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

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

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

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Speaker 1: it with the Bechdel Cast. There you'll be with tot

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Speaker 1: Row tot Row. It's the toe too row to to

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Speaker 1: row episode of the Bechdel Cast. Wow that you should

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Speaker 1: throw in some music there too, just to really really

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Speaker 1: hit it home. I'll think about it. I've heard this

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Speaker 1: song a million times and then it's it's this sort

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Speaker 1: of thing where it's kind of Miyazaki's It's a small

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Speaker 1: world where you're like, I appreciate where this song is

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Speaker 1: coming from, but I do want to walk off a

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Speaker 1: cliff because it's going to be following me around for

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Speaker 1: the next, you know, six days. I'm having a good

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Speaker 1: day today, but the rest of the week is going

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Speaker 1: to be rough. I'm fine with it. I will be

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Speaker 1: fine with it. I just you know, when you hear

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Speaker 1: like a little earworm like that and you're like, oh,

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Speaker 1: this is awesome, but it won't be soon. But it

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Speaker 1: won't be soon. Yeah. Anyways, Welcome to the Becktel Cast.

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Speaker 1: My name is Caitlin Darante. My name is Jamie Loftus,

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Speaker 1: and this is our podcast where we take a look

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Speaker 1: at your favorite movies using an intersectional feminist lens. Ever

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Speaker 1: heard of it? Yeah, And we use the Bechdel test

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Speaker 1: simply as a jumping off point. Most of the time

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Speaker 1: we forget to pay attention to if the movie passes

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Speaker 1: the Beck Doeld test or not, or at least I

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Speaker 1: do this one does? It does so much um and

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Speaker 1: here done by the Bechtel test, of course, being a

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Speaker 1: media metric created by queer cartoonists Else and Becktel, sometimes

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Speaker 1: called the Bechtel Wallace test, in which our version that

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Speaker 1: we use requires that two characters of a marginalized gender

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Speaker 1: have names, and they speak to each other, and their

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Speaker 1: conversation has to be about something other than a man,

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Speaker 1: ideally for a at least two line exchange of dialogue,

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Speaker 1: and one that is narratively meaningful or irrelevant. Not a

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Speaker 1: big deal for for this week, because we've got oh

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Speaker 1: my gosh, it's it's my neighbor Totoro week. It's it's

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Speaker 1: a part of our Miyazaki ongoing series. We are going

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Speaker 1: to be kind of just like checking in with with

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Speaker 1: Mr Miyazaki over the course of the next several years.

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Speaker 1: So just a quick disclaimer, please don't yell at us.

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Speaker 1: If this isn't your favorite of his movies, that's not

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Speaker 1: our problem. Yeah, we'll get around to the others. I do.

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Speaker 1: There is sometimes a little bit where you're just like,

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Speaker 1: oh my god. They're like, why didn't you We were

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Speaker 1: talking about this on the kikiS episode. They're like, why

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Speaker 1: not Princess Mononoka. I'm like, this isn't a personal vendetta

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Speaker 1: against Princess Mononoke. She will be, But what if there was?

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Speaker 1: What if Caitlin and Princess Mononoke word princess narrative? We

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Speaker 1: quietly don't address it. We'll get around to other Miyazaki movies.

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Speaker 1: These are the three we chose for this year, and

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Speaker 1: I think we're we're ending strong, strong movie and a

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Speaker 1: strong guest who can see clearer than he's ever been

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Speaker 1: able to see in his life. I mean that mentally

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Speaker 1: and physically. He watched this movie with such clear vision.

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Speaker 1: And that guest, of course, is co host of The

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Speaker 1: Daily I Geist and for Twenty Day Fiance. You know

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Speaker 1: him from such episodes as The Rock This Christmas, It's

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Speaker 1: Miles Gres. Thank you so much for having me. I'm

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Speaker 1: always always honored and touched when you asked me to

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Speaker 1: be on your very special show. Uh, and I hope to,

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Speaker 1: you know, I just hope to continue my streak of

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Speaker 1: good performances and good good dialogue discourse with you both.

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Speaker 1: Everything's riding on this one. It's funny you just got

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Speaker 1: so you just got LASIX surgery. I did. I was

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Speaker 1: realizing as we were introducing you, we make it sound

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Speaker 1: like we don't let most of our guests watch the

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Speaker 1: movie with clear vision. Yeah. Yeah, we we added an obstruction.

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Speaker 1: It's like when you go to a show and you

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Speaker 1: pay less money because you're sitting in front of a pole,

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Speaker 1: Like damn, why was that on the ticket? Like? Wow?

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Speaker 1: One half of the Phantom of the Opera was so

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Speaker 1: good at the Pantages. That was okay, everything that's on

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Speaker 1: stage right, So Miles, let's get right into it. What's

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Speaker 1: your history with my neighbor Totoro And let's just say

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Speaker 1: the Miyazaki Expanded Studio Jubilie World, Oh man, tot is

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Speaker 1: like one of my favorites. I don't know if you

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Speaker 1: guys know this. I'm Japanese, okay, so yeah, I grew

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Speaker 1: up watching a lot of Miyazaki cartoons and Toto was

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Speaker 1: like one of those ones that came out when I

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Speaker 1: was like four or five, So I remember was so

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Speaker 1: big in Japan, like as it was coming out, and

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Speaker 1: I remember seeing it on like tape. I remember seeing

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Speaker 1: it like with my friend's house. It was me and

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Speaker 1: a few other family friends were watching it. But Mononoke

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Speaker 1: is like one of my other favorites, so yeah, I

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Speaker 1: probably would have been like Dooka calling in. But for me, yeah,

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Speaker 1: total was like a very It's it's so pure and

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Speaker 1: I just like that about it, and it's so Japanese.

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Speaker 1: That's another thing I really like about it is a

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Speaker 1: lot of American people don't always get it when they

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Speaker 1: watch it or think it's good, you know, because it's

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Speaker 1: just so different from like what most animation or most

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Speaker 1: stories are about, like especially you know, Western American cinema

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Speaker 1: type stuff. But yeah, it's like it's just one of

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Speaker 1: those things. It's like it's fucking Disney for us in Japan,

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Speaker 1: all of it, the entire universe. But yeah, for me,

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Speaker 1: totally like a thing that i've just I don't know,

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Speaker 1: I've always liked, Like when I was a kid, I

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Speaker 1: like stuffed animals and the scenes are like the scale

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Speaker 1: of total little like as a kid, I was like,

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Speaker 1: that's that's all I want. I just wanted a totoro friend.

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Speaker 1: I just wanted I want a sentient pillow. Yeah, on

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Speaker 1: a big pillow that yells at me. And then and

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Speaker 1: then called the bus was so cool and the cat bus.

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Speaker 1: I've kind of forgot about the cat bus when the

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Speaker 1: cat bush? Did you guys when you watched it? Were

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Speaker 1: you watching it dubbed? Are you watching with subtitles? How

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Speaker 1: do you? How do you take it in? So? I

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Speaker 1: watched the English dub they like Disney one from two

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Speaker 1: thousand five the Fanning Sisters. Yes, but I grew up

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Speaker 1: watching the original English dub, which I have a little

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Speaker 1: anecdote about when we get into my history with the movie.

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Speaker 1: I watched the first half of it in Japanese the

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Speaker 1: other day and then I needed to take a nap,

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Speaker 1: and then I just watched the Red not because I

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Speaker 1: was just tired, but Rice, Okay, it's just tired. And

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Speaker 1: then I um watched the rest of it in English.

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Speaker 1: But I do want to go back and watch the

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Speaker 1: entire thing in Japanese with English subtitles. So I've never

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Speaker 1: seen the Mizaki not in Japanese, which is so wild.

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Speaker 1: When I was when you asked me to do it,

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Speaker 1: I was like, oh, maybe I should, like I only

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Speaker 1: know it in Japanese, like maybe I should just check

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Speaker 1: it out. And part of me was like, no, I'm

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Speaker 1: just gonna watch. But yeah, so I'm always curious how

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Speaker 1: people take it in Sure, I watched it with the

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Speaker 1: dub first, and then I watched the original Japanese version second,

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Speaker 1: and I liked I mean, I liked them both, but

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Speaker 1: I always, I mean, it's always better to watch a

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Speaker 1: movie not dubbed, Like even if the dub is pretty good,

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Speaker 1: which I thought the fanic Sister dub is like it's fine,

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Speaker 1: it's it's cute, but it's always wait, oh that's what

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Speaker 1: you meant that Wait what it's Dakota and Dakota and

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Speaker 1: l inning when they were like like eleven and seven.

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Speaker 1: So this is my other thing with my personal issue

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Speaker 1: in me zacky stuff. I have no idea what's happening

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Speaker 1: with it in the US, like I don't whenever I

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Speaker 1: hear about it, it's because I'm hearing about it through

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Speaker 1: my cultural pulse in Japan versus like, how it's happening here?

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Speaker 1: So I have not had no fing idea that Ellen

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Speaker 1: Dakota Fanning, We're okay, good now, now I might have

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Speaker 1: to hear it. It was I thought l Fanning especially

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Speaker 1: did a really really good jobs as May. She was

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Speaker 1: really cute. Um and the Ursula the Sea Witch does Granny, Pat,

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Speaker 1: Carrol and Carol. So oh shit, Okay, it's a fun

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Speaker 1: dub cast. Yeah, it's it's reverberating with my American brain now,

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Speaker 1: I'm like, okay, I know those voices and those are iconic.

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Speaker 1: That's good casting right there. It's fun cast. Yeah. And

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Speaker 1: then the only other and then we don't mean it's

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Speaker 1: it's just a very Disney casting. But they did cast

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Speaker 1: Um Scooby Doo as Totoro and the cat Bus, Frank Welker,

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Speaker 1: Frank Welker, icon legend king Scooby himself. Um, Jamie, what

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Speaker 1: is your history in relationship with Totru? Uh? Not very extensive.

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Speaker 1: I think that I saw this movie maybe once or

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Speaker 1: twice as a kid. As I was watching it back,

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Speaker 1: I'm like, no, I don't. I've definitely seen this before. Um,

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Speaker 1: I guess I would have been seeing I don't know,

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Speaker 1: it could have been either of the dubs, because that

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Speaker 1: there was a dub done in three and then again

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Speaker 1: in two thousand and five. I don't really remember. I

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Speaker 1: remember really liking it, but I was just such a

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Speaker 1: kikiS delivery service stand that if we were going to

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Speaker 1: watch a Miyazaki movie, Kiki was always going to be

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Speaker 1: my choice. But it was really really fun to watch.

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Speaker 1: I've never I don't think I had seen it as

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Speaker 1: an adult, and it was fun to go back and

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Speaker 1: watch as an adult. It's just like the sweetest, most perfect,

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Speaker 1: thoughtful movie. I don't know, I just really love it.

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Speaker 1: It's beautiful, it is. It feels it truly. It just

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Speaker 1: feels like, uh, I don't know, a blanket. It feels

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Speaker 1: like a Totoro is hugging you. It does. It does.

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Speaker 1: It's so well because it's like, oh, I sort of

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Speaker 1: associate sometimes. I've like, every time I see Totoro, I'm like,

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Speaker 1: what is there a sale at Hot Topic because Miyazaki

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Speaker 1: stuff is so popular there. Like I think of Totoro

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Speaker 1: as being in the window of Hot Topic when I

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Speaker 1: walked by at the Glendale Galleria. But he's so much

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Speaker 1: more well It's funny because like it was just a

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Speaker 1: when it first came out, like they were not really

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Speaker 1: interested in marketing it at all in the US because

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Speaker 1: there's so much that people like they're bathing together like wet,

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Speaker 1: like that was a huge thing that a lot of

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Speaker 1: the studios I think want to take it out, like

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Speaker 1: in the American versions of it, but like as a

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Speaker 1: character like in Japan, like to total is like visually

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Speaker 1: so like iconic that it's funny that here it's sort

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Speaker 1: of distilled into like only fandoms of people who are

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Speaker 1: like really an animal and stuff that. Yeah, like it's

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Speaker 1: more of a topic when it should be. I mean

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Speaker 1: it should be. It should be coming down the Macy's

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Speaker 1: Thanksgiving Day parade. I mean, I mean it probably has

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Speaker 1: has he I feel like he should. I was like,

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Speaker 1: I hope, so wait, I gotta look into this. Did

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Speaker 1: you know that as far as licensed merchandise sales, this

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Speaker 1: movie has made one point one billion US dollars in

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Speaker 1: revenue from licensed merchandise. Not surprise at all. That's like globally,

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Speaker 1: I think, Yeah, So honestly, I wouldn't have been surprised

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Speaker 1: if it were even higher, because I feel like most

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Speaker 1: people who even if you haven't seen this movie, you

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Speaker 1: know who what he looks like. Yeah, but it's it

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Speaker 1: is great because it's like the sort of iconography where

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Speaker 1: the story also like lives up to it, where the

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Speaker 1: story is so beautiful. And we were talking about this

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Speaker 1: with kikiS too, but like this era of Miyazaki movies

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Speaker 1: are like fantastic, but also it's very very grounded where

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Speaker 1: it's like, oh, yeah, this is a story about kids

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Speaker 1: trying to adjust to a new home and having a

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Speaker 1: sick parent, Like that's just like dealing with really really

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Speaker 1: heavy stuff. And then also and cat Bus and it's

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Speaker 1: not like, oh my god, the nuclear power plant is

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Speaker 1: coming to tear down to Toto's home and we have

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Speaker 1: to save it, which is like what I think most

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Speaker 1: kids story like we're used to, is like what's the

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Speaker 1: gigantic fucking behemoth conflict and like who's the bad guy

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Speaker 1: and who's the good guy? And I think that wasn't

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Speaker 1: I remember as a kid, Like I've seen it with

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Speaker 1: like an American friend of mine, and they just they

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Speaker 1: did They're like this is dumb, Like I mean it is.

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Speaker 1: There's so he gave them the umbrella and he didn't

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Speaker 1: even know what to say. It just drew all ruism.

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Speaker 1: You wouldn't fucking know about that because this country's fun, right,

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Speaker 1: there's selective values. It's like it's a character driven story

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Speaker 1: in the way that most children's media or like family

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Speaker 1: media is not very character driven. There's always especially for

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Speaker 1: like American media, like intended for like children and family audiences,

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Speaker 1: it's always like some yeah, some big comment, like you know,

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Speaker 1: you're like fern Gully, they're tearing down the rainforest kind

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Speaker 1: of thing of friend Gully though, same, you know, the

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Speaker 1: stories like that are perfectly valid as well. But I

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Speaker 1: do love that of the Miyazaki movies I've seen, they're

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Speaker 1: all just like kind of quiet character studies that also

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Speaker 1: have really cool fantasy elements and uh mythology incorporated in

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Speaker 1: the narratives and beautiful imagery of course, but they're just like,

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Speaker 1: and what if we just kind of examine the lives

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Speaker 1: of these two sisters for ninety minutes and it's wonderful.

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Speaker 1: What's your history with this movie? Yes? Um, I watched

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Speaker 1: this movie every time I went to visit my grandmother,

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Speaker 1: and it is the only fond memory I have of

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Speaker 1: spending any time with my grandmother, who was a terrible person. Um,

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Speaker 1: but it's fine because I have Totoro because thank you, okay,

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Speaker 1: swop it out, um. But she had it on VHS.

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Speaker 1: So that was just like the activity there was to

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Speaker 1: do at my grandma's house. And why did she have

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Speaker 1: total I'm not sure. That's like just so I guess

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Speaker 1: those things are really interesting to me because I feel

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Speaker 1: like most grandparents, like American grandparents, have like the soft

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Speaker 1: box Disney VHS tapes at their house, you know, like

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Speaker 1: get real dirty and stinky. Yeah, exactly, sticky and just

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Speaker 1: covered in nonsense, whereas like your grandma's like I'm cultured, man,

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Speaker 1: you want some you want some Miyazaki ship, which is

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Speaker 1: hilarious because my grandma was also otherwise completely uncultured. Um

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Speaker 1: and like a Fox movie scary person. I'm here to

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Speaker 1: get my grandma's on this episode. But so anyway, uh,

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Speaker 1: that was like my favorite movie that she had on

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Speaker 1: VHS at her place, because she did have a couple

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Speaker 1: other you know, I think, like Disney movies and stuff

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Speaker 1: like that. But I was like, I we didn't have

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Speaker 1: Toto at home, so I was like, this is my

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Speaker 1: chance to watch it, and I just fell in love

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Speaker 1: with it, especially because the dynamic between the two sisters

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Speaker 1: was very similar to the dynamic I had with my sister.

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Speaker 1: I I'm like the older sister. I'm three years older

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Speaker 1: than my sister Sarah, and it was like a very

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Speaker 1: similar like she looked up to me the way that

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Speaker 1: May looks up to Sotsky. I had to like look

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Speaker 1: out for my younger sister the way that Satsky has

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Speaker 1: to look out for May. A lot of the time.

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Speaker 1: I also lived in a very rural area and was

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Speaker 1: always just like trapesing around the woods and stuff like that.

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Speaker 1: I so desperately wanted to go into the woods and

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Speaker 1: find a Totoro friend and be best friends, and like

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Speaker 1: this was a fantasy I had as a kid. I

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Speaker 1: wanted so badly to ride around on a cat bus.

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Speaker 1: Like this movie connected with me in a very major

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Speaker 1: way as a kid, and then I kind of fell

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Speaker 1: off of it as I got into my teen years

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Speaker 1: and stuff. But I've rediscovered it as an adult a

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Speaker 1: couple years ago, and I was like, all right, this

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Speaker 1: is like the best movie ever made. I love it

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Speaker 1: so much. Um, I do have a little Totoro enamel

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Speaker 1: pin that I will and I'm also thinking about getting

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Speaker 1: a Totoro tattoo. We'll see. Oh yeah, you kind of

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Speaker 1: tattoo bene this year. I'm cool. Now you get a

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Speaker 1: bunch of tattoos. What are the tattoos you get? I

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Speaker 1: got a Titanic one. Oh dope. I got a quote

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Speaker 1: from Paddington too. If we are kind of polite, the

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Speaker 1: world will be right. And I got the mad Max

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Speaker 1: Fury Road or rig within the past year, dude, And

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Speaker 1: then you need the Neco bus coming at the mad

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Speaker 1: Max Fury Road just straight up head on collision. Whatever.

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Speaker 1: I don't know. Look, I'm not here to you know

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Speaker 1: that it's your man and your tattoo artists, you know,

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Speaker 1: between your tattoo artists. I'm making the appointment right now.

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Speaker 1: I'm sure there's got to be like a Nyazaki like

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Speaker 1: specialist tattoo, right, because I know there's like Sip like

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Speaker 1: that for Disney tattoo. Right. Yeah, I'm sure I'm sure

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Speaker 1: there is. Okay, should I do the recap of my

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Speaker 1: neighbor totor? Please? Do? Let's do it, Okay. We meet

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Speaker 1: Satsky and her younger sister May. They are traveling with

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Speaker 1: their dad, Mr. Kusakabe to their new house in the

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Speaker 1: countryside of Japan. I think the year is like nineteen five.

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Speaker 1: I read it's postwar in rural Japan. On the way,

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Speaker 1: they run into some neighbors, including a young neighbor boy

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Speaker 1: who we will learn his name is Conta. They all

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Speaker 1: arrive at their new house and start exploring outside. They

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Speaker 1: notice a huge tree in the nearby forest. Their dad

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Speaker 1: tells the girls it's a camphor tree. Inside the house,

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Speaker 1: they find a bunch of acorns, and they also see

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Speaker 1: a bunch of little black dust bunnies or like dust

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Speaker 1: gremlins that seem alive and sentient, and they scatter when

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Speaker 1: you turn on the lights. They're similar to Spirited Away. Yes, yeah,

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Speaker 1: the footballs in Spirited Away exactly. Satski in May search

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Speaker 1: for more of these little dust spirits. Their neighbor granny

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Speaker 1: comes by and she's like, oh, yeah, those are soot spreaders,

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Speaker 1: and she mentions that their house is possibly haunted, but

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Speaker 1: that that's not like a bad or scary thing. Everyone's

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Speaker 1: excited about them living in a haunted house. We see

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Speaker 1: Stotsky May and their dad cleaning the house and settling in,

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Speaker 1: and then one night we see the soot spirits float

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Speaker 1: away into the night sky. The family then heads into

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Speaker 1: town to visit Satsky and May's mom, who is in

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Speaker 1: the hospital. She is ill, but she's been feeling better

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Speaker 1: and will hopefully be able to come home soon. Then

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Speaker 1: Satsky goes off to school and May stays home because

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Speaker 1: she's not old enough for school yet, so she's just

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Speaker 1: kind of occupying herself around the house. She finds a

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Speaker 1: trail of acorns, which she follows that leads her to

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Speaker 1: this little spirit, This little white, fluffy thing with kind

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Speaker 1: of pointy bunny like ears, just a little friend, just

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Speaker 1: a little friend, is translucent. It's bobbing around, and May

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Speaker 1: starts following it, but loses it for a moment, But

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Speaker 1: then she sees it again, and a bigger spirit bobbing around.

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Speaker 1: This one's blue and white, and it's carrying a bag

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Speaker 1: of acorns, and May follows them both into the woods

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Speaker 1: and into the depths of this giant camphor tree that

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Speaker 1: they saw, where she meets Totoro, who is the maximum

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Speaker 1: of Totara, the biggest Toto, biggest you've seen thus far. Yes,

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Speaker 1: the chars are of Yes, he's big and furry, He's

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Speaker 1: so cute. I would die for Toto and I would

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Speaker 1: kill for Totoro. Holy shit, every time Totoro is, he

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Speaker 1: does a lot of like ah, like he yells a lot,

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Speaker 1: and every time I see to yelling, I think it's

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Speaker 1: very like sweet. The kids are like not afraid of that.

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Speaker 1: If I was a kid, I would be crying, uh,

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Speaker 1: giant teeth, big old I was like, okay, if if

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Speaker 1: may slip even a little. But but I was always

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Speaker 1: like almost have like pretty good breath. I'm always thinking

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Speaker 1: about like what does this breath smell like? Because that

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Speaker 1: because even if you're not afraid of the big old teeth,

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Speaker 1: you would think that the breath might not be good.

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Speaker 1: He was sleeping, but maybe what breath smell like? He's fresh.

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Speaker 1: Those are like these weird story tropes that are like

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Speaker 1: reinforced that we like expect right Like as kids were like, oh,

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Speaker 1: the thing, the giant thing is showing its teeth and

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Speaker 1: in my you know history of looking at stuff as

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Speaker 1: it kid like, that means danger. Usually if a big

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Speaker 1: thing shows you its teeth, and I was like, and

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Speaker 1: the kid is not afraid, okay, weird oh And then

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Speaker 1: the other thing would be like pu is like the

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Speaker 1: next thing like like these sort of storytelling habits that

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Speaker 1: were used to like and that wasn't there. And I'm like,

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Speaker 1: so this big fucker was like had pleasant breath and

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Speaker 1: the teeth were I mean, teeth were beautiful, they were

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Speaker 1: immaculates and hygiene. Yeah, well it's because we've seen like Shrek. Okay,

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00:22:04,000 --> 00:22:06,959
Speaker 1: and Shrek keeps coming up these last couple of weeks.

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Speaker 1: Shrek keeps coming up. But there's that scene in Shrek

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Speaker 1: where like he's baring his teeth and he's scaring off

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Speaker 1: like the villagers and you see like all this goo

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Speaker 1: come out of his mouth and everyone's like Shrek. And

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Speaker 1: then later Donkey he's like you need a mint and

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Speaker 1: stuff like that. So wild, but this is nothing like Shrek.

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Speaker 1: Toto is fresh. It goes against everything total. It blows

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Speaker 1: up everything we thought about big creatures exactly, true, pleasant, smelling,

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Speaker 1: docile as hell. It's true. And then May it's just like,

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Speaker 1: all right, I think I'm gonna take a nap. She

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Speaker 1: becomes best friends with Totoro and the other little Totoro's.

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Speaker 1: Toto's just kind of like napping and chilling, and yeah,

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00:22:44,600 --> 00:22:46,439
Speaker 1: he wakes up and he yells a little bit but

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Speaker 1: she's like, I love that for you and we are

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Speaker 1: best friends. She's like, oh that's your name. Cool, good night,

383
00:22:52,840 --> 00:22:57,400
Speaker 1: all right. And then later that day, Satsky comes home

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Speaker 1: from school and finds my eeping in the middle of

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Speaker 1: the woods and she wakes up and she's like, where's Totoro.

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Speaker 1: He was right here and he's my best friend. And

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00:23:07,920 --> 00:23:12,040
Speaker 1: Stotski and their dad are like, we believe you, and

388
00:23:12,160 --> 00:23:16,040
Speaker 1: also we should go give the foest spirits a proper greeting.

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Speaker 1: So they go into the woods and pay their respects

390
00:23:18,920 --> 00:23:22,879
Speaker 1: to the Camphor tree. But the opening that May had

391
00:23:22,960 --> 00:23:27,480
Speaker 1: kind of tumbled into where she found Toto is now closed. Um,

392
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Speaker 1: and their dad is like, oh, it's probably because the

393
00:23:30,400 --> 00:23:33,240
Speaker 1: fourest Spirits don't want to be seen right now. And

394
00:23:33,240 --> 00:23:35,919
Speaker 1: then Stotsky is all bombed out because she wants to

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Speaker 1: see Totoro and friends too. Then Stotsky goes to school

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Speaker 1: ps that neighbor boy Kanta is there in class with

397
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Speaker 1: her and he has a big crush on Stsky. And

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Speaker 1: then May shows up to the schoolhouse. I love this part,

399
00:23:54,840 --> 00:23:58,920
Speaker 1: it's so sweet. So Granny is babysitting May because their

400
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Speaker 1: dad is I think in Tokyo teaching at a university,

401
00:24:03,359 --> 00:24:07,639
Speaker 1: and May wants to be with Stotsky, so she stays

402
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Speaker 1: at school with Stotsky until the end of the day,

403
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Speaker 1: and then on the walk home from school, it starts

404
00:24:13,080 --> 00:24:16,720
Speaker 1: raining heavily. Kanto walks by gives them his umbrella because

405
00:24:16,720 --> 00:24:21,600
Speaker 1: again he loves Stotsky. It's very cute. And then Satsky

406
00:24:21,640 --> 00:24:24,960
Speaker 1: and May return home and notice that their dad left

407
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Speaker 1: his umbrella, so they head out to meet him at

408
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Speaker 1: the bus stop. Um they returned Kanta's umbrella on the way,

409
00:24:31,600 --> 00:24:34,119
Speaker 1: and at the bus stop they wait. They wait, their

410
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Speaker 1: dad's bus isn't coming, but then who does show up

411
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Speaker 1: but Totoro. May has fallen asleep, but Stotsky has a

412
00:24:43,119 --> 00:24:46,520
Speaker 1: fun interaction with him. He gives them this little pouch

413
00:24:46,560 --> 00:24:51,120
Speaker 1: of acorns, and then a cat bus shows up. Totro

414
00:24:51,480 --> 00:24:54,000
Speaker 1: gets on the bus that is also a cat and

415
00:24:54,520 --> 00:24:58,320
Speaker 1: it runs off just takes a different line than them exactly.

416
00:24:59,240 --> 00:25:02,560
Speaker 1: Satsky in May return home. They plant the acorns in

417
00:25:02,760 --> 00:25:07,040
Speaker 1: their mom's garden, but nothing grows until one night when

418
00:25:07,080 --> 00:25:10,240
Speaker 1: Toto shows up with his little totos and they all

419
00:25:10,560 --> 00:25:13,360
Speaker 1: raise their arms and their umbrellas and their leaves up

420
00:25:13,359 --> 00:25:16,320
Speaker 1: in the sky and then the seeds start to sprout

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00:25:16,640 --> 00:25:20,600
Speaker 1: and another huge camphor tree grows. It's so that scene

422
00:25:20,680 --> 00:25:24,720
Speaker 1: is beautiful, just beautiful, so beautiful, and sounds so beautiful,

423
00:25:24,760 --> 00:25:29,320
Speaker 1: and the music in this movie is incredible. Um. And

424
00:25:29,320 --> 00:25:32,800
Speaker 1: then Toto gets on this flying top and he and

425
00:25:32,840 --> 00:25:35,880
Speaker 1: Sot sky in May and the little Toto's fly around

426
00:25:36,200 --> 00:25:41,600
Speaker 1: and play instruments, and the next morning the tree is

427
00:25:41,640 --> 00:25:44,679
Speaker 1: not there, but the little seedlings have started to sprout.

428
00:25:45,160 --> 00:25:48,320
Speaker 1: I just love how whimsical the description is. And I'm like, yeah,

429
00:25:48,480 --> 00:25:51,240
Speaker 1: I love this, Like and they take a magical top

430
00:25:51,359 --> 00:25:55,080
Speaker 1: to the highest tree and they play their instruments under

431
00:25:55,119 --> 00:25:58,040
Speaker 1: the moonlight, you know, And I'm like, oh man, that

432
00:25:58,200 --> 00:26:03,760
Speaker 1: was great, awesome. Everything in this like the I don't know,

433
00:26:03,800 --> 00:26:06,160
Speaker 1: like there's there's plenty of moments where in this movie

434
00:26:06,200 --> 00:26:09,880
Speaker 1: where things are urgent, but like how urgency is conveyed

435
00:26:09,880 --> 00:26:13,679
Speaker 1: in Miyazaki movies is just different. And even with like

436
00:26:13,920 --> 00:26:18,919
Speaker 1: little things where how granny Granny brings made a school

437
00:26:18,920 --> 00:26:20,720
Speaker 1: because she's like, yeah, I don't know, she just like

438
00:26:21,480 --> 00:26:23,840
Speaker 1: I just wanted to come to school, sorry, And I

439
00:26:23,920 --> 00:26:26,440
Speaker 1: was like, oh, yeah, I guess why not. And then

440
00:26:26,480 --> 00:26:28,840
Speaker 1: the teacher is just like very sweet about it. It's like, yeah,

441
00:26:28,960 --> 00:26:31,879
Speaker 1: come in and like it just these things that again

442
00:26:31,920 --> 00:26:34,399
Speaker 1: I think myles are totally right of just like these

443
00:26:34,600 --> 00:26:38,720
Speaker 1: story conventions, you don't even realize that, like you expect

444
00:26:38,760 --> 00:26:41,520
Speaker 1: of something being a big conflict and then it's like, no,

445
00:26:41,680 --> 00:26:44,320
Speaker 1: let's just deal with it. Our instinct is like, oh no,

446
00:26:44,680 --> 00:26:48,679
Speaker 1: like you can't have your sister at school, right, And

447
00:26:48,720 --> 00:26:52,080
Speaker 1: then like it's completely inverted and the teachers like their

448
00:26:52,119 --> 00:26:55,080
Speaker 1: mother is really sick, you know, and it's a terrible situation.

449
00:26:55,320 --> 00:26:58,280
Speaker 1: Please everyone be really kind to them. Okay, yeah, and

450
00:26:58,280 --> 00:27:00,240
Speaker 1: everyone and all the kids are like, yep, than they

451
00:27:00,280 --> 00:27:07,359
Speaker 1: are right. I feel like in most Western movies that

452
00:27:07,359 --> 00:27:09,159
Speaker 1: would have there would have been like some kid with

453
00:27:09,840 --> 00:27:15,080
Speaker 1: frosted tips that was like your mom is what her

454
00:27:15,119 --> 00:27:18,520
Speaker 1: head right? Right? What the fuck? Like it's like, no,

455
00:27:18,760 --> 00:27:25,320
Speaker 1: most kids are pretty sweet. That's very thoughtful. And then

456
00:27:25,359 --> 00:27:29,240
Speaker 1: they get a telegram from the hospital their mom was

457
00:27:29,280 --> 00:27:32,520
Speaker 1: supposed to come home that weekend, but she's not feeling

458
00:27:32,520 --> 00:27:36,280
Speaker 1: well so she can't come home anymore, which really upsets

459
00:27:36,320 --> 00:27:40,960
Speaker 1: May and Stsky. Satsky kind of takes out her upset

460
00:27:41,200 --> 00:27:43,560
Speaker 1: on May and calls her a baby and tells her

461
00:27:43,600 --> 00:27:47,840
Speaker 1: to grow up. And then May sets off without Stotsky knowing,

462
00:27:48,080 --> 00:27:51,040
Speaker 1: presumably to go to the hospital to take their mom

463
00:27:51,160 --> 00:27:54,040
Speaker 1: and ear of corn to make her feel better, which

464
00:27:54,080 --> 00:27:58,080
Speaker 1: is so sweet. And then when Satsky realizes that May

465
00:27:58,160 --> 00:28:02,320
Speaker 1: is gone, and like law us, she starts frantically running

466
00:28:02,320 --> 00:28:06,560
Speaker 1: around trying to find her. The whole village is looking

467
00:28:06,600 --> 00:28:10,320
Speaker 1: for her. Everyone's worried that May might have died. And

468
00:28:10,359 --> 00:28:14,840
Speaker 1: then Stotsky goes to Toto's tree and asks if he

469
00:28:14,880 --> 00:28:18,920
Speaker 1: can help her find May, and Toto is like, of course,

470
00:28:19,280 --> 00:28:22,159
Speaker 1: I'll except without using words, but he is more than

471
00:28:22,200 --> 00:28:29,600
Speaker 1: happy to help. Yeah. He Toto summons his cat bus

472
00:28:29,640 --> 00:28:33,680
Speaker 1: friend and Stotsky gets inside cat bus and cat bus

473
00:28:33,760 --> 00:28:37,040
Speaker 1: is like, next stop May, and then they race across

474
00:28:37,040 --> 00:28:41,080
Speaker 1: the countryside until they reach May. She and Stotsky reunite.

475
00:28:41,160 --> 00:28:43,960
Speaker 1: It's really nice, and then cat bus takes them to

476
00:28:44,080 --> 00:28:48,680
Speaker 1: the hospital where they kind of watch their mom through

477
00:28:48,720 --> 00:28:52,920
Speaker 1: the window and she's doing fine. And then Stotsky and

478
00:28:53,000 --> 00:28:58,040
Speaker 1: May ride back home in cat bus and there's like

479
00:28:58,080 --> 00:29:00,600
Speaker 1: a few kind of like credit images, is of like

480
00:29:01,160 --> 00:29:04,840
Speaker 1: their mom returning home and them all spending time together

481
00:29:05,440 --> 00:29:09,160
Speaker 1: and Toto is doing stuff in the woods, Granny's relieved.

482
00:29:09,160 --> 00:29:14,680
Speaker 1: Everyone is happy that made save yes, and it's beautiful

483
00:29:15,640 --> 00:29:18,160
Speaker 1: and that's the story. So let's take a quick break

484
00:29:18,240 --> 00:29:28,280
Speaker 1: and we will come right back to discuss and we're back.

485
00:29:29,360 --> 00:29:32,720
Speaker 1: Uh man, It's but Carolin and I were texting before

486
00:29:32,960 --> 00:29:37,920
Speaker 1: we started recording. We're like every I liked everything there

487
00:29:39,720 --> 00:29:42,680
Speaker 1: starting with I mean the and this is something not

488
00:29:43,160 --> 00:29:47,360
Speaker 1: because this is our third episode in Miyazaki movies, you know,

489
00:29:47,400 --> 00:29:51,920
Speaker 1: we again we have girls centered in the story, and

490
00:29:52,240 --> 00:29:54,880
Speaker 1: specifically in this one. I think it's kind of like

491
00:29:54,920 --> 00:29:58,960
Speaker 1: a bonus because it's like two sisters relating to each other,

492
00:29:59,080 --> 00:30:03,640
Speaker 1: and you know, they are in conflict almost constantly because

493
00:30:03,720 --> 00:30:07,600
Speaker 1: their siblings, and that is how that works. Um, but

494
00:30:07,680 --> 00:30:10,280
Speaker 1: you can also tell like there's this huge genuine love

495
00:30:10,320 --> 00:30:14,400
Speaker 1: between them, like there's it's it's just so like, I

496
00:30:14,440 --> 00:30:17,560
Speaker 1: don't know, presented matter of fact. It's like effortless how

497
00:30:17,920 --> 00:30:21,840
Speaker 1: Miyazaki is able to center kids and kids stories and

498
00:30:22,120 --> 00:30:25,480
Speaker 1: then relating to each other and also like prioritizing girls,

499
00:30:25,560 --> 00:30:28,400
Speaker 1: which is um in a in a just a very

500
00:30:28,440 --> 00:30:31,400
Speaker 1: matter of fact way where this could have easily been

501
00:30:31,640 --> 00:30:33,840
Speaker 1: brothers or a brother and a sister. You're kind of

502
00:30:33,880 --> 00:30:37,600
Speaker 1: any combination of siblings and yeah, totally, I think it's great,

503
00:30:38,440 --> 00:30:42,960
Speaker 1: perfect no notes. Um, yeah, and especially the relationship between

504
00:30:43,000 --> 00:30:47,400
Speaker 1: the sisters, it felt again so authentic. It felt very

505
00:30:47,440 --> 00:30:51,560
Speaker 1: reflective of like the relationship dynamic between me and my

506
00:30:51,680 --> 00:30:57,160
Speaker 1: younger sister, although I was far less patient and supportive

507
00:30:57,960 --> 00:31:00,480
Speaker 1: of my younger sister as a because I was a

508
00:31:00,520 --> 00:31:03,440
Speaker 1: little asshole, But um, I love that you see like

509
00:31:03,480 --> 00:31:06,680
Speaker 1: a version of a sibling dynamic where the older sister

510
00:31:07,480 --> 00:31:10,920
Speaker 1: is very patient and is very supportive and the younger

511
00:31:11,000 --> 00:31:14,640
Speaker 1: sister clearly looks up to Stsky. But again, this is

512
00:31:14,680 --> 00:31:17,680
Speaker 1: not without conflict, and the conflict that does exist between

513
00:31:17,720 --> 00:31:23,880
Speaker 1: them feels very authentic, and everything is just happening very organically,

514
00:31:24,560 --> 00:31:28,840
Speaker 1: despite they're also being like forest spirits that they are

515
00:31:29,640 --> 00:31:32,760
Speaker 1: always on the lookout for and like hoping to meet

516
00:31:32,800 --> 00:31:37,080
Speaker 1: and interact with. And I remember like the part where

517
00:31:37,760 --> 00:31:40,520
Speaker 1: they go to pay the respects at the Camphor tree

518
00:31:41,280 --> 00:31:44,880
Speaker 1: and the idea of like your younger sister getting to

519
00:31:45,040 --> 00:31:49,040
Speaker 1: see something or do something before you the older sibling,

520
00:31:49,560 --> 00:31:51,440
Speaker 1: and like when Satsky is all like, oh, but I

521
00:31:51,480 --> 00:31:54,920
Speaker 1: want to see Toto too, and I was like, oh,

522
00:31:54,960 --> 00:31:57,320
Speaker 1: I know what that feels like. Because anytime, like my

523
00:31:57,360 --> 00:32:00,000
Speaker 1: sister got to do something and I didn't, I was like, oh,

524
00:32:00,040 --> 00:32:06,720
Speaker 1: what the Yeah. But it's just like it's these little

525
00:32:06,760 --> 00:32:10,560
Speaker 1: moments that are captured in the movie and just like

526
00:32:10,600 --> 00:32:13,280
Speaker 1: watching the way the characters handle them and just like

527
00:32:13,960 --> 00:32:17,480
Speaker 1: showing these just everyday moments that are just like so

528
00:32:17,560 --> 00:32:22,840
Speaker 1: familiar and beautiful and cool, things like the corn, like

529
00:32:22,920 --> 00:32:25,880
Speaker 1: the like Mom's going to sleep in my bed and

530
00:32:25,960 --> 00:32:30,040
Speaker 1: like brush my hair and like just like thive. You know,

531
00:32:30,120 --> 00:32:33,160
Speaker 1: it's like there's an order, get in line. Okay, Mom's

532
00:32:33,160 --> 00:32:36,120
Speaker 1: brushing my hair first. And plus it's wavy like hers

533
00:32:36,200 --> 00:32:39,560
Speaker 1: used to be assholes. Sit down. Yeah, yeah, it's so

534
00:32:39,600 --> 00:32:43,280
Speaker 1: great there. Yeah, there is something just the pacing of

535
00:32:43,400 --> 00:32:46,320
Speaker 1: very Japanese too, you know, of just going to set

536
00:32:46,320 --> 00:32:49,000
Speaker 1: the table set that just like really anchor it wherever

537
00:32:49,080 --> 00:32:51,040
Speaker 1: you are. And for me, like you're saying, there are

538
00:32:50,960 --> 00:32:54,360
Speaker 1: a lot of familiar things that you saw me spending

539
00:32:54,360 --> 00:32:56,719
Speaker 1: so much time as a kid in Japan, like in

540
00:32:56,760 --> 00:32:59,200
Speaker 1: the summer too, like where a lot of this is

541
00:32:59,240 --> 00:33:01,959
Speaker 1: taking place was really fun to see. And there's so

542
00:33:02,000 --> 00:33:04,760
Speaker 1: many of these like little moments that he shows that

543
00:33:04,800 --> 00:33:08,560
Speaker 1: are like are really just even from animation or sense memories,

544
00:33:08,600 --> 00:33:11,240
Speaker 1: like when they're going up to the attic to to

545
00:33:11,320 --> 00:33:13,920
Speaker 1: go up the stairs, like the way may comes down

546
00:33:13,960 --> 00:33:17,360
Speaker 1: the stairs like slowly, or they go up them climbing

547
00:33:17,400 --> 00:33:20,840
Speaker 1: them is because staircases are so steep in Japan. They're

548
00:33:20,840 --> 00:33:24,160
Speaker 1: like fucking ladders basically that like when you're a kid,

549
00:33:24,240 --> 00:33:25,959
Speaker 1: like you don't have the fucking balance to be like

550
00:33:26,320 --> 00:33:30,520
Speaker 1: confidently walk upstairs. You're gonna like crawl step by step

551
00:33:30,560 --> 00:33:32,040
Speaker 1: to get up because you could fall down. Like I

552
00:33:32,280 --> 00:33:34,760
Speaker 1: remember falling downstairs as a kid because it was they

553
00:33:34,760 --> 00:33:37,920
Speaker 1: were too steep, and like watching you know, the kids

554
00:33:38,000 --> 00:33:40,120
Speaker 1: navigate the steps was like a thing that I'm like,

555
00:33:40,120 --> 00:33:42,640
Speaker 1: oh shit, like yes, like you know, especially as I

556
00:33:42,640 --> 00:33:44,800
Speaker 1: watch it again because it's been at least ten years

557
00:33:44,840 --> 00:33:47,280
Speaker 1: since I've seen this after like till we watched it

558
00:33:47,320 --> 00:33:50,840
Speaker 1: recently um or then like falling asleep in the summer

559
00:33:50,920 --> 00:33:54,600
Speaker 1: like on like the tatami floor just like passed out

560
00:33:54,640 --> 00:33:57,120
Speaker 1: because you're hot and your kid and you just fucking

561
00:33:57,160 --> 00:34:00,560
Speaker 1: just just knock out because it's hot. And the long

562
00:34:00,680 --> 00:34:04,720
Speaker 1: playing of like the cicadas like just sort of you know, singing.

563
00:34:05,200 --> 00:34:08,800
Speaker 1: There's are just such like very you know, specific things,

564
00:34:08,880 --> 00:34:12,279
Speaker 1: but they're done so like you know, they're very effortless

565
00:34:12,320 --> 00:34:14,360
Speaker 1: and it's just like and here we are just showing

566
00:34:14,400 --> 00:34:16,960
Speaker 1: you these slices of life, but each single one, like

567
00:34:17,080 --> 00:34:19,680
Speaker 1: every I don't know that they're they're really efficient in

568
00:34:19,760 --> 00:34:21,799
Speaker 1: what they convey every single time. It's like not a

569
00:34:21,840 --> 00:34:25,719
Speaker 1: wasted frame really in that sense, right, Yeah, and yeah,

570
00:34:25,719 --> 00:34:28,120
Speaker 1: I love that attention to detail to some like very

571
00:34:28,160 --> 00:34:34,320
Speaker 1: specific Japanese things, but that like also feel familiar to

572
00:34:34,360 --> 00:34:38,920
Speaker 1: anyone watching the food again there. We talked about this

573
00:34:39,000 --> 00:34:41,760
Speaker 1: in kikiS as well, but anytime that there's food prepared

574
00:34:41,840 --> 00:34:45,600
Speaker 1: in a Miyazucky movie there, there's just like such attention

575
00:34:45,640 --> 00:34:48,680
Speaker 1: to detail and you get hungry. Yeah, you're like, oh

576
00:34:48,760 --> 00:34:52,400
Speaker 1: that I could I could hear those vegetables being chopped properly,

577
00:34:52,480 --> 00:34:57,440
Speaker 1: like oh like when they trenched down on the cucumbers,

578
00:34:57,880 --> 00:35:01,120
Speaker 1: and like I was watching it with you know, my wife,

579
00:35:01,600 --> 00:35:08,600
Speaker 1: and when they were putting you know, my wife come

580
00:35:09,880 --> 00:35:16,120
Speaker 1: circle circle and she loves cucumbers. But for me, like

581
00:35:16,520 --> 00:35:19,279
Speaker 1: seeing there's like a very folkloric image in Japan of

582
00:35:19,360 --> 00:35:22,799
Speaker 1: like putting vegetables in a cold stream. Like that's like

583
00:35:22,840 --> 00:35:25,880
Speaker 1: a very like it's like even used in marketing They're like,

584
00:35:26,120 --> 00:35:28,239
Speaker 1: this is how fresh these vegetables are. Man, They're in

585
00:35:28,280 --> 00:35:31,040
Speaker 1: a bamboo basket in this like stream. Like that's like,

586
00:35:31,480 --> 00:35:33,279
Speaker 1: you know, like the version of like in America, like

587
00:35:33,320 --> 00:35:36,680
Speaker 1: the Heartland type stuff like in Japan, Like this cooling

588
00:35:36,760 --> 00:35:40,480
Speaker 1: stream has brought these fresh vegetables out. And she was like,

589
00:35:40,719 --> 00:35:42,920
Speaker 1: is that that's that's real? And like I mean if

590
00:35:42,960 --> 00:35:45,040
Speaker 1: you live by one, yeah for sure. It's like I

591
00:35:45,080 --> 00:35:48,200
Speaker 1: want to river cucumber and I'm like, yeah, we all do,

592
00:35:48,800 --> 00:35:52,640
Speaker 1: we all do. But it's so refreshing someday. And the

593
00:35:52,680 --> 00:35:55,160
Speaker 1: way even like the granny is like, oh, I think

594
00:35:55,200 --> 00:35:59,720
Speaker 1: they're ready, like there what like there's even a perfect

595
00:35:59,760 --> 00:36:01,600
Speaker 1: time and that you like I thought we were just

596
00:36:01,760 --> 00:36:06,680
Speaker 1: cooling them off in this dream. Okay, granny knows is awesome.

597
00:36:07,239 --> 00:36:10,680
Speaker 1: A couple other things about the relationship between the sisters

598
00:36:10,719 --> 00:36:16,000
Speaker 1: that again just like felt very grounded and relatable and authentic.

599
00:36:16,480 --> 00:36:19,080
Speaker 1: I guess just the idea of like Stsky kind of

600
00:36:19,120 --> 00:36:23,600
Speaker 1: having to take on a somewhat like mothering and caregiver

601
00:36:24,080 --> 00:36:28,000
Speaker 1: role for both her younger sister May and their dad.

602
00:36:28,880 --> 00:36:32,320
Speaker 1: And I feel like that's such a relatable thing for

603
00:36:33,000 --> 00:36:37,240
Speaker 1: a family dynamic like that where the mom is absent

604
00:36:37,560 --> 00:36:41,480
Speaker 1: for whatever reason, and it's like the the eldest siblings

605
00:36:41,520 --> 00:36:43,680
Speaker 1: responsibility to kind of take on a lot of that,

606
00:36:43,960 --> 00:36:48,360
Speaker 1: maybe like domestic short stuff and because we see Saltsky,

607
00:36:48,719 --> 00:36:53,080
Speaker 1: you know, preparing lunches for everybody and again just always

608
00:36:53,080 --> 00:36:57,760
Speaker 1: looking out for may you know, bringing dad the umbrella

609
00:36:57,880 --> 00:37:00,960
Speaker 1: he forgot kind of thing. Because we talk about like

610
00:37:01,280 --> 00:37:05,960
Speaker 1: female characters doing domestic things in movies, especially in like

611
00:37:06,120 --> 00:37:10,280
Speaker 1: American or Western movies, and the way that's often presented

612
00:37:10,320 --> 00:37:12,640
Speaker 1: as a way of like, well, of course, because women

613
00:37:12,719 --> 00:37:15,680
Speaker 1: do domestic stuff, But in a story like this, the

614
00:37:15,680 --> 00:37:17,840
Speaker 1: way it's presented, it's just like, well, of course, like

615
00:37:18,239 --> 00:37:22,120
Speaker 1: these things need to be done, and Sotsky is the

616
00:37:22,160 --> 00:37:25,640
Speaker 1: one to do them because she It's just like that's

617
00:37:25,719 --> 00:37:27,880
Speaker 1: just kind of what makes sense. Although I guess you

618
00:37:27,880 --> 00:37:30,879
Speaker 1: could make the argument that like why isn't there Dad

619
00:37:30,920 --> 00:37:33,319
Speaker 1: doing more stuff and why does he always seem to

620
00:37:33,320 --> 00:37:36,439
Speaker 1: be not knowing where his kids are? But I sort

621
00:37:36,480 --> 00:37:38,680
Speaker 1: of thought that, like I do think that some of

622
00:37:38,719 --> 00:37:41,560
Speaker 1: that it has to do with like the nineties, where

623
00:37:41,960 --> 00:37:45,000
Speaker 1: I like where it kind of like pings for people

624
00:37:45,000 --> 00:37:46,879
Speaker 1: of our generation to be like, why are these kids

625
00:37:46,920 --> 00:37:50,560
Speaker 1: just wandering around right, but sure all of our parents

626
00:37:50,560 --> 00:37:54,319
Speaker 1: were like just allowed to wander around but before the

627
00:37:54,360 --> 00:37:58,799
Speaker 1: internet and everyone was like everyone's a murderer right right

628
00:37:58,880 --> 00:38:01,359
Speaker 1: right there, like just be back a sunset, which I'm

629
00:38:01,440 --> 00:38:04,239
Speaker 1: just like wild that you all made it good for you.

630
00:38:06,120 --> 00:38:09,799
Speaker 1: It seems risky, but um, but I thought that they

631
00:38:10,080 --> 00:38:13,600
Speaker 1: threaded the needle of the dad sort of having to

632
00:38:13,680 --> 00:38:16,120
Speaker 1: operate as a single dad for a period of time,

633
00:38:16,680 --> 00:38:19,520
Speaker 1: A think, pretty pretty realistically where it's like he's definitely

634
00:38:19,560 --> 00:38:22,799
Speaker 1: not killing it, where it's like and they added in

635
00:38:22,840 --> 00:38:26,239
Speaker 1: those moments of like he forgot about lunch and like

636
00:38:26,640 --> 00:38:30,879
Speaker 1: he's trying to bat like he's it's single parents, single dad,

637
00:38:30,960 --> 00:38:34,600
Speaker 1: stuff that you don't see often on screen anyways. And

638
00:38:34,640 --> 00:38:37,640
Speaker 1: also I think that it's like especially I mean I

639
00:38:37,680 --> 00:38:40,439
Speaker 1: think you usually see it with single mothers, but like

640
00:38:40,600 --> 00:38:44,080
Speaker 1: the single parent portrayed as like a superhero too, when

641
00:38:44,120 --> 00:38:47,600
Speaker 1: it's like no, it's like fucking hard and you know

642
00:38:47,680 --> 00:38:50,280
Speaker 1: things are going to be dropped and that's not fair

643
00:38:50,360 --> 00:38:53,560
Speaker 1: to either of the children, certain and like certainly not Satzky,

644
00:38:53,640 --> 00:38:55,680
Speaker 1: who has to kind of pick up the slack. But

645
00:38:55,719 --> 00:38:58,560
Speaker 1: I did, I mean, you do see the dad trying

646
00:38:59,120 --> 00:39:03,440
Speaker 1: he's doing laundry with them. He's cooking some of the

647
00:39:03,520 --> 00:39:06,200
Speaker 1: time and then like kind of phoning it in other times.

648
00:39:06,200 --> 00:39:09,960
Speaker 1: It just felt like a thoughtful portrayal. And also it's like,

649
00:39:10,280 --> 00:39:14,040
Speaker 1: of course he wouldn't have been used to doing everything,

650
00:39:14,120 --> 00:39:18,160
Speaker 1: because we know that it's a relatively new situation that

651
00:39:18,200 --> 00:39:20,759
Speaker 1: their mother isn't well, it's like he's getting used to

652
00:39:20,840 --> 00:39:25,880
Speaker 1: in patriarchy out there, gender roles even now, like in Japan,

653
00:39:25,920 --> 00:39:28,879
Speaker 1: I mean it's it's it's not you know it, those

654
00:39:28,960 --> 00:39:31,960
Speaker 1: those roles are pretty defined, so like in that way, like, yeah,

655
00:39:32,440 --> 00:39:35,320
Speaker 1: I'm sure their dad was a little bit like oh

656
00:39:35,360 --> 00:39:41,120
Speaker 1: boy cooking, whereas like I feel like the modern version

657
00:39:41,160 --> 00:39:42,680
Speaker 1: now would be like I'm just gonna go to the

658
00:39:42,680 --> 00:39:45,480
Speaker 1: convenience store where I can get everything pre made and

659
00:39:45,719 --> 00:39:47,719
Speaker 1: like and like when you see like modern sort of

660
00:39:47,719 --> 00:39:51,520
Speaker 1: like Japanese dramas of like bumbling dad kind of thing,

661
00:39:51,560 --> 00:39:54,120
Speaker 1: it's like everything's bought at the store like that. It

662
00:39:54,160 --> 00:39:56,760
Speaker 1: just has to be microwaved, is the person now, because

663
00:39:57,800 --> 00:40:01,280
Speaker 1: men don't got no cooking skills. But their dad's also

664
00:40:01,400 --> 00:40:06,920
Speaker 1: like so sweet and wonderful with them, and there's trying

665
00:40:07,320 --> 00:40:11,200
Speaker 1: he's trying. A scene that really struck me was the

666
00:40:11,280 --> 00:40:16,160
Speaker 1: scene where where May has just befriended the Totoro's but

667
00:40:16,239 --> 00:40:18,759
Speaker 1: then like falls asleep, and when she wakes up, she's

668
00:40:18,840 --> 00:40:22,400
Speaker 1: kind of closer to the house and the totoroes are gone,

669
00:40:23,080 --> 00:40:25,480
Speaker 1: and she's like, I swear I saw them. They were

670
00:40:25,600 --> 00:40:28,399
Speaker 1: right here, and I'm not lying. This is not a lie,

671
00:40:28,840 --> 00:40:32,040
Speaker 1: and both Saski and her dad are like, we believe you,

672
00:40:32,200 --> 00:40:34,920
Speaker 1: and in fact, probably the reason they're not here anymore

673
00:40:34,960 --> 00:40:38,040
Speaker 1: is that they don't want to be seen, but let's

674
00:40:38,080 --> 00:40:40,400
Speaker 1: go pay our respects. And then they go to the

675
00:40:40,440 --> 00:40:43,879
Speaker 1: camphor tree and to the shrine and they say thank

676
00:40:43,920 --> 00:40:47,040
Speaker 1: you for looking after May. And again we are so

677
00:40:47,160 --> 00:40:53,120
Speaker 1: conditioned by American media, where if this happened in a

678
00:40:53,239 --> 00:40:55,880
Speaker 1: Western story, it would be like, no, I swear I

679
00:40:55,880 --> 00:41:00,239
Speaker 1: saw Totoro and the elder sister and the parents would

680
00:41:00,239 --> 00:41:04,800
Speaker 1: be like, yeah, right, you silly little kid, you fool.

681
00:41:05,000 --> 00:41:08,000
Speaker 1: Those things aren't real and we don't believe you, and

682
00:41:08,000 --> 00:41:12,880
Speaker 1: it would take so long into the story, right, and

683
00:41:12,880 --> 00:41:15,680
Speaker 1: then she cos out. She's like, Totals my boyfriend, now,

684
00:41:17,520 --> 00:41:21,200
Speaker 1: Total just got out of jail for stealing catalytic converters,

685
00:41:21,280 --> 00:41:23,080
Speaker 1: and he got a tear drop tattoo because he had

686
00:41:23,080 --> 00:41:27,480
Speaker 1: to shank a snitch Like what yeah, and I'm hooked

687
00:41:27,520 --> 00:41:34,520
Speaker 1: on jewel pods Dad, whatnot? So it's like euphoria at

688
00:41:34,560 --> 00:41:38,840
Speaker 1: euphoria high. Uh. I mean, and that goes back to

689
00:41:38,880 --> 00:41:41,120
Speaker 1: the very beginning when both of the kids are like

690
00:41:41,280 --> 00:41:43,359
Speaker 1: we live in a haunted house and Dad is like

691
00:41:43,560 --> 00:41:48,920
Speaker 1: awesome dream right. Yeah, it's like this parental like jiu

692
00:41:49,040 --> 00:41:52,239
Speaker 1: jitsu where it's like the children's energy like I or

693
00:41:52,360 --> 00:41:55,120
Speaker 1: like aikido, like I'm gonna just redirect it right back

694
00:41:55,160 --> 00:41:57,840
Speaker 1: at you in a positive way because I think again,

695
00:41:58,400 --> 00:42:01,239
Speaker 1: it's almost like as a Western and writer, there's no

696
00:42:01,320 --> 00:42:03,840
Speaker 1: way you'd write a scene where a little kid sees

697
00:42:03,880 --> 00:42:07,880
Speaker 1: a mythical creature, tries to tell the adults and then

698
00:42:07,960 --> 00:42:12,040
Speaker 1: they're like, oh wow, cool, right, that's great. It's normally

699
00:42:12,080 --> 00:42:16,000
Speaker 1: like that's like this like habitual storytelling thing we're used to.

700
00:42:16,080 --> 00:42:18,160
Speaker 1: It's like, well, this is what happens when you tell

701
00:42:18,200 --> 00:42:21,440
Speaker 1: the adults about the mythical thing. They don't fucking believe you,

702
00:42:21,520 --> 00:42:23,080
Speaker 1: and in fact, they're going to tell you they're gonna

703
00:42:23,160 --> 00:42:26,080
Speaker 1: ridicule you, yeah and gaslight you and be like that's

704
00:42:26,120 --> 00:42:28,799
Speaker 1: not what you saw or you know whatever, Yeah, which

705
00:42:28,880 --> 00:42:31,319
Speaker 1: is so interesting to see like over and over there

706
00:42:31,360 --> 00:42:33,920
Speaker 1: these moments. I'm sure if you're watching, like only watching

707
00:42:33,920 --> 00:42:37,000
Speaker 1: like Western cartoons or storytelling, like you see this like

708
00:42:37,360 --> 00:42:41,440
Speaker 1: what the fund was supporting as dad and teacher and classmates.

709
00:42:41,840 --> 00:42:46,680
Speaker 1: It's so refreshing. It's it's really nice, so nice. And

710
00:42:46,680 --> 00:42:49,239
Speaker 1: then I wanted to jump back to part of what

711
00:42:49,600 --> 00:42:53,520
Speaker 1: especially worked for me about like the even though Sotsky

712
00:42:53,600 --> 00:42:57,240
Speaker 1: has to take on some kind of like caregiver slash

713
00:42:57,560 --> 00:43:01,160
Speaker 1: domestic chores, you know, picking up that black that worked

714
00:43:01,160 --> 00:43:05,160
Speaker 1: for me, especially because she's still allowed to be a

715
00:43:05,320 --> 00:43:08,719
Speaker 1: kid and so many of the scenes and like the

716
00:43:08,800 --> 00:43:12,160
Speaker 1: story doesn't make her into this like that you know,

717
00:43:12,320 --> 00:43:16,920
Speaker 1: precocious child thing where she's wise beyond her years and

718
00:43:17,000 --> 00:43:21,600
Speaker 1: she's abandoned any semblance of being a kid because she's

719
00:43:21,600 --> 00:43:26,440
Speaker 1: still like wants to see the spirits and she gets

720
00:43:26,480 --> 00:43:28,560
Speaker 1: to see them, and she's young enough that she's able

721
00:43:28,600 --> 00:43:32,520
Speaker 1: to because it's implied that like adults can't see the

722
00:43:32,560 --> 00:43:34,759
Speaker 1: totoros or the cat bus or anything like that, they

723
00:43:34,840 --> 00:43:37,759
Speaker 1: just like perceive it as a gust of wind when

724
00:43:37,800 --> 00:43:40,560
Speaker 1: the cat bus is running by. But she's young enough

725
00:43:40,600 --> 00:43:42,279
Speaker 1: to be able to see and you're like, oh, is

726
00:43:42,320 --> 00:43:46,440
Speaker 1: that what Polar Express stole it from? Is it Polar

727
00:43:46,480 --> 00:43:50,480
Speaker 1: Express stealing cat bus starting a beef? But yeah, she's

728
00:43:50,520 --> 00:43:54,279
Speaker 1: like she she has this you know, like childlike curiosity

729
00:43:54,400 --> 00:43:59,759
Speaker 1: and imagination and all these you know, childlike qualities that

730
00:43:59,800 --> 00:44:02,600
Speaker 1: are appropriate for her age. And even like her parents

731
00:44:02,640 --> 00:44:06,600
Speaker 1: comment on, like, yeah, she does act super grown up,

732
00:44:06,680 --> 00:44:10,920
Speaker 1: but like, you know, she's still just a kid. And um,

733
00:44:11,080 --> 00:44:14,279
Speaker 1: we see that scene where they learn about her their

734
00:44:14,360 --> 00:44:17,759
Speaker 1: mom not being able to leave the hospital, and they're

735
00:44:17,800 --> 00:44:20,520
Speaker 1: both really upset by it, but like May responds in

736
00:44:20,600 --> 00:44:23,840
Speaker 1: a way that's that tracks for a much younger like

737
00:44:23,880 --> 00:44:27,239
Speaker 1: a four year old, where she like cries and you

738
00:44:27,239 --> 00:44:29,680
Speaker 1: know doesn't really know how to comprehend this because she

739
00:44:30,080 --> 00:44:32,120
Speaker 1: had this idea, Oh, Mom's coming home and I'm going

740
00:44:32,160 --> 00:44:35,680
Speaker 1: to get to see her, where Satsky has a clearer

741
00:44:35,800 --> 00:44:38,719
Speaker 1: understanding of what must be going on, but she's still

742
00:44:38,760 --> 00:44:42,239
Speaker 1: upset by it, and she ends up kind of like catastrophizing.

743
00:44:42,640 --> 00:44:45,719
Speaker 1: She's like, well, what if Mom's already dead and and

744
00:44:45,880 --> 00:44:48,200
Speaker 1: I'm gonna yell at my younger sister and call her

745
00:44:48,360 --> 00:44:50,080
Speaker 1: baby and tell her to grow up. And it's just

746
00:44:50,120 --> 00:44:53,719
Speaker 1: like again a very like appropriate reaction for whatever, like

747
00:44:53,760 --> 00:44:56,640
Speaker 1: a nine or ten year old however however old Satsky

748
00:44:56,680 --> 00:44:58,360
Speaker 1: is supposed to be. But like, I don't know, I

749
00:44:58,400 --> 00:45:00,400
Speaker 1: just love that, like she was able to like still

750
00:45:00,440 --> 00:45:03,960
Speaker 1: be a kid and like her her choices and actions

751
00:45:04,000 --> 00:45:08,120
Speaker 1: and behaviors still attract for the kid that she is.

752
00:45:08,320 --> 00:45:10,759
Speaker 1: So yeah, I just loved it. Yeah. I mean it's

753
00:45:10,800 --> 00:45:15,520
Speaker 1: like in watching her finally reached that breaking point. And

754
00:45:15,600 --> 00:45:18,240
Speaker 1: like the Another aspect of this movie that I really

755
00:45:19,160 --> 00:45:24,000
Speaker 1: love is the like community aspect where it seems like

756
00:45:24,320 --> 00:45:26,719
Speaker 1: class wise, I was like, oh, this is interesting. I

757
00:45:26,760 --> 00:45:30,080
Speaker 1: should have done more research on the exact moment that

758
00:45:30,160 --> 00:45:33,319
Speaker 1: this is depicting. UM, But you know, they're kind of

759
00:45:33,360 --> 00:45:36,360
Speaker 1: like a I guess like middle class to some extent family.

760
00:45:36,480 --> 00:45:43,160
Speaker 1: They've moving into a countryside sort of lower income area.

761
00:45:44,000 --> 00:45:46,200
Speaker 1: The only way that attention is really called to it

762
00:45:46,239 --> 00:45:50,520
Speaker 1: is that on um, like harvest days, some of the

763
00:45:50,600 --> 00:45:52,960
Speaker 1: kids who go to the school have to work, so

764
00:45:53,000 --> 00:45:57,720
Speaker 1: there's no school and Um Satsky doesn't do that. She's

765
00:45:57,920 --> 00:46:01,320
Speaker 1: she's like new here and doesn't participate in that area

766
00:46:01,360 --> 00:46:04,520
Speaker 1: of it. But that's how they end up meeting Granny,

767
00:46:04,719 --> 00:46:09,880
Speaker 1: who immediately just like becomes this extension of their family

768
00:46:10,440 --> 00:46:13,120
Speaker 1: in a way that's like and I really loved that

769
00:46:13,520 --> 00:46:17,520
Speaker 1: when Satsky does reach her breaking point, that like it's

770
00:46:17,600 --> 00:46:21,360
Speaker 1: Granny who's there for her and like hugs her and

771
00:46:21,440 --> 00:46:25,920
Speaker 1: it's like, don't worry, I'll stay and it just what

772
00:46:26,320 --> 00:46:28,799
Speaker 1: an angel. I loved Granny and I just love in

773
00:46:28,840 --> 00:46:34,080
Speaker 1: general how their community is there to support the girls

774
00:46:34,160 --> 00:46:37,839
Speaker 1: kind of like no questions asked, um. Where again it's

775
00:46:37,840 --> 00:46:39,640
Speaker 1: like in in Western media, I feel like you would

776
00:46:39,640 --> 00:46:43,600
Speaker 1: get more slammed doors, um, and that just doesn't happen. Oh,

777
00:46:43,640 --> 00:46:50,839
Speaker 1: your sister's missing chasing a totoro. Yeah, alright, shut, that's

778
00:46:50,880 --> 00:46:55,040
Speaker 1: what it is, Hi, I need help, fuck you kind

779
00:46:55,080 --> 00:47:00,799
Speaker 1: of the dynamic we're conditioned to I need help fuck you. Yeah.

780
00:47:00,880 --> 00:47:02,879
Speaker 1: Now it's like I need help. Let me strip down

781
00:47:02,920 --> 00:47:07,080
Speaker 1: to my very traditional Japanese underwear and get the bamboo

782
00:47:07,120 --> 00:47:10,839
Speaker 1: pulls out because we found the sandal by the pond. Yeah,

783
00:47:10,920 --> 00:47:12,839
Speaker 1: it's so And I guess that's what's so interesting too,

784
00:47:12,920 --> 00:47:16,000
Speaker 1: is like I grew up. It's it's interesting to have

785
00:47:16,120 --> 00:47:18,319
Speaker 1: these dualities, like even in my mind, I grew up

786
00:47:18,400 --> 00:47:21,840
Speaker 1: very much thinking like a like graized Japanese, where like

787
00:47:21,960 --> 00:47:24,560
Speaker 1: neighbors look after you. You You you help each other. Like

788
00:47:24,600 --> 00:47:28,279
Speaker 1: it's very community oriented. It's always about putting the the

789
00:47:28,440 --> 00:47:33,239
Speaker 1: group before yourself first. Obviously too detrimental levels at times societally,

790
00:47:33,680 --> 00:47:37,279
Speaker 1: but like on the other side, which Americans so much

791
00:47:37,320 --> 00:47:39,080
Speaker 1: like you know, got to take care of yourself. You know,

792
00:47:39,239 --> 00:47:40,960
Speaker 1: you gotta figure it out, you know, we figure stuff

793
00:47:40,960 --> 00:47:44,279
Speaker 1: out here, yourself up by your bootstraps and yeah, and

794
00:47:44,280 --> 00:47:46,160
Speaker 1: like not to say that there's no sense of community,

795
00:47:46,239 --> 00:47:48,800
Speaker 1: but the way our stories are told, it's usually about

796
00:47:48,800 --> 00:47:53,879
Speaker 1: an individual triumphing despite everything. That's not always like look

797
00:47:53,880 --> 00:47:56,080
Speaker 1: at these people come together and think this is how

798
00:47:56,120 --> 00:47:59,000
Speaker 1: life is for us, Like it's always like no, man,

799
00:47:59,040 --> 00:48:02,960
Speaker 1: despite all the fuck use, they figured it out. And

800
00:48:02,960 --> 00:48:05,320
Speaker 1: that just shows you how strong you gotta because everyone's

801
00:48:05,320 --> 00:48:08,799
Speaker 1: gonna say fuck you, like on your way there. And

802
00:48:08,840 --> 00:48:12,879
Speaker 1: in the US sometimes that's very true. Right, And then

803
00:48:12,880 --> 00:48:16,680
Speaker 1: in this story it's about like a community rallying together

804
00:48:17,040 --> 00:48:20,520
Speaker 1: and like everyone's looking for May and the third act

805
00:48:20,520 --> 00:48:24,200
Speaker 1: of this movie and then you have Totoro is an

806
00:48:24,239 --> 00:48:29,080
Speaker 1: extension of that community to the spiritual community like also

807
00:48:29,560 --> 00:48:32,799
Speaker 1: shows up for them and this like no questions asked

808
00:48:32,840 --> 00:48:35,400
Speaker 1: kind of way fucking mutual aid group. You know what

809
00:48:35,520 --> 00:48:37,440
Speaker 1: I mean. It's like, let me hit up the neco

810
00:48:37,600 --> 00:48:42,200
Speaker 1: bus fucking faction real quick. They're really good at finding

811
00:48:42,239 --> 00:48:47,239
Speaker 1: lost people. Great group of activists. They'll be here and

812
00:48:47,560 --> 00:48:51,680
Speaker 1: don't worry about it. We protect us, okay, Stsky, we

813
00:48:51,880 --> 00:48:54,640
Speaker 1: protect us. That's how this works. And tot was part

814
00:48:54,640 --> 00:48:58,160
Speaker 1: of the community because everyone respects there's no fear the

815
00:48:58,200 --> 00:49:01,320
Speaker 1: spirits and the Totoro was in the capital, like everyone's

816
00:49:01,320 --> 00:49:04,280
Speaker 1: just like, yeah, it's awesome that this house is haunted,

817
00:49:04,360 --> 00:49:06,239
Speaker 1: and yes we have to go pay our respects to

818
00:49:07,080 --> 00:49:09,200
Speaker 1: the spirits who look out for us. And there's even

819
00:49:09,239 --> 00:49:11,839
Speaker 1: like a line to that's like, again, if you were

820
00:49:11,880 --> 00:49:13,959
Speaker 1: this was like a Pixar film, right, if the little

821
00:49:14,080 --> 00:49:15,920
Speaker 1: like there would have been a boy or a child

822
00:49:15,960 --> 00:49:18,960
Speaker 1: who cried wolf moment, if someone got lost in the

823
00:49:18,960 --> 00:49:22,520
Speaker 1: community got together and even bother to look they're like,

824
00:49:22,640 --> 00:49:25,879
Speaker 1: it's not even her sandal, What the hell I could

825
00:49:25,880 --> 00:49:27,320
Speaker 1: have blah blah blah, And there would have been a

826
00:49:27,360 --> 00:49:32,759
Speaker 1: lot of grum Yeah exactly like the next time you

827
00:49:32,800 --> 00:49:34,799
Speaker 1: needed help. That would have been a barrier to that

828
00:49:34,920 --> 00:49:37,600
Speaker 1: character to have been like, well, I can't ask because

829
00:49:37,640 --> 00:49:39,840
Speaker 1: the last time because there is in the Japanese version.

830
00:49:40,120 --> 00:49:42,919
Speaker 1: There might be in the subtitled or dubbed version where

831
00:49:43,160 --> 00:49:46,560
Speaker 1: they're saying like, it's okay, you know, that's just what

832
00:49:46,600 --> 00:49:49,239
Speaker 1: we gotta do, like it could have been anybody, and

833
00:49:49,280 --> 00:49:52,160
Speaker 1: like that was like the sentiment that the groups like, yeah,

834
00:49:52,160 --> 00:49:54,440
Speaker 1: there was some frustration, but at the end of it,

835
00:49:54,440 --> 00:49:56,440
Speaker 1: they're like, no, it's all right, like whatever, like this

836
00:49:56,520 --> 00:49:58,279
Speaker 1: is what we get, is what it is. There is

837
00:49:58,320 --> 00:50:00,400
Speaker 1: that part where someone's like when it and out to

838
00:50:00,400 --> 00:50:03,800
Speaker 1: not be maze sandal in the pond, Someone's like, it's okay,

839
00:50:03,880 --> 00:50:07,799
Speaker 1: Granny just caught carried away again. It's like that made

840
00:50:07,840 --> 00:50:11,200
Speaker 1: me sad. They're like that, They're like treating this older woman,

841
00:50:11,840 --> 00:50:15,879
Speaker 1: this hysterical old woman, like that she's still missing, like

842
00:50:15,920 --> 00:50:19,560
Speaker 1: what do you where what? They're like, oh my god,

843
00:50:19,880 --> 00:50:22,440
Speaker 1: Like she was right to be concerned. All right, did

844
00:50:22,440 --> 00:50:25,719
Speaker 1: you call cat bus? Okay? Then why are we You

845
00:50:25,719 --> 00:50:28,560
Speaker 1: didn't call cat bus? That's the first call you make,

846
00:50:29,040 --> 00:50:31,399
Speaker 1: your first call, you make a missing kid, You called

847
00:50:31,440 --> 00:50:37,400
Speaker 1: cat bus fucking time. Oh my god. Alright, I love Granny.

848
00:50:37,520 --> 00:50:41,960
Speaker 1: Granny fucking rules and I feel like Granny and Totto

849
00:50:42,040 --> 00:50:45,719
Speaker 1: are like the two strongest allies of the girls in

850
00:50:45,760 --> 00:50:49,200
Speaker 1: their neighborhood, but everyone's their ally and then like it.

851
00:50:49,200 --> 00:50:53,320
Speaker 1: It is like such Anta Conta. I love that. Okay,

852
00:50:53,400 --> 00:50:57,600
Speaker 1: let's let's let's switch to Conta world, because I thought

853
00:50:57,640 --> 00:51:00,640
Speaker 1: that that was yet another thing that in a you know,

854
00:51:01,200 --> 00:51:05,359
Speaker 1: he has a crush on Stsky. It's really sweet, but

855
00:51:05,440 --> 00:51:08,640
Speaker 1: it doesn't like it just kind of is like there

856
00:51:08,800 --> 00:51:11,480
Speaker 1: doesn't need to be in a way that felt like

857
00:51:11,560 --> 00:51:14,600
Speaker 1: really age appropriate for those characters that would be whatever,

858
00:51:14,680 --> 00:51:18,000
Speaker 1: like fifth or sixth grade aged where it's like, I

859
00:51:18,040 --> 00:51:21,440
Speaker 1: have a crush, I'm just gonna act weird and be

860
00:51:21,560 --> 00:51:25,680
Speaker 1: helpful and like, and Satsky also clearly doesn't know what

861
00:51:25,760 --> 00:51:27,560
Speaker 1: to do with it, and it's just like, Okay, it's

862
00:51:27,600 --> 00:51:30,279
Speaker 1: going to be a very sweet friendship. Like I just

863
00:51:30,600 --> 00:51:33,400
Speaker 1: I loved it. Yeah, I like to that. Like the

864
00:51:33,480 --> 00:51:36,280
Speaker 1: male character in this Is in the beginning just reduced

865
00:51:36,320 --> 00:51:40,520
Speaker 1: to grunting and groaning, like this motherucker didn't even have lines.

866
00:51:40,880 --> 00:51:47,960
Speaker 1: He's like for Granny from mom, Like, okay, bro, it's

867
00:51:48,040 --> 00:51:52,320
Speaker 1: just like the silent baker husband in kikiS Delivery Service.

868
00:51:52,400 --> 00:51:54,640
Speaker 1: We're at the end, You're like, oh he can talk, wow,

869
00:51:54,920 --> 00:51:58,960
Speaker 1: okay ye, like and great, I love that because he

870
00:51:59,000 --> 00:52:01,040
Speaker 1: doesn't need to do much more than that, Like we

871
00:52:01,120 --> 00:52:04,600
Speaker 1: get it just from his very efficient groaning and you know,

872
00:52:04,760 --> 00:52:13,080
Speaker 1: one word, simple sentences. Yeah, and she's like, thank you,

873
00:52:13,760 --> 00:52:18,279
Speaker 1: thank you, You're so good. That reminds me so much

874
00:52:18,320 --> 00:52:21,480
Speaker 1: of like, yeah, my like best friend growing up, where

875
00:52:21,480 --> 00:52:23,759
Speaker 1: we were just like had crushes at each other, but

876
00:52:23,800 --> 00:52:26,680
Speaker 1: we were also just like never mind, and then we

877
00:52:26,680 --> 00:52:31,720
Speaker 1: would just be like, oh, it's your litter, like shake

878
00:52:31,800 --> 00:52:38,799
Speaker 1: hands or whatever. Yep, let's take another quick break and

879
00:52:38,800 --> 00:52:50,160
Speaker 1: then we'll come back for more discussion and we are back. Um,

880
00:52:50,160 --> 00:52:53,439
Speaker 1: shall we talk about another way that this movie kind

881
00:52:53,440 --> 00:52:58,120
Speaker 1: of inverts Western tropes that that I am conditioned to expect,

882
00:52:58,280 --> 00:53:02,160
Speaker 1: which is how the mom has treated in this movie.

883
00:53:02,920 --> 00:53:08,000
Speaker 1: I thought, again, just like a very thoughtful and interesting

884
00:53:08,040 --> 00:53:12,480
Speaker 1: way of having because we most movies that you know,

885
00:53:12,520 --> 00:53:15,879
Speaker 1: if you grew up watching Disney Renaissance movies, you're used

886
00:53:15,920 --> 00:53:19,040
Speaker 1: to a mother's absence, but in a way that is

887
00:53:19,120 --> 00:53:22,200
Speaker 1: barely acknowledged, and it's almost like she was just like whoop,

888
00:53:22,440 --> 00:53:26,600
Speaker 1: Like her absence is I don't know, like that's like

889
00:53:26,640 --> 00:53:30,439
Speaker 1: the trophiest thing in the world. We've we've talked about

890
00:53:30,440 --> 00:53:33,520
Speaker 1: it to death on this show. In this movie, you

891
00:53:33,600 --> 00:53:38,319
Speaker 1: do have a mother who is mostly absent. They don't

892
00:53:38,360 --> 00:53:42,120
Speaker 1: they do not kill her off, um, but she is sick.

893
00:53:42,400 --> 00:53:44,960
Speaker 1: And but what you're bracing for I think as a

894
00:53:45,000 --> 00:53:48,760
Speaker 1: Western story watchers like when's a mom gonna die? Because

895
00:53:48,800 --> 00:53:52,040
Speaker 1: you know, that's how the characters become interesting or I

896
00:53:52,080 --> 00:53:54,960
Speaker 1: was always like, I think ever since Bambi, I'm like,

897
00:53:55,160 --> 00:53:58,600
Speaker 1: the mom's gonna die, Mom's gonna die. Being a mother

898
00:53:58,800 --> 00:54:02,680
Speaker 1: is a huge liabilita in children's media. It's just like

899
00:54:03,320 --> 00:54:07,759
Speaker 1: you can't you're you're fucked. But but in this I

900
00:54:07,760 --> 00:54:11,440
Speaker 1: I love how it's handled where I think that like

901
00:54:11,480 --> 00:54:15,640
Speaker 1: story wise, what their mom's absence brings out is the

902
00:54:15,680 --> 00:54:18,880
Speaker 1: fact that their dad isn't quite ready to be a

903
00:54:18,880 --> 00:54:21,520
Speaker 1: single parent, doesn't really know what he's doing, but it's

904
00:54:21,560 --> 00:54:25,080
Speaker 1: like trying his best in a way that like subverts

905
00:54:25,280 --> 00:54:28,080
Speaker 1: I think usually in the Western trump you see the

906
00:54:28,280 --> 00:54:30,560
Speaker 1: dad doubled down on having to be a single parent

907
00:54:30,640 --> 00:54:34,120
Speaker 1: by being really mean and really aggressive and very like

908
00:54:34,440 --> 00:54:37,920
Speaker 1: I'm gonna destroy your grotto full of forks or whatever

909
00:54:37,960 --> 00:54:44,120
Speaker 1: the fuck. Um. And this not only is the mom alive,

910
00:54:44,480 --> 00:54:47,640
Speaker 1: but her relationship to her children is like I thought,

911
00:54:47,719 --> 00:54:51,360
Speaker 1: really well developed and like I really loved her, and

912
00:54:51,400 --> 00:54:53,439
Speaker 1: then at the end they're like she's gonna get better,

913
00:54:53,560 --> 00:54:58,760
Speaker 1: and you're like, oh, she gets to live lives. Yeah,

914
00:54:58,920 --> 00:55:02,520
Speaker 1: it's weird that that fields like such. Ah, not even

915
00:55:02,560 --> 00:55:06,440
Speaker 1: necessarily like a deliberate subversion of because like you know,

916
00:55:06,600 --> 00:55:12,000
Speaker 1: like Miyazaki is Japanese, He's telling stories from his Eastern perspective.

917
00:55:12,520 --> 00:55:15,279
Speaker 1: I don't think he's like looking at American media and

918
00:55:15,480 --> 00:55:18,480
Speaker 1: like I have to consciously subvert this. He's just like

919
00:55:19,280 --> 00:55:22,319
Speaker 1: telling stories from his culture and point of view. It's

920
00:55:22,320 --> 00:55:26,400
Speaker 1: just better storytelling, right, Yeah, but it just like feels

921
00:55:26,400 --> 00:55:29,440
Speaker 1: from a Western point of view, like, Wow, you can

922
00:55:29,480 --> 00:55:33,840
Speaker 1: have stories without all this contrived conflict and it still

923
00:55:33,880 --> 00:55:37,880
Speaker 1: works as a compelling narrative. And that's what watching all

924
00:55:37,920 --> 00:55:42,359
Speaker 1: these Miyazaki movies, that's like been my experience covering them

925
00:55:42,400 --> 00:55:46,040
Speaker 1: and watching them. It's just like, oh, you can have

926
00:55:46,280 --> 00:55:50,400
Speaker 1: a compelling slice of life story about girls and their

927
00:55:50,440 --> 00:55:55,560
Speaker 1: relatable struggles and their adventures that also often incorporates elements

928
00:55:55,560 --> 00:55:59,520
Speaker 1: of fantasy, much of which is rooted in East Asian

929
00:55:59,600 --> 00:56:02,560
Speaker 1: and Jack needs mythology, Like there's a lot of Shinto

930
00:56:02,680 --> 00:56:06,520
Speaker 1: symbology in my neighbor Totoro, which I don't know an

931
00:56:06,520 --> 00:56:10,080
Speaker 1: awful lot about, but based on some research I was doing,

932
00:56:10,560 --> 00:56:14,279
Speaker 1: you know, that's a big part of Totoro, and you

933
00:56:14,320 --> 00:56:17,440
Speaker 1: know the narrative that plays out. Uh. But yeah, like

934
00:56:17,480 --> 00:56:21,160
Speaker 1: we've talked about on other Miyazaki movie episodes we've done recently,

935
00:56:21,680 --> 00:56:26,080
Speaker 1: it's just so refreshing to watch these stories that are

936
00:56:26,080 --> 00:56:32,600
Speaker 1: both culturally specific and universally relatable because they are about

937
00:56:33,160 --> 00:56:38,160
Speaker 1: girls experiencing life and they're learning and growing and making

938
00:56:38,200 --> 00:56:43,080
Speaker 1: mistakes and discovering their strengths and navigating the world around

939
00:56:43,120 --> 00:56:48,400
Speaker 1: them and forming bonds and making friends and having sisters

940
00:56:48,400 --> 00:56:53,239
Speaker 1: and having families and all the stuff that everybody experiences.

941
00:56:54,360 --> 00:56:56,560
Speaker 1: And I like that you get a little moment of

942
00:56:56,640 --> 00:56:59,440
Speaker 1: the parents talking to each other too, just felt like

943
00:56:59,480 --> 00:57:04,480
Speaker 1: a rare, nice look into their relationship, and um, their

944
00:57:04,560 --> 00:57:07,440
Speaker 1: daughters are watching their parents like love each other and

945
00:57:07,760 --> 00:57:11,760
Speaker 1: watching their I mean, I just feel like for children

946
00:57:11,760 --> 00:57:18,040
Speaker 1: of divorce, you're like, well, great for the sure, yeah, yeah,

947
00:57:18,080 --> 00:57:20,680
Speaker 1: that totally happens all the time at my house too.

948
00:57:21,800 --> 00:57:24,880
Speaker 1: But it was just so sweet to like have that

949
00:57:25,200 --> 00:57:28,480
Speaker 1: moment of their kids see that mom is doing better

950
00:57:28,560 --> 00:57:30,280
Speaker 1: and that they're getting along and it's just like it's

951
00:57:30,320 --> 00:57:35,240
Speaker 1: such a gentle conclusion to the movie. I really loved it. Yeah,

952
00:57:35,360 --> 00:57:38,360
Speaker 1: And I think it's like, you know, the for when

953
00:57:38,640 --> 00:57:41,760
Speaker 1: like Miyazaki grew up like he's he was born like

954
00:57:41,800 --> 00:57:45,680
Speaker 1: in so like you know, in a way, this kind

955
00:57:45,680 --> 00:57:48,480
Speaker 1: of reflects his own childhood, I'm sure, because they talk

956
00:57:48,520 --> 00:57:50,720
Speaker 1: about how his own mom like really informed a lot

957
00:57:50,720 --> 00:57:53,160
Speaker 1: of the characters because his mom had like long term

958
00:57:53,200 --> 00:57:57,040
Speaker 1: illness and was in the hospital and then came home.

959
00:57:57,720 --> 00:58:00,320
Speaker 1: So like I think there there's like some biographic goal

960
00:58:00,720 --> 00:58:04,320
Speaker 1: sort of energy to that portrayal. But yeah, there there's

961
00:58:04,440 --> 00:58:06,800
Speaker 1: I think and that I think just in like growing up.

962
00:58:06,880 --> 00:58:09,880
Speaker 1: You know, my mom was born in seven. Like growing

963
00:58:09,960 --> 00:58:12,280
Speaker 1: up like right after World War two in Japan was

964
00:58:12,320 --> 00:58:14,280
Speaker 1: like you know, it's like it was on an upward

965
00:58:14,320 --> 00:58:17,560
Speaker 1: trajectory because you're basically rebuilding the country after the war.

966
00:58:18,480 --> 00:58:21,440
Speaker 1: But I think on some level you wanted like nice

967
00:58:21,560 --> 00:58:27,640
Speaker 1: stories or there's something about you know, this yearning media, Yeah,

968
00:58:27,760 --> 00:58:30,240
Speaker 1: like for a pleasant ending two things, especially through a

969
00:58:30,320 --> 00:58:32,720
Speaker 1: child's lens when you're probably looking a lot of adults

970
00:58:32,760 --> 00:58:34,440
Speaker 1: who have a ton of you know, been through a

971
00:58:34,480 --> 00:58:37,520
Speaker 1: ton of ship just from everything that's happened like in

972
00:58:37,560 --> 00:58:40,640
Speaker 1: the country. But yeah, like I think all of those

973
00:58:41,040 --> 00:58:44,200
Speaker 1: they're so realistic, even though like for me, like you know,

974
00:58:44,280 --> 00:58:47,320
Speaker 1: my parents marriage wasn't the most pleasant thing, but like

975
00:58:47,760 --> 00:58:49,680
Speaker 1: you kind of see those moments you're like, yeah, no,

976
00:58:49,840 --> 00:58:52,840
Speaker 1: that's that does feel real, even though I may not

977
00:58:52,920 --> 00:58:56,280
Speaker 1: have seen it, but that feels like real and is nice.

978
00:58:56,360 --> 00:58:59,200
Speaker 1: Other people have experienced that, I'm sure, Yeah, I mean

979
00:58:59,200 --> 00:59:03,640
Speaker 1: many other people. I'm like that, Wow, fantastic giving me

980
00:59:03,680 --> 00:59:07,400
Speaker 1: the imagination for something, well do you give them? Um?

981
00:59:07,520 --> 00:59:13,840
Speaker 1: Does anyone have any other thoughts about the movie? Uh? No,

982
00:59:14,040 --> 00:59:16,040
Speaker 1: I just I just think that this is like a

983
00:59:16,120 --> 00:59:20,040
Speaker 1: really beautiful, thoughtful, sweet movie that I don't know, like

984
00:59:20,160 --> 00:59:23,440
Speaker 1: just everything that is great about this movie is I

985
00:59:23,440 --> 00:59:24,960
Speaker 1: feel like it has everything to do with it being

986
00:59:25,000 --> 00:59:30,440
Speaker 1: so effortless and like just letting What I've loved about

987
00:59:30,520 --> 00:59:34,640
Speaker 1: this chunk of Miyazaki movies that we've covered is that

988
00:59:34,680 --> 00:59:39,200
Speaker 1: they're all sort of centered around letting kids be curious

989
00:59:39,360 --> 00:59:43,800
Speaker 1: and like taking their curiosity about the world around them seriously,

990
00:59:43,920 --> 00:59:45,960
Speaker 1: even though it's like sometimes you know, if you watch

991
00:59:46,000 --> 00:59:47,520
Speaker 1: it back as an adult, you're like, oh, I can

992
00:59:47,560 --> 00:59:49,920
Speaker 1: see how you know, Like this is like could be

993
00:59:49,960 --> 00:59:53,320
Speaker 1: a metaphorical projection of A B and C. But you

994
00:59:53,400 --> 00:59:55,800
Speaker 1: all also can watch it as a child or an

995
00:59:55,840 --> 00:59:57,800
Speaker 1: adult and be like, this is all real, Like it

996
00:59:57,880 --> 01:00:01,240
Speaker 1: just is so cool. I love that he just like

997
01:00:01,920 --> 01:00:04,240
Speaker 1: and and that he I guess that um, I was

998
01:00:04,240 --> 01:00:07,200
Speaker 1: reading a little bit about his writing process and that

999
01:00:07,640 --> 01:00:10,960
Speaker 1: may was like pulled from his own nieces sort of

1000
01:00:11,000 --> 01:00:14,360
Speaker 1: attitude about the world, and just like that. I just

1001
01:00:14,440 --> 01:00:16,800
Speaker 1: think it's it's great and it's even better to see

1002
01:00:17,160 --> 01:00:24,040
Speaker 1: young girls curiosity centered in a movie, because that doesn't

1003
01:00:24,080 --> 01:00:28,280
Speaker 1: happen a lot without it coming with like a really

1004
01:00:28,360 --> 01:00:32,280
Speaker 1: tact on love story, or like their curiosity starts as curiosity,

1005
01:00:32,360 --> 01:00:36,560
Speaker 1: but then it somehow ends in the suddenly suddenly she's

1006
01:00:36,600 --> 01:00:39,160
Speaker 1: living with a beast in a castle, even though she

1007
01:00:39,320 --> 01:00:45,200
Speaker 1: wanted to explore. Boy needs save Boy needs save, right, right,

1008
01:00:45,600 --> 01:00:47,840
Speaker 1: And that's like the only place that a woman's curiosity

1009
01:00:47,880 --> 01:00:50,800
Speaker 1: can leave at lead as fixing him, or it leads

1010
01:00:50,800 --> 01:00:52,920
Speaker 1: you to a place that now requires boy need to

1011
01:00:52,960 --> 01:00:56,600
Speaker 1: save you like what you did getting all curious and

1012
01:00:56,640 --> 01:01:00,439
Speaker 1: ship right right? Yeah, I feel this like aame way,

1013
01:01:00,480 --> 01:01:03,720
Speaker 1: you know, it's as a child, it captured me because

1014
01:01:03,720 --> 01:01:07,280
Speaker 1: it presented no obstacles to me narratively, like in terms

1015
01:01:07,320 --> 01:01:09,320
Speaker 1: of being like man and you who knows, man, one

1016
01:01:09,400 --> 01:01:12,400
Speaker 1: day you might fucking find a total just this thing

1017
01:01:12,440 --> 01:01:15,160
Speaker 1: didn't reflect back to me that it's dangerous or not

1018
01:01:15,200 --> 01:01:18,080
Speaker 1: going to happen, or adults are going to treat me

1019
01:01:18,120 --> 01:01:21,240
Speaker 1: with contempt for wanting something to happen that might not

1020
01:01:21,280 --> 01:01:24,040
Speaker 1: be real. And then even as an adult watching it again,

1021
01:01:24,800 --> 01:01:27,400
Speaker 1: I was like even more touched because I really then

1022
01:01:27,480 --> 01:01:30,720
Speaker 1: because I saw all of the real nuance that you

1023
01:01:30,760 --> 01:01:32,760
Speaker 1: miss as a kid. Like as a kid, I was

1024
01:01:32,800 --> 01:01:34,600
Speaker 1: just taking it and it's like this is like a

1025
01:01:35,120 --> 01:01:40,080
Speaker 1: really fun, frictionless like journey that just feels good and

1026
01:01:40,080 --> 01:01:42,560
Speaker 1: I can feel all kinds of great emotions. And then

1027
01:01:42,600 --> 01:01:44,640
Speaker 1: as an adult, I'm like, this is so like this

1028
01:01:44,720 --> 01:01:47,040
Speaker 1: is just so good to watch, you know, like it's

1029
01:01:47,120 --> 01:01:50,880
Speaker 1: it's so you're you know, if we like conflict is negative,

1030
01:01:50,920 --> 01:01:53,720
Speaker 1: this is like just taking in so much like positive energy,

1031
01:01:53,800 --> 01:01:56,920
Speaker 1: even with like the you know, the like the dramatic

1032
01:01:57,000 --> 01:02:00,080
Speaker 1: elements of it, but it just feels i don't know,

1033
01:02:00,240 --> 01:02:02,880
Speaker 1: nourishing in this very strange way that I didn't find

1034
01:02:03,160 --> 01:02:06,720
Speaker 1: watching it, like you know as a kid. Right, it does, Yeah,

1035
01:02:06,720 --> 01:02:09,080
Speaker 1: it does sort of make you think like, oh wow,

1036
01:02:09,680 --> 01:02:12,760
Speaker 1: there is Like when you see a truly beautiful piece

1037
01:02:12,760 --> 01:02:14,920
Speaker 1: of kids media, you're like, damn, I spent all that

1038
01:02:14,960 --> 01:02:19,280
Speaker 1: time watching movies about terribly c g I talking dogs

1039
01:02:19,520 --> 01:02:24,360
Speaker 1: with be like, hey what I can I mean? Also

1040
01:02:24,400 --> 01:02:29,120
Speaker 1: an incredible genre, but it doesn't hold a candle. Who's

1041
01:02:29,160 --> 01:02:36,560
Speaker 1: talking now to the beauty of a movie? Like that's true. Um.

1042
01:02:36,800 --> 01:02:41,240
Speaker 1: The last thing I want to say is cat Bus

1043
01:02:41,360 --> 01:02:45,320
Speaker 1: facts with Caitlin. How many nipples are we talking? Well,

1044
01:02:45,680 --> 01:02:48,720
Speaker 1: there's some math involved, Okay, okay, based on those arms. Right,

1045
01:02:48,960 --> 01:02:52,880
Speaker 1: So if cat Bus has twelve legs, which is three

1046
01:02:52,880 --> 01:02:56,880
Speaker 1: times the number of legs as a regular cat, and

1047
01:02:56,920 --> 01:02:59,680
Speaker 1: if a regular cat has eight nipples, if you multiply

1048
01:02:59,840 --> 01:03:06,760
Speaker 1: that by three, cat bus has twenty four nipples. Everything

1049
01:03:06,800 --> 01:03:10,320
Speaker 1: about that, And that's cat Bus facts with Caitlin. Thank

1050
01:03:10,360 --> 01:03:15,800
Speaker 1: you for indulging me. Um does this movie pass the

1051
01:03:15,840 --> 01:03:19,960
Speaker 1: Bechtel test? Oh? Hell yeah? Oh yeah, hell yeah. With

1052
01:03:20,120 --> 01:03:25,880
Speaker 1: growny boy with the barely speaking boy, I like that.

1053
01:03:26,320 --> 01:03:29,040
Speaker 1: I like that Miyazaki goes the extra mile and actively

1054
01:03:29,440 --> 01:03:33,680
Speaker 1: removes the voice of at least one male character. Yeah,

1055
01:03:34,000 --> 01:03:36,400
Speaker 1: you're you're gonna have a hard time contact just doing

1056
01:03:36,440 --> 01:03:38,600
Speaker 1: the basics and this is real. Man can't even give

1057
01:03:38,600 --> 01:03:42,280
Speaker 1: an umbrella. Oh you're so sweet. Yeah, yeah, you've got

1058
01:03:43,080 --> 01:03:45,320
Speaker 1: May and Stotzky talked to each other about a bunch

1059
01:03:45,320 --> 01:03:49,280
Speaker 1: of stuff. May and her mom, Stotzky and her mom.

1060
01:03:49,880 --> 01:03:54,040
Speaker 1: Satsky and May talked to granny individually, the teacher. I

1061
01:03:54,080 --> 01:03:57,720
Speaker 1: believe that there's an example. Satzky talks to her new

1062
01:03:57,760 --> 01:04:01,040
Speaker 1: friend from school. Oh, yes, you love that. They the

1063
01:04:01,280 --> 01:04:02,959
Speaker 1: movie goes out of the way to give her friend.

1064
01:04:03,000 --> 01:04:06,040
Speaker 1: We don't really learn anything about the friend aside from

1065
01:04:06,080 --> 01:04:09,440
Speaker 1: her name. Yeah, but you're just like man Stotski, she

1066
01:04:09,440 --> 01:04:11,880
Speaker 1: can do it all. Yeah. Even then they like it

1067
01:04:12,000 --> 01:04:14,320
Speaker 1: wasn't the dad even like what you made a fucking friend.

1068
01:04:15,840 --> 01:04:20,200
Speaker 1: She's like, yeah, I gotta go. I'm out. Yeah, I'm Stotzky.

1069
01:04:20,280 --> 01:04:23,439
Speaker 1: I'm awesome. Yeah, you be jopping my hairstyle for years

1070
01:04:23,480 --> 01:04:28,040
Speaker 1: to come. But yeah, lots lots of combinations of characters

1071
01:04:28,040 --> 01:04:31,400
Speaker 1: that passed the Beckel test, and the movie is like

1072
01:04:31,480 --> 01:04:36,880
Speaker 1: almost constantly passing, especially because I would argue that even

1073
01:04:37,080 --> 01:04:41,160
Speaker 1: though Toto and friends are I think referred to with

1074
01:04:41,200 --> 01:04:45,640
Speaker 1: like he him pronounced, they gendered Totoro as male, and

1075
01:04:46,320 --> 01:04:50,720
Speaker 1: Toto's voice by a male voice actor, a male Scooby

1076
01:04:51,040 --> 01:04:57,160
Speaker 1: and male Scooby do. I would argue that Toto's are genderless.

1077
01:04:57,720 --> 01:05:01,880
Speaker 1: I think so they're sentient pillows exactly with great breath. Yeah,

1078
01:05:01,920 --> 01:05:05,280
Speaker 1: you don't need to gender a mutual aid pillow. That's

1079
01:05:05,320 --> 01:05:09,040
Speaker 1: a genderless entity. Total is the concept of mutual aid

1080
01:05:09,240 --> 01:05:13,680
Speaker 1: as a sentient pillow, like that's planting community gardens. I mean,

1081
01:05:13,760 --> 01:05:18,720
Speaker 1: this is first fucking legend. And then the point being

1082
01:05:19,120 --> 01:05:23,919
Speaker 1: when Satsky and May talk about Totoro, they're talking about

1083
01:05:23,920 --> 01:05:27,360
Speaker 1: a genderless icon. So I think I think it absolutely

1084
01:05:27,400 --> 01:05:31,240
Speaker 1: passes the bastile test to talk about absolutely And then

1085
01:05:31,280 --> 01:05:34,160
Speaker 1: that brings us to our nipple scale zero to five

1086
01:05:34,240 --> 01:05:39,200
Speaker 1: nipples based on how the movie fares when examining it

1087
01:05:39,240 --> 01:05:46,320
Speaker 1: through an intersectional feminist lens, I think this is five nipples.

1088
01:05:46,360 --> 01:05:50,520
Speaker 1: I cannot think of a reason why it deserves any less.

1089
01:05:50,560 --> 01:05:54,760
Speaker 1: I think it's a five nipple movie. I love that.

1090
01:05:55,800 --> 01:05:59,320
Speaker 1: And this is a common thread of all the Musaki

1091
01:05:59,360 --> 01:06:04,400
Speaker 1: movies we've heard so far, that it centers girls in

1092
01:06:04,440 --> 01:06:07,880
Speaker 1: a way that like just presents them as being very

1093
01:06:07,920 --> 01:06:13,800
Speaker 1: authentic and just exploring their lives and choices and and

1094
01:06:13,920 --> 01:06:17,400
Speaker 1: behaviors and actions in a way that tracks so much

1095
01:06:17,440 --> 01:06:20,920
Speaker 1: better than basically every other story I've ever seen that

1096
01:06:21,040 --> 01:06:26,200
Speaker 1: focuses on girls, which, as we've discussed, is like kind

1097
01:06:26,200 --> 01:06:30,960
Speaker 1: of surprising considering these movies are made by a man.

1098
01:06:31,400 --> 01:06:34,480
Speaker 1: But when you know someone like Miyazaki just has a

1099
01:06:34,560 --> 01:06:40,280
Speaker 1: vested interest in it actually like authentically representing girlhood on screen,

1100
01:06:40,480 --> 01:06:43,840
Speaker 1: like it can happen. It works, he sits, he pulls

1101
01:06:43,840 --> 01:06:47,560
Speaker 1: it off. I love the characters. I love the relationship

1102
01:06:47,600 --> 01:06:50,720
Speaker 1: between the sisters. It's five nipples. I want to give

1103
01:06:51,480 --> 01:06:55,720
Speaker 1: one to Satsky, one to May, one to Granny, one

1104
01:06:56,280 --> 01:07:03,120
Speaker 1: to the cluster of totoros, and one two their mom.

1105
01:07:03,600 --> 01:07:07,160
Speaker 1: I love it. I'm gonna go five as well. I

1106
01:07:07,200 --> 01:07:11,720
Speaker 1: totally agree. I think this movie is so like beautifully done,

1107
01:07:11,920 --> 01:07:15,000
Speaker 1: and I love how it brings in spirituality in a

1108
01:07:15,040 --> 01:07:18,360
Speaker 1: way that is like very again just like matter of fact,

1109
01:07:18,480 --> 01:07:21,880
Speaker 1: The way that um Miyazaki is able to bring in

1110
01:07:21,920 --> 01:07:24,959
Speaker 1: like fantastic and grounded elements is just like a fact

1111
01:07:25,040 --> 01:07:28,840
Speaker 1: of the world is like so it seems so effortless,

1112
01:07:28,880 --> 01:07:33,240
Speaker 1: but like having seen other movies, like it's really hard

1113
01:07:33,280 --> 01:07:36,200
Speaker 1: to do. It's so beautiful. Um the only thing that

1114
01:07:36,280 --> 01:07:38,600
Speaker 1: I would say, so, I'm completely on board with everything

1115
01:07:38,640 --> 01:07:41,720
Speaker 1: you're saying, Kaitlin. The only thing that really pings for

1116
01:07:41,760 --> 01:07:44,040
Speaker 1: me is more just like behind the scenes stuff of

1117
01:07:44,120 --> 01:07:49,720
Speaker 1: like this is a beautifully told story about childhood and

1118
01:07:49,320 --> 01:07:53,560
Speaker 1: at about and I guess about girlhood specifically. Um, so

1119
01:07:53,760 --> 01:07:56,960
Speaker 1: you would hope to see more women in prominent roles

1120
01:07:57,000 --> 01:08:00,640
Speaker 1: behind the scenes in a movie like this, true, which uh,

1121
01:08:00,720 --> 01:08:04,400
Speaker 1: you know, we always try to be mindful of as well. Unfortunately,

1122
01:08:04,800 --> 01:08:07,200
Speaker 1: in this case, it does appear that all the at

1123
01:08:07,280 --> 01:08:10,800
Speaker 1: least the top titles. Unless I'm missing something listeners, let

1124
01:08:10,800 --> 01:08:12,520
Speaker 1: me know. I would love to be wrong, but it

1125
01:08:12,520 --> 01:08:15,720
Speaker 1: seems like it is mostly men, which is a systemic issue.

1126
01:08:15,760 --> 01:08:17,760
Speaker 1: But also you would think Mizak you would have some

1127
01:08:17,880 --> 01:08:21,800
Speaker 1: say in uh, his crew, So there is that, But

1128
01:08:21,920 --> 01:08:24,720
Speaker 1: in terms of like story wise and presentation, I just

1129
01:08:24,960 --> 01:08:30,240
Speaker 1: think it's like fucking incredible across the board. So five nipples,

1130
01:08:30,240 --> 01:08:35,000
Speaker 1: and I've giving them all to cap bus Hell. Yeah yeah, Miles,

1131
01:08:35,040 --> 01:08:37,880
Speaker 1: what about you? I mean, I don't know if I

1132
01:08:37,880 --> 01:08:40,840
Speaker 1: can give five just because we arrived at such a

1133
01:08:40,840 --> 01:08:44,519
Speaker 1: great number, which is twenty four nipples, and I think

1134
01:08:44,640 --> 01:08:48,200
Speaker 1: this deserves twenty four nipples for all of the reasons

1135
01:08:48,240 --> 01:08:52,400
Speaker 1: that were stated, plus the criticisms, which are very valid overall,

1136
01:08:52,439 --> 01:08:55,080
Speaker 1: I think the other thing too, which is really I

1137
01:08:55,120 --> 01:08:58,320
Speaker 1: really don't didn't even really think about, is I never

1138
01:08:58,400 --> 01:09:02,200
Speaker 1: thought of this as being about like a gendered story,

1139
01:09:02,360 --> 01:09:05,360
Speaker 1: that this is like it's about two girls, you know,

1140
01:09:05,439 --> 01:09:08,360
Speaker 1: like and I was never as a partially like in

1141
01:09:08,520 --> 01:09:12,080
Speaker 1: real time being he brained boy in the eighties and

1142
01:09:12,200 --> 01:09:17,719
Speaker 1: nineties could still look at this and be like, yeah,

1143
01:09:17,760 --> 01:09:21,120
Speaker 1: like it had nothing to do like because it wasn't present,

1144
01:09:21,520 --> 01:09:23,320
Speaker 1: you know why, Because I think it wasn't hitting any

1145
01:09:23,320 --> 01:09:25,360
Speaker 1: of these like weird notes in my brain which is

1146
01:09:25,400 --> 01:09:28,080
Speaker 1: spen to go this is supposed to happen, this trope

1147
01:09:28,120 --> 01:09:30,519
Speaker 1: is present. That means this, The story means this, And

1148
01:09:30,560 --> 01:09:33,120
Speaker 1: it allowed me to really engage with something that was

1149
01:09:33,200 --> 01:09:37,679
Speaker 1: just about being curious and innocent and a child. That

1150
01:09:37,760 --> 01:09:40,120
Speaker 1: plus just all the nostalgia for me, you know, I

1151
01:09:40,240 --> 01:09:45,240
Speaker 1: just uh, yeah, it's fantastic. Um, So I'm gonna split

1152
01:09:45,280 --> 01:09:48,200
Speaker 1: the twelve nipples twelve to the concept of mutual aid

1153
01:09:48,320 --> 01:09:50,200
Speaker 1: in the form of to total and then twelve to

1154
01:09:50,600 --> 01:09:54,120
Speaker 1: nickel bus Well. Yes, so you're giving the movie twenty

1155
01:09:54,120 --> 01:09:56,680
Speaker 1: four nipples. Okay, I see what's happening. Yes, yes, I'm

1156
01:09:56,720 --> 01:09:59,360
Speaker 1: just saying if we can take the five and multiply

1157
01:09:59,479 --> 01:10:03,120
Speaker 1: them by five, what I'm trying to divvy it up

1158
01:10:03,160 --> 01:10:07,200
Speaker 1: so it would at the conversion rate of nipples, this

1159
01:10:07,240 --> 01:10:09,320
Speaker 1: would be a five nipple film. I'm just using a

1160
01:10:09,360 --> 01:10:13,719
Speaker 1: different I'm using a crypto or nipto currency, not nipto.

1161
01:10:14,280 --> 01:10:17,479
Speaker 1: Nipto currency is tanking right now. You've got to be careful.

1162
01:10:17,840 --> 01:10:20,599
Speaker 1: Oh not no, not mine, Jamie. I told you should

1163
01:10:20,600 --> 01:10:22,240
Speaker 1: have got in, should have got in early when I

1164
01:10:22,280 --> 01:10:26,160
Speaker 1: told you I gave my totoro slurp juice. And now

1165
01:10:26,200 --> 01:10:30,600
Speaker 1: there's there's eight hundred of them. Oh yeah, no, no,

1166
01:10:30,600 --> 01:10:32,719
Speaker 1: I don't funk with the slurp juice straight up Nipto

1167
01:10:32,960 --> 01:10:35,920
Speaker 1: all nippta. Well, here's what happens. If you give the

1168
01:10:36,000 --> 01:10:39,839
Speaker 1: smallest toto a slurp juice, you get two more, including

1169
01:10:40,280 --> 01:10:44,920
Speaker 1: the scooby. So okay, well, okay, I'll think about we'll

1170
01:10:44,920 --> 01:10:47,920
Speaker 1: offline about it. Well, look, it's an investment, think about it.

1171
01:10:48,040 --> 01:10:51,360
Speaker 1: Nipto coin. Yeah, I mean, look, dude, I mean, if

1172
01:10:51,360 --> 01:10:52,880
Speaker 1: you want to come to the moon with me, let

1173
01:10:52,880 --> 01:10:54,800
Speaker 1: me know, because I got I got room on the

1174
01:10:54,840 --> 01:10:58,360
Speaker 1: spaceship I got room, no pressure, but you're probably gonna on.

1175
01:10:58,400 --> 01:11:01,280
Speaker 1: I'm not going to be greedy about it any unlimited

1176
01:11:01,320 --> 01:11:07,040
Speaker 1: slurp juices. Miles, Thanks for coming back, Thank you for

1177
01:11:07,080 --> 01:11:09,600
Speaker 1: having me. It's always again a pleasure and honor to

1178
01:11:09,720 --> 01:11:12,400
Speaker 1: talk to the Bothy All about film because I don't

1179
01:11:12,520 --> 01:11:14,960
Speaker 1: I don't know as much, but you ask me on

1180
01:11:15,000 --> 01:11:17,720
Speaker 1: the ones I can speak relatively well about, so I

1181
01:11:17,760 --> 01:11:21,200
Speaker 1: appreciate that. Miles, you absolutely crushed. I mean you've covered

1182
01:11:21,240 --> 01:11:24,840
Speaker 1: three very different genres here. You've done an action movie,

1183
01:11:24,920 --> 01:11:28,200
Speaker 1: a holiday movie, and a children's movie. Yeah. All Up

1184
01:11:28,200 --> 01:11:31,080
Speaker 1: by Alley was like the Rock. I'm like, yep, pretty much.

1185
01:11:31,160 --> 01:11:34,840
Speaker 1: You're like his wife of course? Of course, was that

1186
01:11:34,880 --> 01:11:38,080
Speaker 1: the movie that inspired you to get married yourself? Absolutely?

1187
01:11:38,800 --> 01:11:43,360
Speaker 1: When I saw how much purpose it gave him to

1188
01:11:43,560 --> 01:11:47,280
Speaker 1: stand over a gravestone that said his wife, I was like,

1189
01:11:47,360 --> 01:11:50,040
Speaker 1: that's want that that's missing in my life. I want

1190
01:11:50,040 --> 01:11:53,839
Speaker 1: what they have. Yeah, that's why I'm not committing active

1191
01:11:53,880 --> 01:12:00,880
Speaker 1: domestic chemical terrorism. Oh God, that movie good. Anyways, Where

1192
01:12:00,880 --> 01:12:03,519
Speaker 1: can we find you on online? Miles? And where can

1193
01:12:03,520 --> 01:12:06,080
Speaker 1: we listen to? You? Find me? At Miles of Gray,

1194
01:12:06,120 --> 01:12:10,679
Speaker 1: At Miles of Gray, wherever there's at symbols also Daily

1195
01:12:10,760 --> 01:12:14,160
Speaker 1: Zeitgeist every Day and if you like trash reality shows,

1196
01:12:14,240 --> 01:12:18,599
Speaker 1: check out Force with Sophie, Alexandra and I Hell Yes Yeah.

1197
01:12:19,400 --> 01:12:22,200
Speaker 1: And then you can check out us on Twitter and

1198
01:12:22,320 --> 01:12:26,480
Speaker 1: Instagram at Bechtel Cast. You can check out our Matreon

1199
01:12:27,320 --> 01:12:30,720
Speaker 1: at patreon dot com slash becktel Cast, where you get

1200
01:12:30,720 --> 01:12:33,599
Speaker 1: too bonus episodes every single month, plus access to the

1201
01:12:33,680 --> 01:12:38,760
Speaker 1: whole back catalog of over one bonuses. It's a it's

1202
01:12:38,800 --> 01:12:42,160
Speaker 1: a darn delight, if I do say so myself. You

1203
01:12:42,160 --> 01:12:45,479
Speaker 1: can also check out our merch at dot com slash

1204
01:12:45,760 --> 01:12:49,719
Speaker 1: d Bechtel Cast, and you can follow us online wherever

1205
01:12:49,840 --> 01:12:52,720
Speaker 1: wherever you find us. I don't think there's anyone impersonating us.

1206
01:12:52,920 --> 01:12:55,519
Speaker 1: We're kinda we're not We're not on that level. So

1207
01:12:55,760 --> 01:12:59,760
Speaker 1: don't worry about it. Yeah, don't don't sweat it with

1208
01:13:00,000 --> 01:13:02,439
Speaker 1: I gotta get on this cap us because I gotta

1209
01:13:02,760 --> 01:13:03,759
Speaker 1: go save my sister