,760
Speaker 1: I give it five Moana baby nipples. Um, I would

1265
01:14:25,760 --> 01:14:30,560
Speaker 1: also give up five nipples. Well, Natalie, thank you so

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01:14:30,680 --> 01:14:33,160
Speaker 1: much for joining us. It's been a pleasure. Thank you

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01:14:33,280 --> 01:14:34,800
Speaker 1: so much. I think this might also be one of

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01:14:34,840 --> 01:14:38,040
Speaker 1: the first times that all three of us, Jamie and

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01:14:38,240 --> 01:14:42,280
Speaker 1: Caitlin and the guest love the movie that we're talking

1270
01:14:42,320 --> 01:14:45,880
Speaker 1: about genuinely. So thank you for bringing us such an

1271
01:14:45,920 --> 01:14:48,679
Speaker 1: exciting movie to talk about about. To blast the soundtrack

1272
01:14:48,760 --> 01:14:52,479
Speaker 1: in my car, Yeah, blast it and cry. I'm roughing

1273
01:14:52,600 --> 01:14:56,200
Speaker 1: for it. Yeah, I'm so excited. Where can people find

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01:14:56,280 --> 01:15:00,759
Speaker 1: you online? Um? I am on Twitter at Daly Baseman

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01:15:01,400 --> 01:15:05,400
Speaker 1: and um I'm on Instagram too, and I'm off Facebook

1276
01:15:05,439 --> 01:15:09,080
Speaker 1: for mental health and well done. Um My. My Twitter

1277
01:15:09,280 --> 01:15:12,759
Speaker 1: right now is mostly just retweeting angrily. But my Instagram

1278
01:15:12,840 --> 01:15:17,400
Speaker 1: my post pictures of things I cook wonderful, perfect. I've

1279
01:15:17,439 --> 01:15:19,599
Speaker 1: about you, Jamie, do you have anything you wanna mention?

1280
01:15:20,080 --> 01:15:24,479
Speaker 1: I'm Hamburger Phone on Twitter. You can watch my cartoon

1281
01:15:24,640 --> 01:15:27,479
Speaker 1: every week on Cafe is called Boston p DS and

1282
01:15:27,600 --> 01:15:32,080
Speaker 1: Bony Crimes Division. It's very funny. That's thank you. Kaitly

1283
01:15:32,200 --> 01:15:36,120
Speaker 1: watched me make one today. Yeah, yeah, it's fun. It

1284
01:15:36,280 --> 01:15:38,559
Speaker 1: was so much fun. That's all I've got. You can

1285
01:15:38,600 --> 01:15:41,160
Speaker 1: follow me at Caitlin Dronte and you can follow the

1286
01:15:41,240 --> 01:15:44,120
Speaker 1: podcast at bectel Cast. You can also listen to us

1287
01:15:44,280 --> 01:15:47,080
Speaker 1: on iTunes. You can also rate and review us there.

1288
01:15:47,160 --> 01:15:49,880
Speaker 1: We really appreciate it when you do that, or and

1289
01:15:50,040 --> 01:15:54,439
Speaker 1: Libson and Google Google too. Also. I don't know if

1290
01:15:54,560 --> 01:15:58,000
Speaker 1: I use the overcast app for my podcasting needs and

1291
01:15:58,120 --> 01:16:00,519
Speaker 1: it's amazing and you can get anything on there and

1292
01:16:00,560 --> 01:16:02,599
Speaker 1: then it's just a quick, a quick hop to iTunes

1293
01:16:02,680 --> 01:16:05,080
Speaker 1: to rate things. I love it. I love I used

1294
01:16:05,120 --> 01:16:08,120
Speaker 1: the pot this the standard podcasts iPhone app as well,

1295
01:16:08,200 --> 01:16:11,000
Speaker 1: and I get a little ping every Thursday morning when

1296
01:16:11,080 --> 01:16:13,200
Speaker 1: it's like, hey remember this thing, remember that thing you did,

1297
01:16:13,520 --> 01:16:17,280
Speaker 1: It's now available to the public. I love it. So

1298
01:16:17,479 --> 01:16:19,880
Speaker 1: keep listening. Thank you for listening. We appreciate you, we

1299
01:16:20,080 --> 01:16:22,760
Speaker 1: value you. You get five out of five nipples. Yes,

1300
01:16:23,000 --> 01:16:25,599
Speaker 1: you all do. Thanks and bye bye.