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Speaker 1: On the Beck dol Cast, the questions asked if movies

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Speaker 1: have women in them, are all their discussions just boyfriends

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Speaker 1: and husbands, or do they have individualism? The patriarchy zef

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Speaker 1: invest start changing it with the bec Del cast. Hey,

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Speaker 1: Mr Rante, Yes, Miss Loftus, we had one very very

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Speaker 1: brief encounter. Now you have to be my best friend

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Speaker 1: forever until I die. Well, I think you're rude because

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Speaker 1: you didn't properly introduce yourself. All right, I guess I'll

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Speaker 1: just keep showing up until you change your mind. And oh,

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Speaker 1: look at that. It worked. We're best friends and now

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Speaker 1: I'm going to save your life. It's because I was

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Speaker 1: falling off of a plane, you know. It's it's complicated.

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Speaker 1: It's complicated. Well that was sure at intro. Welcome to

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Speaker 1: the back Tell Cast. My name is Jamie Loftus. My

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Speaker 1: name is Caitlin Darante. I hesitated because I was like,

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Speaker 1: am I gonna like call myself miss witch or something?

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Speaker 1: But then I did, I didn't, and then it just

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Speaker 1: made it sound like I didn't know what my name was. Look,

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Speaker 1: it's good, everything's going great, everything's going great. It's fine.

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Speaker 1: You can call yourself miss which why not. Yeah, um,

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Speaker 1: this is the Bechtel Cast, where we examine movies through

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Speaker 1: an intersectional feminist lens, using the Bechtel Test as a

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Speaker 1: jumping off point. The Bechtel Test being a media metric

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Speaker 1: created by queer cartoonist Alison Bechtel, sometimes called the Bechtel

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Speaker 1: Wallace Test. There are many versions of the test, but

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Speaker 1: the one that we use currently requires that two characters

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Speaker 1: of a marginalized gender must have names, they must speak

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Speaker 1: to each other, and their conversation has to be about

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Speaker 1: something other than a man, and ideally it is a

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Speaker 1: narratively meaningful conversation and spoiler alert today is gonna have

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Speaker 1: no problems the first seen passes. I think. I don't

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Speaker 1: think two male characters speak to each other at all

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Speaker 1: in the entire movie. No, I know that they make

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Speaker 1: eye contact. But also I was really interested in Um,

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Speaker 1: usually we're having the reverse discussion, but I didn't know

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Speaker 1: until because I'm a big fan of this movie, but

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Speaker 1: I'd never really researched the adaptation changes before. It's the

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Speaker 1: Kiki delivery service episode, by the way, but I didn't

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Speaker 1: realize that the gender swapped. Guh gig in the Japanese

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Speaker 1: dub is a lady cat. Uh, and I guess that

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Speaker 1: cats in UM Japanese fiction are traditionally presented feminine. UM.

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Speaker 1: And they switched it to Phil Hartman, which I don't

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Speaker 1: hate it all. Like, I think if the Phil Hartman

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Speaker 1: UM gig performances a delight, you know, it brings us

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Speaker 1: certain newsies, genesee whatever to to the part. But originally, yeah,

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Speaker 1: I think that the only a tent they could find

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Speaker 1: men interacting is when a Sona's husband looks at Gig.

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Speaker 1: But I guess in the original movie that wouldn't have

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Speaker 1: even applied because g is in the original movie. How

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Speaker 1: about that? Things I learned today, I do like that

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Speaker 1: They're like, let's make this cat sound like he's from

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Speaker 1: Long Island for some reason. You're like, all right, I'm

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Speaker 1: okay with it. Does that mean the romance between the

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Speaker 1: two cats, because the other cat seems to be coded

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Speaker 1: quite feminine, does that mean it's a queer cat relationship.

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Speaker 1: Let's say yes, Yes, Let's say yes. Let's say that. Okay, great,

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Speaker 1: I love that. Anyways, welcome to the factel cast. This

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Speaker 1: movie is about women. Uh, and we have an amazing

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Speaker 1: returning guest today. Let's get her in the mix. Yes,

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Speaker 1: she is a pop culture critic. She's an executive producer

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Speaker 1: at I Heart Podcast. She's an executive producer and co

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Speaker 1: host of a new show, comic con Metapod. And you

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Speaker 1: remember her from our Little Princess episode. It's Joel Monique.

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Speaker 1: I love that I could just talk about all my

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Speaker 1: girlhood favorites with you. I just get to come in

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Speaker 1: here and talk about the women that shaped me. Last time,

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Speaker 1: we're really embracing all of my virgo libra aspects. Okay,

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Speaker 1: it's girls doing princess e things with pinkies up, and

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Speaker 1: today we're going to embrace my power of no girl

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Speaker 1: who I really love I'm obsessed with. Kiki were the

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Speaker 1: same age she came out in eighty nine, as did I. Um,

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Speaker 1: and my cat relationship is absolutely clear in my head now.

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Speaker 1: I didn't know that. In the Japanese prison it was

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Speaker 1: two lady cats, but now lesbians and one is just

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Speaker 1: very mask and I think that's okay, and I love it.

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Speaker 1: I love it. Joel. What is your history with this

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Speaker 1: movie other than you and Kiki both dropped the same year. Yes, yes, okay,

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Speaker 1: So aroundabout I would like to say a mid to

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Speaker 1: late nineties. Early two thousand's Cartoon Network introduced me to

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Speaker 1: the world of anime and Kicks Delivery Services, a movie

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Speaker 1: they would play on Sundays, sometimes Saturdays. Maybe we'd come

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Speaker 1: on a late Friday night, usually not usually it was

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Speaker 1: like a mid afternoon thing. And that's Swindwell was at

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Speaker 1: home watching TV. And wow, did I fall in love

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Speaker 1: really fast? Um? You know, Spirited Away came out when

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Speaker 1: I was older, and it came out in theaters and

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Speaker 1: I have like a much longer in depth interaction with

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Speaker 1: that film, just because it was advertised to me at

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Speaker 1: the right age. This movie was like, here's an old film,

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Speaker 1: you might like children, and I really did. And it

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Speaker 1: was so cool because it really took I like to

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Speaker 1: call it a reverse fairy tale where there's a lot

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Speaker 1: of magical elements, but it's completely grounded as opposed to

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Speaker 1: a lot of the other things I was consuming, which

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Speaker 1: is super high fantasy. And you know, very like almost

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Speaker 1: all of the stories are Romeo and Juliet inspired, but

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Speaker 1: they get together at the end, they don't die. It's

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Speaker 1: totally fine, kids risk at all the rebellious no consequences

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Speaker 1: or is this you know? It was very much about

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Speaker 1: a young girl just trying to figure it out, and

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Speaker 1: especially because I was the type of thirteen year old

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Speaker 1: who was like, I'm pretty sure I could move to

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Speaker 1: New York and pay rent and do it. I think

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Speaker 1: I could live by myself. I don't need these other people.

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Speaker 1: And Ki really spoke to me on that she was

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Speaker 1: like just out there doing it for herself. Um. I

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Speaker 1: feel like it was my working girls before I became

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Speaker 1: of age to watch that movie. And I feel like

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Speaker 1: so Ya supposed to my history of Saw on Cartoon

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Speaker 1: Network a lot. And then I got into college and

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Speaker 1: I was able to stream it a lot. Shout out

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Speaker 1: to lime Wire. Oh my gosh, I forgot about lime Wire.

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Speaker 1: Never forgot a class I heard for Classic definitely destroyed

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Speaker 1: my first dell with Wire does. Yeah. I ended up

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Speaker 1: with some real disgusting things on my family's computer as

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Speaker 1: a result of Um, but you know it was all

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Speaker 1: in the interest of bringing music to the people or something.

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Speaker 1: Or Oh that's beautiful though, Jamie. What's your relationship in

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Speaker 1: history with kikiS Delivery Service? Uh? This is the Miyazaki

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Speaker 1: movie that I have the longest and closest history with.

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Speaker 1: I think I saw this movie. I remember my friend

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Speaker 1: Samantha Honeywell shout out because I was always like, that's

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Speaker 1: the coolest name I've ever heard. Um. The Honeywells had

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Speaker 1: this on vhas the English dub um sometime when I

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Speaker 1: was in elementary school. My whole family was very into

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Speaker 1: U witchy stuff. My aunt and uncle practiced witchcraft, and

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Speaker 1: so I was always really into witchy movies, especially when

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Speaker 1: they were young girls. I had a black cat, so

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Speaker 1: it was just it was very easy to play get

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Speaker 1: to the Kiki fantasy and also like just I mean,

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Speaker 1: I haven't seen this movie, and I want to say

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Speaker 1: at least five years, but probably longer because there was

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Speaker 1: a time where it's in the US unless you owned

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Speaker 1: mi Azaki movies. They weren't like the most streamable stuff.

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Speaker 1: It was a big deal when they were put on HBO,

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Speaker 1: and so I hadn't seen it in a long time.

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Speaker 1: And it's just like watching it back as in my

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Speaker 1: at my advanced age. I just it holds up so

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Speaker 1: well Kiki experiences burnout. I was just like, wow, okay,

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Speaker 1: like this is they really get into it. Um. I

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Speaker 1: adore this movie and I can't wait to talk about it. Uh,

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Speaker 1: what's your history with Kiki Delivery Service not a long one.

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Speaker 1: I hadn't seen it until about a year ago, not

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Speaker 1: long after they became all the Muzaki movies became available

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Speaker 1: on HBO, and this one was at the top of

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Speaker 1: my list to watch, so I did, and I really

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Speaker 1: loved it. And there are elements about it that are

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Speaker 1: so relatable to me as a full adult, such as

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Speaker 1: the burnout. I'm choking, such as the burnout, such as

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Speaker 1: there's a line of dialogue where Kiki says something like, yeah,

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Speaker 1: I used to think flying was fun until I started

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Speaker 1: doing it for a living, and I was like, oh,

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Speaker 1: that is a thing that I can relate to. But

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Speaker 1: also my job is still fun, still fun. But anyway,

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Speaker 1: Uh yeah, I I really I think this movie has

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Speaker 1: so much to offer. And I know I sound like

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Speaker 1: I'm crying right now, but it's just because I'm choking

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Speaker 1: on my own saliva. I'm having a I'm having a day,

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Speaker 1: I don't know what my name is, choking, crying, so tired,

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Speaker 1: you need Ursula to kind of intervene and be like, look,

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Speaker 1: we're going to go to a cabin for a couple

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Speaker 1: of days. We're just gonna talk out, like use my bed.

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Speaker 1: Cottage core elements. Oh my gosh, yeah, it is just

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Speaker 1: a full cottage core sequence. The sweet like friendship intimacy

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Speaker 1: of Ursula letting Kiki use her bed. I feel like

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Speaker 1: that was always my, like my favorite moment in the

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Speaker 1: movie ever since I was really little, because you're like, WHOA,

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Speaker 1: a cool girl let you sleep in her bed? And

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Speaker 1: I still feel the same way. The cool girl vibes

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Speaker 1: throughout this movie are off the chart. The first which

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Speaker 1: she runs into you on the way over. I terrified

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Speaker 1: of her to this day. Her accessory game alone crushes me.

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Speaker 1: And then to just be so cool as to say,

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Speaker 1: I can't even listen to music. I'm flying. She's a

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Speaker 1: light because she's sweet. I just can't with this movie,

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Speaker 1: she said. And then she's like, I can tell like

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Speaker 1: love fortunes and we never find out really what that

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Speaker 1: means or what that entails. And then she's like goodbye forever,

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Speaker 1: and you're like, yes, yes, What it tells us is

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Speaker 1: that she knows everything and she's too busy to deal

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Speaker 1: with us because she's cool. She's cool, she is snooty.

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Speaker 1: There are a lot of snooty characters. I feel like

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Speaker 1: snootiness is a motif in this movie. But she's like, yeah,

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Speaker 1: I'm sure that town seems really big to you, but

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Speaker 1: to me, it's just whatever. And then she goes down

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Speaker 1: and then you get like a classic Phil Hartman reaction shot. Yes,

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Speaker 1: he's just like, well she sucked. Yes, if side I

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Speaker 1: were a voice like perfection, it is very funny to

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Speaker 1: be how like like, I don't know, I did a

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Speaker 1: little bit. I just was like, I'm very fascinated with

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Speaker 1: how Miyazaki movies were adapted by Disney for distribution and

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Speaker 1: how there's like there's always like these little changes that

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Speaker 1: are made. And the Gig character also like they sort

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Speaker 1: of disneyfied his role in the story as like he

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Speaker 1: appears as an animal familiar in the way that like

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Speaker 1: a Disney princess is animal familiar, would appear in like

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Speaker 1: the dialogue Cadence, Like obviously Gigi was always there for Kiki,

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Speaker 1: but was like not as sarcastic, not as like like

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Speaker 1: a lot of the dialogue lines for Gigi changed where

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Speaker 1: the spirit of the line is the same, but they

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Speaker 1: sort of like, you know, rewrite it for an American comedian,

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Speaker 1: is it coded more so? Okay, so coded a little

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Speaker 1: Salts here, you're getting a little bit of your Iago

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Speaker 1: from uh, you know, pre in this pre days Iago.

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Speaker 1: So maybe this is this is the foundation the build.

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Speaker 1: But I feel like, man, I really love Gigi, and

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Speaker 1: now I'm trying to imagine I would still I still

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Speaker 1: want the comedian aspects. I still want like assaulting late

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Speaker 1: even if they decided to gender flip it back, I

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Speaker 1: think I would still be looking for a Wanda Psykes

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Speaker 1: esque like Saltic. And this would have been post yago too,

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Speaker 1: because this the dub, at least the dub that's on

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Speaker 1: HBO wasn't made until mind Blown. Yeah. Yeah, so then

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Speaker 1: it had to be like early two thousands that was

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Speaker 1: seeing it. It's really wild. Sorry, I'm figuring out the timeline.

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Speaker 1: Um wait there I found a little passage on gig

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Speaker 1: just because I I love learning about adaptation. It's fascinating.

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Speaker 1: Um okay, so this is from Scarlett Journal Wikipedia. Of course,

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Speaker 1: the depiction of the cat Gigi has changed significantly. In

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Speaker 1: the Disney version and the Japanese version, Gigi is voiced

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Speaker 1: by Ray Sakuma, a female actor, while in the English version,

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Speaker 1: Gigi's voice by Phil Hartman. In Japanese culture, cats are

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Speaker 1: usually depicted with feminine voices, whereas in American culture their

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Speaker 1: voices are more gender specific. A number of Hartman's lines

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Speaker 1: exist where Gig simply says nothing. In the original gis

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Speaker 1: personality is notably different between the two versions, showing a

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Speaker 1: more cynical and sarcastic attitude and the Disney English version

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Speaker 1: as opposed to cautious and conscientious in the original Japanese.

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Speaker 1: In the original Japanese script, Kiki loses her ability to

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Speaker 1: communicate with Gigi permanently. I guess the original cut of

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Speaker 1: this involved the Phil Hartman voice coming back at the end,

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Speaker 1: oh boo boom, but then they took that out the

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Speaker 1: original Japanese version, and like I guess, it was supposed

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Speaker 1: to be a sign of Kiki's maturity that she could

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Speaker 1: no longer talk to her cat. Excuse me, I think

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Speaker 1: that it's a mark of maturity for you to talk

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Speaker 1: to your cat, and your talk your cat to talk back.

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Speaker 1: So I don't know what that's all about. But I

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Speaker 1: literally watched this movie with Lee your black cat dead

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Speaker 1: ringer for Gigi. Not a lot of movies called his attention,

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Speaker 1: but he was. He was with me the whole time.

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Speaker 1: It was great. I marked it more as like if

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Speaker 1: you can. This movie is so grounded in reality. It's

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Speaker 1: the idea of like magical loss of childhood and this

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Speaker 1: idea that there's something else to be gained, especially if

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Speaker 1: it's considered under. This movie very much from the beginning

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Speaker 1: starts with a thesis statement of like, if you're going

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Speaker 1: to be a witch, she better be a good witch

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Speaker 1: and have a good heart. And I think she does

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Speaker 1: that so much throughout the movie, and eventually it sort

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Speaker 1: of becomes a it's hard. It's hard to be a

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Speaker 1: good friend. It it's hard to live up to like

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Speaker 1: your own ideals and standards, and she struggles with it

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Speaker 1: a lot. But she also loses part of her childhood

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Speaker 1: in gaining these responsibilities and these new friends and you know,

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Speaker 1: this new opportunity in this business. Some part of her

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Speaker 1: does go away in exchange for that, and I always

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Speaker 1: sort of view the cat's voice being gone as that exchange.

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Speaker 1: I think to leave it in is just what a

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Speaker 1: disservice to the story overall. Yeah, yeah, yeah, And I

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Speaker 1: guess that, Um, I don't. I I couldn't find like

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Speaker 1: if this was just like an organic decision or fair

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Speaker 1: or war complaints, but they re released the American dub

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Speaker 1: like a redux of it um with the same voices,

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Speaker 1: but they took out the last Phil Hartman line so

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Speaker 1: that the spirit stayed the same as it dead in

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Speaker 1: the original. And yeah, I agree, I think it's like

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Speaker 1: it's it makes me a little bit sad, but it's

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Speaker 1: supposed to. Maturing is sad, like so hard. Yeah, being

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Speaker 1: a kid is awesome. Also, I'm seeing that there was

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Speaker 1: another English dub I think released in from Streamline Pictures

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Speaker 1: Slash to Kuma, but I don't I don't think it

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Speaker 1: had the same kind of like mainstream availability as the

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Speaker 1: Disney dub. So it is possible that you heard that one, Joel.

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Speaker 1: I wonder if that one ever hit the air, because

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Speaker 1: if I think about it, the first Zaki film I

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Speaker 1: remember watching was um, a rip of what's the one

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Speaker 1: with the PI one? And okay, and I watched it

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Speaker 1: on a PC at my mother's office. Um, and so

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Speaker 1: that's two thousand. Yes, yes, it was fifth grade. I

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Speaker 1: was ready to go home and it was amazing. And

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Speaker 1: then I'm pretty sure not too long after that, Spirited

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Speaker 1: Away comes out, and then somewhere immediately after that, I

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Speaker 1: find Hell's Moving Castle and kikiS delivery service. It's all

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Speaker 1: sort of very jumbled up in those early junior high,

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Speaker 1: you know, late elementary years, but I definitely remember thinking

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Speaker 1: like where are the American cartoons with girls like this?

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Speaker 1: The fact that there were like young girls just being

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Speaker 1: girls interested in maturing but not being grown ups, you know,

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Speaker 1: actually addressing the PG thirteam like element of life that

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Speaker 1: that time period, and being like this, these are people

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Speaker 1: I can actually relate to, and being sort of blown

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Speaker 1: away first by them and then obviously by the art.

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Speaker 1: Oh my god, it's like gorgeous. It's uh yeah, and

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Speaker 1: I think it's like it is wild to like I

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Speaker 1: don't know, it wasn't until I was like halfway through

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Speaker 1: the movie. They'm like, oh yeah, this movie came out

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Speaker 1: the same year as The Little Mermaid, and the differences

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Speaker 1: are quite clear. And I love The Little Mermaid, but

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Speaker 1: you know, like, yeah, I mean you love it because

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Speaker 1: you get to be dramatical with it. But I love

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Speaker 1: him Daddy, And it's like a lot of like throwing

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Speaker 1: your shoe and running, um, which is fun. It's fun

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Speaker 1: to sort of embrace that, but as a story that

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Speaker 1: actually speaks to the conditions you're living under. I think

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Speaker 1: there's there's just no comparison. But I mean, at the

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Speaker 1: same time, though, the premise of the little like Disney's

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Speaker 1: a Little Mermaid and Kiki's delivery surface is like pretty

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Speaker 1: similar in the sense that they're both fish out of water,

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Speaker 1: striking out, you know, trying to figure a little more

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Speaker 1: literal than the other. Yeah, right, right, But the execution

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Speaker 1: is like so different and in like very fascinating ways.

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Speaker 1: Before we get too deep into the discussion, let's take

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Speaker 1: a quick break and then we'll come back and recap

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Speaker 1: the story. And we are back. So here is the

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Speaker 1: recap of Kiki's delivery service. We meet Kiki, voiced by

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Speaker 1: Kirsten Dunce in the Disney dub. She is a young

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Speaker 1: witch I believe years old, who, as per which tradition,

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Speaker 1: must leave home for a year to begin her training.

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Speaker 1: And that night is the perfect night for her to

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Speaker 1: leave because it's both a full moon and there are

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Speaker 1: clear skies. So Kiki says goodbye to her mom and dad,

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Speaker 1: she packs up her belongings, she takes her mom's broom,

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Speaker 1: and she sets off with her talking cat. Gig Again

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Speaker 1: Boy by Phil Hartman in the Disney dub, very sadly

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Speaker 1: Phil Hartman's last voice for all before he has no

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Speaker 1: which we don't have to go there today. This is

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Speaker 1: a happy episode. I did think it was funny even

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Speaker 1: when it was little how abrupt, Like the movie just

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Speaker 1: like starts and Kiki is like, oh, I'm leaving home today.

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Speaker 1: Like I feel like in a I'm used to in movies,

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Speaker 1: like when you know kids and parents are separated, there's

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Speaker 1: this like long like I love you so much bo

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Speaker 1: and they do, like the family obviously loves each other,

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Speaker 1: but it's just like k He's like, I'm leaving and

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Speaker 1: then they're like, I don't know, should it be today?

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Speaker 1: And she's like yes, And then two hours later they're

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Speaker 1: like all right, like they respect her decision, and they

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Speaker 1: are like, well, best of all. Like, I just thought

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Speaker 1: it was really funny. It was really interesting about the

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Speaker 1: way that this entire film is that first of all,

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Speaker 1: kudas to me is Zachie for just being like, no,

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Speaker 1: I'm gonna set this up like story time, because I

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Speaker 1: feel like if you got like Looney Tunes beginning or

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Speaker 1: even a Disney it's like a lot of loud, crashing

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Speaker 1: music to let you know, funds about to happen, like

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Speaker 1: strapping kids, like we're about to sling some jokes at you,

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Speaker 1: and you start completely in silence. And a Miyazaki film,

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Speaker 1: it's like, here's some bright colors there, Pastel's it's going

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Speaker 1: to be peaceful and calm, and uh, you're gonna learn

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Speaker 1: some stuff. And then it's underscored pretty quickly by just wind,

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Speaker 1: which we know Miyazaki is ossessed with, and you get

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Speaker 1: this sort of like natural orchestra going, and then it's

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Speaker 1: just radio waves. And I think so much about being

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Speaker 1: that age is about being alone and trying to figure

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Speaker 1: out who you are. You know, you have friends, you

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Speaker 1: have family, but it's a I mean, at least for me,

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Speaker 1: I spent a lot of time in my room being like,

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Speaker 1: who the hell I'm reading a book, I'm watching TV,

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Speaker 1: I'm looking at magazines, like someone please tell me who

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Speaker 1: I am? So I start doing this thing um and

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Speaker 1: for her to be listening to a radio and it

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Speaker 1: starts off like the spirit of freedom right, which sort

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Speaker 1: of becomes this banner for the entire higher film of

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Speaker 1: what does that mean, especially as you mature, If a

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Speaker 1: child for freedom is just like running around the block

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Speaker 1: and screaming your head off. But ideally when you're going

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Speaker 1: out and staking your claim and deciding who you are,

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Speaker 1: what does that look like? And then on top of that,

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Speaker 1: it's a clear night, and she's like, oh, I have

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Speaker 1: a perfect night to leave. And I love the idea

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Speaker 1: early of bringing superstition into a witch movie in a

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Speaker 1: casual way that I think a lot of girls do

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Speaker 1: origin at least I did very much like, oh no,

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Speaker 1: then we have to act. Now, conditions are perfect, like go,

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Speaker 1: and it's completely her decision to to start her life.

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Speaker 1: And I love the way it sort of bowls over

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Speaker 1: her parents, you know, her father is like how you're

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Speaker 1: growing up so fast? And then the duality of how

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Speaker 1: she treats her parents, like with her mother, very strict boundaries,

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Speaker 1: very much like I'm doing it and you need to

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Speaker 1: listen to me, and I'm setting the rules. And with

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Speaker 1: her dad, you know, the first thing she asked is like,

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Speaker 1: can you pick me up and spin me around? And

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Speaker 1: I was little, And I think it's such a beautiful

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Speaker 1: personification of like how she's divided as like to quote

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Speaker 1: the Great Britney Spears, I'm not a girl, not yet

388
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Speaker 1: a woman. She's in between. We're just quoting that the

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Speaker 1: other day. It is like they set up everything so

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Speaker 1: effectively and so quickly, and like, I like that you

391
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Speaker 1: find out that the mom is like president of Witches

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Speaker 1: or you like whatever whatever that means. I support it.

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Speaker 1: That's great, and that yeah, like it seems like her

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Speaker 1: mom is kind of like the breadwinner, you know. It

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Speaker 1: seems like a very matriarchal system they've got over there,

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Speaker 1: and that you see her relationship, like you see three

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Speaker 1: generations of Witches. And then it's I think Debbie Reynolds

398
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Speaker 1: is Grandma Witch, which Debbie Reynolds is canonicallylds the Madame.

399
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Speaker 1: Think like, here's a herring pie. She should have been Grandma,

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Speaker 1: which because then she could have been Grandma, which across

401
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Speaker 1: so many different Disney projects. Was that her grandma? Or

402
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Speaker 1: was that? I thought it was just like a neighbor

403
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Speaker 1: lady who was like, there was a neighbor lady. But

404
00:24:05,920 --> 00:24:08,080
Speaker 1: then her dad is like, hey, Mom, I just want

405
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Speaker 1: to let you know Kiki's leaving tonight, and there's a

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Speaker 1: second old lady in the lawn chairs outside right before

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Speaker 1: I know, we're only one paragraph into the recap. But

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Speaker 1: I also want to shout out, just like the world building,

409
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Speaker 1: and how just like seamless and subtle it is. Where again,

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Speaker 1: if you're comparing this to like a Disney Renaissance movie,

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Speaker 1: it would be like once upon a time there was

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Speaker 1: a family of witches and they started the tradition of

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Speaker 1: leaving home when you're thirteen years old to go, and

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Speaker 1: it would just be like this whole story, similar to

415
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Speaker 1: how Shrek opens like a storybook, like here's an exposition dump.

416
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Speaker 1: But this she's being Shrek critical interesting. So this is

417
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Speaker 1: not shreky In in the sense that it just like

418
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Speaker 1: drops you in this world and you just like go

419
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Speaker 1: along with the world building. But it's very easy to follow,

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Speaker 1: Like it's just I thought it was handled very in

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Speaker 1: like a very cool and interesting way. But it is

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Speaker 1: shreki In in that we love it and it's perfect obviously, yes,

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Speaker 1: of course, Okay, So she sets off on the broom

424
00:25:16,800 --> 00:25:22,040
Speaker 1: with her talking cat Gigi also talking cat shreky In

425
00:25:22,040 --> 00:25:25,800
Speaker 1: in the talking donkey talking cat. Yeah, there's a lot

426
00:25:25,840 --> 00:25:31,280
Speaker 1: of parallels between Kiki and Shrek. Thank you both have whiches.

427
00:25:31,320 --> 00:25:33,160
Speaker 1: Now I see where we're going both which is yes,

428
00:25:33,600 --> 00:25:38,159
Speaker 1: oh my gosh, Yeah, it's it's a fantasy paradise that

429
00:25:38,160 --> 00:25:41,600
Speaker 1: it's above approach. Both are set in a like very

430
00:25:41,640 --> 00:25:48,359
Speaker 1: nondescript European place. There is baking and Shrek, what would

431
00:25:48,359 --> 00:25:54,000
Speaker 1: the gingerbread man? And so forth? So yeah, deliveries have

432
00:25:54,080 --> 00:25:57,080
Speaker 1: to be made. Delivery deliveries do have to be made.

433
00:25:57,119 --> 00:25:59,600
Speaker 1: A rescue takes place, you know, like we could we

434
00:25:59,600 --> 00:26:03,520
Speaker 1: could keep going. This is extremely shreky. Movie is actually

435
00:26:03,600 --> 00:26:09,560
Speaker 1: very shreky. In yes um okay, So, Kiki is not

436
00:26:09,760 --> 00:26:13,399
Speaker 1: very good at flying on a broom, but she heads

437
00:26:14,040 --> 00:26:18,080
Speaker 1: south towards the ocean to hopefully settle in a city there.

438
00:26:18,560 --> 00:26:21,280
Speaker 1: On the way, she meets another young witch we already

439
00:26:21,280 --> 00:26:25,640
Speaker 1: talked about her. She's the very cool, snooty which who

440
00:26:25,680 --> 00:26:29,040
Speaker 1: has been developing her fortune telling skills. Kiki, on the

441
00:26:29,080 --> 00:26:32,280
Speaker 1: other hand, has not decided what her skill is going

442
00:26:32,320 --> 00:26:37,000
Speaker 1: to be yet. It starts raining, so Kiki and Gigi

443
00:26:37,040 --> 00:26:41,200
Speaker 1: take cover in a train, which starts moving and takes

444
00:26:41,200 --> 00:26:45,399
Speaker 1: her to a coastal city where Kiki decides to settle.

445
00:26:46,200 --> 00:26:49,439
Speaker 1: She hopes that witches don't already live in this city,

446
00:26:49,440 --> 00:26:53,160
Speaker 1: because it seems like there isn't a need for maybe

447
00:26:53,160 --> 00:26:56,960
Speaker 1: more than one or two witches. In each city, but

448
00:26:57,119 --> 00:27:02,679
Speaker 1: she learns that no witches live there yet. So Kiki

449
00:27:02,800 --> 00:27:06,480
Speaker 1: tries to make a good impression, but she almost causes

450
00:27:06,520 --> 00:27:10,440
Speaker 1: a traffic accident when she's flying around on her broom

451
00:27:10,560 --> 00:27:16,320
Speaker 1: and the locals are mostly ambivalent toward which is there's

452
00:27:16,359 --> 00:27:18,919
Speaker 1: also this cop who's who wants to reprimand her for

453
00:27:18,960 --> 00:27:28,600
Speaker 1: this near traffic accident from kiki delivery service. Okay, so

454
00:27:28,640 --> 00:27:33,440
Speaker 1: this cop gets distracted when someone in the distance is like, thief,

455
00:27:33,720 --> 00:27:36,960
Speaker 1: stop this thief, and the person who created this diversion

456
00:27:37,200 --> 00:27:41,720
Speaker 1: turns out to be this boy, Tombo. Tombo thinks Kiki

457
00:27:41,760 --> 00:27:46,320
Speaker 1: and her ability to fly are really really cool, but

458
00:27:46,440 --> 00:27:52,720
Speaker 1: Kiki thinks Tombo is annoying and rude. I love her

459
00:27:52,760 --> 00:27:58,040
Speaker 1: attitude towards time. It's very special. You don't see that

460
00:27:58,160 --> 00:28:01,560
Speaker 1: a lot in kids media in a way that's just

461
00:28:01,680 --> 00:28:07,320
Speaker 1: very straightforward. Yeah. So, while Kiki is trying to figure

462
00:28:07,320 --> 00:28:11,040
Speaker 1: out a place to stay, she encounters a son No,

463
00:28:11,400 --> 00:28:14,359
Speaker 1: a bakery owner who needs to return something that a

464
00:28:14,400 --> 00:28:17,439
Speaker 1: customer left behind, and Kiki offers to return it for

465
00:28:17,480 --> 00:28:20,800
Speaker 1: her on her broom, which she does, and a Sona

466
00:28:20,960 --> 00:28:24,240
Speaker 1: is grateful for Kiki's help and she lets Kiki stay

467
00:28:24,400 --> 00:28:28,479
Speaker 1: in a spare room in her attic. Another great line

468
00:28:28,760 --> 00:28:32,400
Speaker 1: where she brings Kiki to this room that is objectively

469
00:28:32,640 --> 00:28:35,160
Speaker 1: quite dirty, and she's like, well, i'd help you clean

470
00:28:35,200 --> 00:28:38,120
Speaker 1: it up, but as you can see, i'm greg nant.

471
00:28:38,320 --> 00:28:43,120
Speaker 1: So I'm so gregnt. Can have you with greg can't

472
00:28:43,160 --> 00:28:48,000
Speaker 1: really do much to help, Gotta go, and then this

473
00:28:48,040 --> 00:28:55,120
Speaker 1: place is disgusting yep. Uh. So she moves into the

474
00:28:55,160 --> 00:28:59,920
Speaker 1: attic room, and based on her ability to quickly trans

475
00:29:00,000 --> 00:29:03,640
Speaker 1: support things to people on her broom, Kiki decides to

476
00:29:03,760 --> 00:29:08,240
Speaker 1: start a delivery business. Um she gets settled into her

477
00:29:08,240 --> 00:29:11,680
Speaker 1: new place, she bumps into Tombo again, and then Kiki

478
00:29:11,680 --> 00:29:15,440
Speaker 1: gets her first customer. A woman wants her to deliver

479
00:29:15,680 --> 00:29:18,960
Speaker 1: a birthday gift for her nephew. The gift is a

480
00:29:19,000 --> 00:29:23,000
Speaker 1: toy cat that looks a lot like Gigi, and while

481
00:29:23,080 --> 00:29:26,000
Speaker 1: making the delivery on her broom, a strong gust of

482
00:29:26,040 --> 00:29:29,800
Speaker 1: wind blows Kiki off course and she loses the toy cat.

483
00:29:29,960 --> 00:29:33,200
Speaker 1: Did not listen to Geese and felt, para, I know

484
00:29:33,880 --> 00:29:37,520
Speaker 1: the right. The Viyazaki wind step is always so fascinating

485
00:29:37,560 --> 00:29:39,960
Speaker 1: because you're just like, wow, we're really these are very

486
00:29:39,960 --> 00:29:44,920
Speaker 1: specific natural rules that she's ignoring. Uh, that I don't

487
00:29:44,920 --> 00:29:47,200
Speaker 1: think completely scanned for me when I was a kid.

488
00:29:47,280 --> 00:29:52,280
Speaker 1: And then Phil Hartman cat gig, thinking it phil Harmon cat,

489
00:29:52,720 --> 00:29:55,120
Speaker 1: phil Harmon cats, like you should have listened to those geese.

490
00:29:55,160 --> 00:29:57,200
Speaker 1: I was like, who, I guess if you were a

491
00:29:57,240 --> 00:29:59,240
Speaker 1: witch and you're flying all the time, maybe you would

492
00:29:59,240 --> 00:30:01,680
Speaker 1: know to listen to he's I thought that these were

493
00:30:01,800 --> 00:30:04,600
Speaker 1: just you know, vibing up there. I don't know what

494
00:30:04,640 --> 00:30:08,280
Speaker 1: they were trying to tell her. He translated it perfectly.

495
00:30:08,360 --> 00:30:11,360
Speaker 1: He said, there's a big gust of wind coming, and

496
00:30:11,400 --> 00:30:14,960
Speaker 1: then they made a shield of themselves to protect her.

497
00:30:15,040 --> 00:30:17,160
Speaker 1: And then they were like that wind's gonna blow us,

498
00:30:17,160 --> 00:30:21,600
Speaker 1: and She's like what right in the face. I love

499
00:30:21,680 --> 00:30:26,760
Speaker 1: that Um is bilingual. He speaks goose, he speaks the

500
00:30:26,840 --> 00:30:30,920
Speaker 1: language of all birds. It seems like legend. So she

501
00:30:31,000 --> 00:30:34,960
Speaker 1: loses the gift and she has pretend to be the

502
00:30:35,000 --> 00:30:38,880
Speaker 1: toy cat until she can find the real one. So

503
00:30:38,960 --> 00:30:42,600
Speaker 1: she searches for the toy and finds it in a

504
00:30:42,640 --> 00:30:46,920
Speaker 1: house that belongs to an artist, and that's Ursela right.

505
00:30:47,400 --> 00:30:51,520
Speaker 1: Also to Ursela's that's a little mermaid synergy taking place.

506
00:30:51,800 --> 00:30:55,880
Speaker 1: Whoa yes, true, true, Yeah. The only reason I knew

507
00:30:55,880 --> 00:31:01,040
Speaker 1: it was her is because it's hello there we go

508
00:31:01,200 --> 00:31:07,320
Speaker 1: get over ginger offalo and she is the cool artist

509
00:31:07,440 --> 00:31:10,040
Speaker 1: lady you would want to spend long night talking to

510
00:31:10,080 --> 00:31:13,880
Speaker 1: you about what does the meaning of your life mean? Yeah,

511
00:31:14,000 --> 00:31:18,000
Speaker 1: that was that was cool casting. I was like, oh,

512
00:31:18,040 --> 00:31:21,320
Speaker 1: that that just like fits. That's like her character that

513
00:31:21,520 --> 00:31:25,440
Speaker 1: she plays. It's just her cool girl energy. So the

514
00:31:25,480 --> 00:31:29,080
Speaker 1: toys damaged its head is starting to fall off, so

515
00:31:29,440 --> 00:31:33,440
Speaker 1: Ursula offers to fix it for Kiki if Kiki helps

516
00:31:33,600 --> 00:31:39,280
Speaker 1: clean Ursula's house, so she does. Meanwhile, Gig is struggling

517
00:31:39,360 --> 00:31:41,960
Speaker 1: to pretend to be a toy, especially because there's a

518
00:31:42,040 --> 00:31:45,120
Speaker 1: very big dog in the house. His name is Jeff.

519
00:31:45,240 --> 00:31:51,680
Speaker 1: I love Jeff the dog. But Jeff ends up helping

520
00:31:51,800 --> 00:31:55,760
Speaker 1: Gigi escape, and he helps Kiki when she returns with

521
00:31:55,960 --> 00:31:59,360
Speaker 1: the toy cat. So Jeff is an ally and we

522
00:31:59,400 --> 00:32:05,400
Speaker 1: love Jeff. GE's pure astonishment and Jeff, he's a good boy,

523
00:32:06,200 --> 00:32:14,800
Speaker 1: totally took me. He'll do it. So it was amazing. Yeah,

524
00:32:14,800 --> 00:32:16,800
Speaker 1: there were so many moments in this movie where you

525
00:32:16,880 --> 00:32:20,720
Speaker 1: expect things to go south, and I kind of wonder.

526
00:32:20,720 --> 00:32:23,560
Speaker 1: I'm like, oh, maybe that's just like how American movies

527
00:32:23,560 --> 00:32:26,880
Speaker 1: were conditioning our brains to think things were going to

528
00:32:26,920 --> 00:32:30,360
Speaker 1: go because I remember very clearly watching this movie for

529
00:32:30,400 --> 00:32:33,360
Speaker 1: the first time, thinking that the older woman, who I

530
00:32:33,400 --> 00:32:37,560
Speaker 1: guess is voiced by Debbie Reynolds, was going to shove

531
00:32:37,640 --> 00:32:40,160
Speaker 1: Kiki in the oven like I just remember, like a

532
00:32:40,200 --> 00:32:42,720
Speaker 1: handsel and Gretel. I didn't think she was a witch

533
00:32:42,760 --> 00:32:47,400
Speaker 1: at first, because she's coated in such acting accidentally, because

534
00:32:47,440 --> 00:32:49,680
Speaker 1: you don't see her at first, like somebody comes to

535
00:32:49,680 --> 00:32:52,520
Speaker 1: the door and greets you, and then she's chilling them

536
00:32:52,520 --> 00:32:54,600
Speaker 1: back to the old voice you mean, her lesbian lover,

537
00:32:54,920 --> 00:33:01,360
Speaker 1: because those two obviously obviously very death on the nile

538
00:33:01,400 --> 00:33:07,440
Speaker 1: of them u um. But then she has that old

539
00:33:07,440 --> 00:33:10,840
Speaker 1: school stove where listen, if Handling Girl weren't getting shoved

540
00:33:10,840 --> 00:33:13,160
Speaker 1: into like a stove that's set on the floor and

541
00:33:13,240 --> 00:33:15,640
Speaker 1: made of like cast iron, they were getting shoved into

542
00:33:15,640 --> 00:33:18,520
Speaker 1: one of those brick wall of things. Maybe that's why

543
00:33:18,520 --> 00:33:20,040
Speaker 1: I thought it was going to have it, because I

544
00:33:20,080 --> 00:33:22,240
Speaker 1: was just like, wait, no, and she was an old

545
00:33:22,320 --> 00:33:25,480
Speaker 1: lady who wasn't like inherently her grandmother, so she must

546
00:33:25,520 --> 00:33:30,520
Speaker 1: be right. And that's yeah, another way that Western storytelling

547
00:33:30,600 --> 00:33:32,880
Speaker 1: that they're like if a woman is older and you

548
00:33:32,960 --> 00:33:36,800
Speaker 1: don't know her personally. She's about to kill you and

549
00:33:36,840 --> 00:33:40,320
Speaker 1: you're wants to eat you stuck your soul because she's

550
00:33:40,360 --> 00:33:43,000
Speaker 1: jealous of your youth. There are no children around her.

551
00:33:43,120 --> 00:33:49,920
Speaker 1: Evil Okay. Anyways, no one tries to coca. It's shocking

552
00:33:50,000 --> 00:33:52,720
Speaker 1: except for a few gusts of wind. Except the wind,

553
00:33:53,840 --> 00:33:59,080
Speaker 1: but the elements. So sometime later, Tombo comes by the

554
00:33:59,120 --> 00:34:03,200
Speaker 1: bakery to invite Kiki to a party that night at

555
00:34:03,240 --> 00:34:07,200
Speaker 1: the Aviation Club, and she's still not thrilled with him

556
00:34:07,240 --> 00:34:10,279
Speaker 1: at first, but she warms up to him and then

557
00:34:10,440 --> 00:34:13,400
Speaker 1: really wants to go to this party. But first she

558
00:34:13,440 --> 00:34:16,160
Speaker 1: has to make a few deliveries because her business is

559
00:34:16,239 --> 00:34:22,360
Speaker 1: starting to take off literally and figuratively. Wow wow, Kiki

560
00:34:22,480 --> 00:34:27,600
Speaker 1: is a girl boss. She is yeah. For one of

561
00:34:27,640 --> 00:34:31,600
Speaker 1: her deliveries, the pot pie is not ready yet because

562
00:34:32,440 --> 00:34:36,160
Speaker 1: the old woman in the credits, I think her like

563
00:34:36,200 --> 00:34:41,080
Speaker 1: she's just mad, madam, that's Debbie Reynolds. Um, her oven

564
00:34:41,239 --> 00:34:44,040
Speaker 1: isn't working, so Kiki helps her bake the dish and

565
00:34:44,040 --> 00:34:46,960
Speaker 1: then helps her around the house. But oh no, Now

566
00:34:47,040 --> 00:34:49,840
Speaker 1: Kiki is running late for the party and it starts

567
00:34:49,920 --> 00:34:53,640
Speaker 1: raining when she sets off to make the delivery. Also

568
00:34:54,000 --> 00:34:58,880
Speaker 1: Debbie Reynolds granddaughter is ungrateful for the pop pie and

569
00:34:59,000 --> 00:35:02,120
Speaker 1: Kiki is soaking wet and she's so late for this party,

570
00:35:02,520 --> 00:35:05,359
Speaker 1: so she just ends up going home and getting into bed,

571
00:35:05,560 --> 00:35:11,760
Speaker 1: which also so relatable, so relatable, and then she gets sish,

572
00:35:12,400 --> 00:35:14,720
Speaker 1: why did she just really quickly shout out the pie?

573
00:35:15,000 --> 00:35:17,640
Speaker 1: Because I don't know that we talked about this in

574
00:35:17,680 --> 00:35:21,560
Speaker 1: our last Miyazaki episode, but the like Miyazaki food scenes

575
00:35:21,560 --> 00:35:24,399
Speaker 1: are kind of like the stuff of legend, and that

576
00:35:24,480 --> 00:35:28,520
Speaker 1: pie in particular, Um, it's just like so like I

577
00:35:28,520 --> 00:35:30,359
Speaker 1: I feel like that I don't know, just like a

578
00:35:30,400 --> 00:35:32,680
Speaker 1: little more detail than it needs to be in a

579
00:35:32,719 --> 00:35:36,160
Speaker 1: way that is very exciting because there's like a crust

580
00:35:36,320 --> 00:35:38,680
Speaker 1: of fish. It's like a pie but there's a fish

581
00:35:38,719 --> 00:35:41,439
Speaker 1: on top, and you're just like, I don't know great well,

582
00:35:41,480 --> 00:35:44,239
Speaker 1: and then even detailing it with like the highest parts

583
00:35:44,239 --> 00:35:46,080
Speaker 1: of the pie got burned a little because it's a

584
00:35:46,080 --> 00:35:48,600
Speaker 1: full roaring fire and it's not going to cook evenly,

585
00:35:49,080 --> 00:35:52,000
Speaker 1: like the thought process that goes into food, the way

586
00:35:52,480 --> 00:35:56,600
Speaker 1: like the loaves of bread. The opening, um, silent husband

587
00:35:56,680 --> 00:35:59,120
Speaker 1: is I like to call him, like flips open the

588
00:35:59,120 --> 00:36:01,640
Speaker 1: pans and twirl them on his fingers for the cat,

589
00:36:01,800 --> 00:36:05,319
Speaker 1: and I just would love to Apparently there isn't mia

590
00:36:05,400 --> 00:36:08,320
Speaker 1: Zaki Land in Japan, and I heard the foods okay,

591
00:36:08,360 --> 00:36:10,759
Speaker 1: and I would like to go to there and just

592
00:36:10,800 --> 00:36:14,480
Speaker 1: eat my way through. I didn't know that existed. God,

593
00:36:14,920 --> 00:36:19,160
Speaker 1: that's incredible. Yeah, silent husband is exactly how And then

594
00:36:19,160 --> 00:36:20,680
Speaker 1: he says one line at the end and you're and

595
00:36:20,719 --> 00:36:22,960
Speaker 1: I just I was like, you can talk. That's not

596
00:36:23,040 --> 00:36:25,360
Speaker 1: how I thought he was going to sound. Yeah, I

597
00:36:25,840 --> 00:36:28,680
Speaker 1: just did. His voice is so much deeper than I

598
00:36:28,680 --> 00:36:30,160
Speaker 1: don't know what I thought he was gonna sound like,

599
00:36:30,200 --> 00:36:34,919
Speaker 1: but I was like, whoa okay, okay. So Kiki does

600
00:36:35,320 --> 00:36:37,799
Speaker 1: get sick for a few days after flying in the rain,

601
00:36:38,000 --> 00:36:40,480
Speaker 1: but then she starts to feel better. She makes a

602
00:36:40,520 --> 00:36:43,480
Speaker 1: delivery for someone who turns out to be Tombo, who

603
00:36:43,520 --> 00:36:46,720
Speaker 1: shows her his flying machine a k a. A bike

604
00:36:46,880 --> 00:36:50,480
Speaker 1: with a propeller on the front, and they get on

605
00:36:50,520 --> 00:36:54,359
Speaker 1: it and go to the beach where this blimp ak.

606
00:36:54,600 --> 00:36:57,920
Speaker 1: They keep calling it a dirigible. I had never heard

607
00:36:57,920 --> 00:37:01,000
Speaker 1: that word before. I'm going to keep calling it a blimp.

608
00:37:01,560 --> 00:37:04,839
Speaker 1: But on the way to see the blimp, they veer

609
00:37:04,880 --> 00:37:09,120
Speaker 1: off course and his flying bike breaks, but they laugh

610
00:37:09,160 --> 00:37:13,680
Speaker 1: about it until Tombo's friends show up and invite them

611
00:37:13,800 --> 00:37:16,960
Speaker 1: to tour the blimp, but Kiki doesn't want to go

612
00:37:17,200 --> 00:37:20,680
Speaker 1: because she feels like an outsider among them. She feels

613
00:37:20,680 --> 00:37:23,680
Speaker 1: that they look at her as if she's kind of

614
00:37:23,719 --> 00:37:26,640
Speaker 1: like an odd ball outsider. I like. I like that

615
00:37:26,680 --> 00:37:33,719
Speaker 1: they introduce kind of like Chekhov's Hendenburg. So if you

616
00:37:33,800 --> 00:37:37,960
Speaker 1: introduce a Handenburg like image, it's got a crash by

617
00:37:37,960 --> 00:37:40,959
Speaker 1: the end of the movie. It doesn't have to quite Hindenburg,

618
00:37:41,160 --> 00:37:43,759
Speaker 1: but I would say this did like a Diet Hindenburg.

619
00:37:44,280 --> 00:37:48,640
Speaker 1: There's definitely a catastrophe involved with pretty scary. I remember

620
00:37:48,640 --> 00:37:51,719
Speaker 1: being very scary because you like it almost felt like

621
00:37:51,960 --> 00:37:54,959
Speaker 1: a little Titanic. We're like, oh my god, they're gonna

622
00:37:55,000 --> 00:38:00,760
Speaker 1: get crushed like it. It's it's very scary. Anyways, check Offshindenburg,

623
00:38:00,840 --> 00:38:07,800
Speaker 1: write it down. New merch coming soon. Um. So, when

624
00:38:08,239 --> 00:38:12,680
Speaker 1: Kiki goes home after kind of abruptly leaving Tombo and

625
00:38:12,719 --> 00:38:17,040
Speaker 1: his friends, she discovers that she can't understand Gigi anymore.

626
00:38:17,200 --> 00:38:19,799
Speaker 1: So he just sounds like a cat meowing at her

627
00:38:20,400 --> 00:38:24,480
Speaker 1: and not Phil Hartman making you know, sarcastic quips, which

628
00:38:24,480 --> 00:38:27,279
Speaker 1: would be a big disappointment. It would be so devastating

629
00:38:27,520 --> 00:38:30,120
Speaker 1: if if my cat made slide comments all the time

630
00:38:30,480 --> 00:38:36,880
Speaker 1: and then just abruptly didn't, the heartbreak just a third

631
00:38:36,920 --> 00:38:41,520
Speaker 1: of my entertainment is gone. I kind of always imagine,

632
00:38:42,120 --> 00:38:43,920
Speaker 1: because you know, like if you're like Pet's voice in

633
00:38:44,000 --> 00:38:47,320
Speaker 1: your head. Of course, I do always kind of apply

634
00:38:47,440 --> 00:38:50,880
Speaker 1: a bit of a Newsy's accent to both of my pets,

635
00:38:50,880 --> 00:38:53,000
Speaker 1: and I wonder how much of that is like just

636
00:38:53,200 --> 00:38:57,200
Speaker 1: latent Phil Hartman Gigi from my I'm like, oh yeah,

637
00:38:57,680 --> 00:38:59,920
Speaker 1: of course, if you have a little black cat is

638
00:39:00,000 --> 00:39:02,520
Speaker 1: your animal familiar, it's gonna sound a little bit like

639
00:39:02,560 --> 00:39:05,719
Speaker 1: Phil Harp those are I have a giant dog and

640
00:39:05,760 --> 00:39:11,640
Speaker 1: she sounds dopey. She has the tuba that follows Jeff around.

641
00:39:11,200 --> 00:39:17,719
Speaker 1: I did have a little oh god, I was really

642
00:39:17,719 --> 00:39:20,680
Speaker 1: hoping Jeff would come back for more than a second.

643
00:39:20,800 --> 00:39:25,520
Speaker 1: But seriously, he made a meal of his time on screen.

644
00:39:26,920 --> 00:39:31,080
Speaker 1: It's a joy and a highlight. Okay, so she can't

645
00:39:31,160 --> 00:39:36,000
Speaker 1: understand Gigi anymore. Also, Gigi has a cat girlfriend who

646
00:39:36,040 --> 00:39:41,160
Speaker 1: again in the original Japanese version of this movie Lesbian Cats,

647
00:39:41,280 --> 00:39:44,640
Speaker 1: we've got lesbian old ladies. A lot of queer representation

648
00:39:45,239 --> 00:39:50,279
Speaker 1: in this film. So he also discovers she cannot fly

649
00:39:50,520 --> 00:39:53,720
Speaker 1: on her broom anymore, and she breaks her broom trying

650
00:39:53,760 --> 00:39:56,440
Speaker 1: to see if she can still fly. So she's losing

651
00:39:56,440 --> 00:39:59,840
Speaker 1: her witch's powers. She's really depressed. She doesn't want to

652
00:39:59,840 --> 00:40:04,040
Speaker 1: talk to Tombo anymore. But then one day, Ursula shows

653
00:40:04,120 --> 00:40:07,719
Speaker 1: up to visit Kiki and they take a little like

654
00:40:08,000 --> 00:40:13,200
Speaker 1: weekend trip together out in the woods and Kiki confides

655
00:40:13,400 --> 00:40:17,440
Speaker 1: in Ursula while she draws Kiki, and she tells Kiki

656
00:40:17,520 --> 00:40:19,760
Speaker 1: that the same thing happened to her as an artist.

657
00:40:19,960 --> 00:40:23,440
Speaker 1: She felt she couldn't really paint anymore, but she realized

658
00:40:23,520 --> 00:40:26,920
Speaker 1: what she needed was some inspiration and she needed to

659
00:40:27,440 --> 00:40:31,879
Speaker 1: discover her own unique style. So that scene really hit

660
00:40:31,960 --> 00:40:37,080
Speaker 1: for me this time around. I needed it. Then Kiki

661
00:40:37,280 --> 00:40:42,880
Speaker 1: returns home and makes another delivery for the Madam, except

662
00:40:42,920 --> 00:40:48,600
Speaker 1: it's actually a gift, a cake from her for Kiki,

663
00:40:49,160 --> 00:40:52,960
Speaker 1: and she's so touched and she starts crying, and they

664
00:40:53,000 --> 00:40:56,200
Speaker 1: are going to celebrate their birthdays together and it's so beautiful,

665
00:40:56,800 --> 00:41:01,560
Speaker 1: but meanwhile, oh no, there's a terrible accident with they're like,

666
00:41:01,560 --> 00:41:04,960
Speaker 1: oh no, Chekhov's Hindenburg and it's blowing away because of

667
00:41:05,280 --> 00:41:09,160
Speaker 1: strong winds, so really the wind is the antagonist of

668
00:41:09,200 --> 00:41:13,359
Speaker 1: this movie, and the blimp is taking Tombo along with it,

669
00:41:13,480 --> 00:41:17,400
Speaker 1: so Kiki rushes off. She grabs a man's push broom

670
00:41:18,080 --> 00:41:21,959
Speaker 1: and is able to fly on it again, but she's

671
00:41:22,080 --> 00:41:25,880
Speaker 1: very rusty and wobbly on the broom. The blimp crashes

672
00:41:25,920 --> 00:41:29,560
Speaker 1: into a clock tower. Tombo is about to fall off

673
00:41:29,600 --> 00:41:33,360
Speaker 1: and die, but Kiki manages to get there in the

674
00:41:33,480 --> 00:41:37,480
Speaker 1: nick of time, and she saves Tombo. And everyone is

675
00:41:37,520 --> 00:41:40,080
Speaker 1: so proud of Kiki. She's a she's a national hero.

676
00:41:40,880 --> 00:41:43,799
Speaker 1: And I don't know about anyone else, but I legitimately

677
00:41:43,840 --> 00:41:47,200
Speaker 1: burst into tears, like when she grabs him and then

678
00:41:47,239 --> 00:41:51,160
Speaker 1: like lowers him down onto the I was like, oh,

679
00:41:51,520 --> 00:41:55,080
Speaker 1: it's beautiful, and it's like it builds a suspense so well,

680
00:41:55,160 --> 00:41:57,960
Speaker 1: like you don't know if she I mean you do,

681
00:41:58,080 --> 00:42:01,200
Speaker 1: but you do, and then she lowers him so slowly,

682
00:42:01,440 --> 00:42:05,160
Speaker 1: and it's so beautiful. Kay, I guess that that is

683
00:42:05,200 --> 00:42:08,359
Speaker 1: a that's a little Mermaid parallel where Ariel does save

684
00:42:08,400 --> 00:42:10,840
Speaker 1: Prince Eric it um. I think a few points in

685
00:42:10,840 --> 00:42:16,400
Speaker 1: that movie, but it's it is such a beautiful conclusion

686
00:42:17,120 --> 00:42:19,719
Speaker 1: and then she and then and then you find out

687
00:42:20,120 --> 00:42:23,640
Speaker 1: and then I get curious about the timeline of the

688
00:42:23,680 --> 00:42:25,520
Speaker 1: movie at the end because it's like she's supposed to

689
00:42:25,520 --> 00:42:29,080
Speaker 1: be gone for like a year, right or so, and

690
00:42:29,120 --> 00:42:30,719
Speaker 1: then like how long has she been gone? Because at

691
00:42:30,719 --> 00:42:32,000
Speaker 1: the end of it's like I was like, Oh, yeah,

692
00:42:32,040 --> 00:42:34,680
Speaker 1: I guess maybe it's been like two months. Maybe this

693
00:42:34,960 --> 00:42:38,160
Speaker 1: she became a celebrity, like two months into her year,

694
00:42:38,560 --> 00:42:41,120
Speaker 1: her semester abroad. That's kind of where I thought the

695
00:42:41,120 --> 00:42:44,319
Speaker 1: timeline was. Because so the movie ends with Kiki and

696
00:42:44,360 --> 00:42:47,560
Speaker 1: Tombo flying together, Kiki on her broom and Tombo on

697
00:42:47,680 --> 00:42:50,399
Speaker 1: his new and improved flying machine, and then we get

698
00:42:50,400 --> 00:42:52,520
Speaker 1: the credits, and we get a few we you know,

699
00:42:52,560 --> 00:42:55,799
Speaker 1: we check in with different characters, and then there's a

700
00:42:55,800 --> 00:42:57,960
Speaker 1: scene at the very end of the of that like

701
00:42:58,000 --> 00:43:02,080
Speaker 1: credit sequence where kiki parents receive a letter from her

702
00:43:02,400 --> 00:43:05,280
Speaker 1: saying how she loves the city and now she has

703
00:43:05,320 --> 00:43:08,920
Speaker 1: all this confidence and she's like doing great. And I'm like, oh, well,

704
00:43:09,080 --> 00:43:13,839
Speaker 1: so she's still, you know, abroad and like on her

705
00:43:13,920 --> 00:43:17,560
Speaker 1: year abroad basically, So yeah, I think it's only a

706
00:43:17,560 --> 00:43:22,200
Speaker 1: few months into her adventures wild. So that's the story.

707
00:43:22,320 --> 00:43:24,680
Speaker 1: Let's take a quick break and then we will come

708
00:43:24,760 --> 00:43:35,160
Speaker 1: right back to discuss and we are back. We're back

709
00:43:35,160 --> 00:43:38,360
Speaker 1: on our brooms, baby, and we're ready to soar into

710
00:43:38,760 --> 00:43:42,240
Speaker 1: the discussion. Where to begin? I feel like we've already

711
00:43:42,320 --> 00:43:45,279
Speaker 1: It's it's hard to like, um, keep your feelings at

712
00:43:45,320 --> 00:43:51,000
Speaker 1: bay when discussing I'm discussing, kikiS um, where shall we go?

713
00:43:51,520 --> 00:43:54,680
Speaker 1: Can we talk about how this reflects just so many

714
00:43:54,719 --> 00:43:57,520
Speaker 1: points in our lives. We've sort of been talking a

715
00:43:57,560 --> 00:43:59,960
Speaker 1: little bit about it, Like for me, is very into

716
00:44:00,040 --> 00:44:03,720
Speaker 1: gative of the year between junior high and high school,

717
00:44:04,200 --> 00:44:06,440
Speaker 1: Like it sort of felt like that summer of like

718
00:44:06,480 --> 00:44:08,400
Speaker 1: who am I going to be in this new school?

719
00:44:08,920 --> 00:44:11,640
Speaker 1: And there's gonna be so much less like parental and

720
00:44:11,640 --> 00:44:14,320
Speaker 1: individual oversight, and I'll be making a lot more decisions

721
00:44:14,320 --> 00:44:15,480
Speaker 1: about like what kind of or is I want to

722
00:44:15,480 --> 00:44:16,839
Speaker 1: be a part of and all this stuff. And then

723
00:44:17,360 --> 00:44:20,040
Speaker 1: it also sort of reminded me of like when I

724
00:44:20,080 --> 00:44:21,920
Speaker 1: moved out of the dorms in college, which for me

725
00:44:22,000 --> 00:44:24,000
Speaker 1: was like the second half of freshman year, and I

726
00:44:24,040 --> 00:44:26,960
Speaker 1: got my first apartment and I was like, I could

727
00:44:26,960 --> 00:44:30,360
Speaker 1: totally have so much money shopping spree. Looks like all

728
00:44:30,400 --> 00:44:35,360
Speaker 1: I can eat is pancakes, damn um. And then even

729
00:44:35,440 --> 00:44:41,279
Speaker 1: now sort of the aspects of like burnout and definitely

730
00:44:41,320 --> 00:44:43,680
Speaker 1: female friendships. At this point in time, my life is

731
00:44:43,719 --> 00:44:47,879
Speaker 1: somebody who's like not in a very seriously committed relationships.

732
00:44:47,960 --> 00:44:52,040
Speaker 1: My female friendships are like the most grounding, structural feature

733
00:44:52,239 --> 00:44:56,359
Speaker 1: of my daily life. And I think she's surrounded by

734
00:44:56,800 --> 00:45:01,359
Speaker 1: so many incredible women who see her so authentically. And

735
00:45:01,400 --> 00:45:05,120
Speaker 1: I love that this movie sort of embraces all of

736
00:45:05,160 --> 00:45:08,560
Speaker 1: those moments and ask you, if you're envisioning yourself as Kiki,

737
00:45:09,239 --> 00:45:12,080
Speaker 1: you don't need to change. There's so many times when

738
00:45:12,080 --> 00:45:14,760
Speaker 1: this could have flown off into like, uh, makeup montage.

739
00:45:14,760 --> 00:45:18,200
Speaker 1: She's practically begging for one the whole movie. She's like,

740
00:45:18,719 --> 00:45:20,919
Speaker 1: my shoes aren't right, like these pretty red shoes, maybe

741
00:45:20,960 --> 00:45:24,000
Speaker 1: I'll get those. And I my dress it's not right, mom,

742
00:45:24,080 --> 00:45:25,600
Speaker 1: Like it's just dark and I would look better. And

743
00:45:25,680 --> 00:45:29,040
Speaker 1: Lilac and the woman she lives with, and she's like,

744
00:45:29,080 --> 00:45:31,200
Speaker 1: I got back to a party. You don't twear. She's like, well,

745
00:45:31,200 --> 00:45:33,080
Speaker 1: that's not really a problem because it looks great and

746
00:45:33,120 --> 00:45:36,560
Speaker 1: cool and mysterious and this dope dress you have. Anyone

747
00:45:36,560 --> 00:45:39,920
Speaker 1: else would have been like montage girl, let's fix you

748
00:45:40,080 --> 00:45:42,640
Speaker 1: so people will like you. And I love the idea

749
00:45:42,760 --> 00:45:45,520
Speaker 1: that all these women essentially just encourage her to like

750
00:45:46,080 --> 00:45:48,640
Speaker 1: be herself and take her time and get some rest

751
00:45:48,719 --> 00:45:51,360
Speaker 1: and all the great advice you get from your girl friends.

752
00:45:51,360 --> 00:45:53,439
Speaker 1: And it's so oh man, it's the kind of movie

753
00:45:53,440 --> 00:45:55,080
Speaker 1: you instantly want to share with the little girls in

754
00:45:55,120 --> 00:45:57,480
Speaker 1: your life. You're like, please watch and consume and like

755
00:45:57,640 --> 00:46:00,960
Speaker 1: internalized as quickly as you can. I mean, and like,

756
00:46:01,960 --> 00:46:03,920
Speaker 1: this has been on my mind for you, and I

757
00:46:03,960 --> 00:46:06,399
Speaker 1: guess I hadn't thought about how Kiki is like such

758
00:46:06,440 --> 00:46:10,040
Speaker 1: a unique, shining example of just like the value of

759
00:46:10,520 --> 00:46:13,920
Speaker 1: teaching kids in general, like when to say no, but

760
00:46:13,960 --> 00:46:18,320
Speaker 1: in particular teaching young girls when to say no because

761
00:46:18,440 --> 00:46:22,800
Speaker 1: Kiki is like and and also seeing that not result

762
00:46:22,960 --> 00:46:27,839
Speaker 1: in some worst case scenario where Kiki is like she burnt.

763
00:46:27,880 --> 00:46:29,719
Speaker 1: Part of the reason she burns herself out is because

764
00:46:29,719 --> 00:46:33,520
Speaker 1: she's so she works really hard, Like she is very

765
00:46:33,680 --> 00:46:36,520
Speaker 1: very very accommodating to other people in a way that

766
00:46:36,560 --> 00:46:39,799
Speaker 1: I feel like girls are often like conditioned to do,

767
00:46:40,960 --> 00:46:45,280
Speaker 1: and like she's always doing the most for other people

768
00:46:45,360 --> 00:46:48,319
Speaker 1: in a way that is like speaks to how good

769
00:46:48,360 --> 00:46:50,799
Speaker 1: her heart is. But when she has to, like when

770
00:46:50,800 --> 00:46:55,280
Speaker 1: she hits a wall and she like is completely burned

771
00:46:55,280 --> 00:46:57,439
Speaker 1: out and has nothing left to give. No one's set

772
00:46:57,480 --> 00:47:00,879
Speaker 1: with her. Everyone's like, yeah, of course, like we appreciated

773
00:47:00,920 --> 00:47:03,440
Speaker 1: everything you're doing for us, but like you don't have

774
00:47:03,640 --> 00:47:07,160
Speaker 1: like don't hurt yourself, don't kill yourself on behalf of

775
00:47:07,239 --> 00:47:11,200
Speaker 1: like practice some self care, like I didn't get back

776
00:47:11,239 --> 00:47:13,319
Speaker 1: on your feet. Yeah. Well, and the thing that really

777
00:47:13,360 --> 00:47:16,399
Speaker 1: burns her out is the lack of appreciation, right, Like, yes,

778
00:47:16,440 --> 00:47:18,160
Speaker 1: it's the rain and it gives her a cold and

779
00:47:18,200 --> 00:47:21,120
Speaker 1: all that, but it's your grandmother and I worked really

780
00:47:21,160 --> 00:47:23,120
Speaker 1: hard to make sure you could have this thing that

781
00:47:23,160 --> 00:47:26,279
Speaker 1: she thought you would love in your against snootiness and

782
00:47:26,320 --> 00:47:29,480
Speaker 1: complete rejection of this you know, gift aide with so

783
00:47:29,560 --> 00:47:32,480
Speaker 1: much love, Like it's so disheartening to her that she

784
00:47:32,520 --> 00:47:36,200
Speaker 1: can't because I feel like before this, Kiki is always

785
00:47:36,200 --> 00:47:38,759
Speaker 1: seeing the bright side of things, you know, when they

786
00:47:38,840 --> 00:47:41,920
Speaker 1: arrive in the town. Her is like, you know, if

787
00:47:41,920 --> 00:47:44,120
Speaker 1: there maybe which is like and there might not be,

788
00:47:44,280 --> 00:47:45,960
Speaker 1: we just don't know yet. We have to go ask

789
00:47:46,000 --> 00:47:49,759
Speaker 1: some questions. She's like always a glass half full kind

790
00:47:49,760 --> 00:47:54,000
Speaker 1: of gal. But everyone's been accommodating and appreciative and supportive

791
00:47:54,560 --> 00:47:56,920
Speaker 1: up until that point, even her first customer as a woman,

792
00:47:56,960 --> 00:47:58,680
Speaker 1: and she gives her way more money than she's like

793
00:47:58,880 --> 00:48:00,400
Speaker 1: I didn't even think a proud of and they're like

794
00:48:00,440 --> 00:48:02,839
Speaker 1: a poor girl, Okay, this is what you want to be.

795
00:48:03,080 --> 00:48:05,919
Speaker 1: Just overpaid a couple of times and you're like, yes,

796
00:48:06,000 --> 00:48:10,320
Speaker 1: people appreciate her work. And then literally like Debbie Reynolds

797
00:48:10,440 --> 00:48:12,600
Speaker 1: is like, you know, Kiki's like, you don't have to

798
00:48:12,640 --> 00:48:16,160
Speaker 1: pay me if if your pie isn't done, and Debbie

799
00:48:16,160 --> 00:48:18,440
Speaker 1: Reynolds is like, no, you came here, you worked, and

800
00:48:18,480 --> 00:48:21,920
Speaker 1: it's like, wow, Miyazaki and you know that, like Miyazaki

801
00:48:21,960 --> 00:48:25,279
Speaker 1: has been involved in like workers rights and labor rights

802
00:48:25,280 --> 00:48:27,879
Speaker 1: throughout his career too, so it feels very like intentional

803
00:48:27,920 --> 00:48:33,200
Speaker 1: and yes, yes, yeah, that's something that really struck me

804
00:48:33,480 --> 00:48:37,680
Speaker 1: to where like a recurring theme slash motif is this

805
00:48:38,440 --> 00:48:41,960
Speaker 1: idea of like Kiki isn't really sure what her work

806
00:48:42,239 --> 00:48:45,319
Speaker 1: is worth, and like is part of me was like,

807
00:48:45,320 --> 00:48:48,160
Speaker 1: I don't even know if she's being overpaid by these people.

808
00:48:48,239 --> 00:48:51,600
Speaker 1: It's probably just that she's been conditioned to like not

809
00:48:51,920 --> 00:48:55,799
Speaker 1: know her value, which is another thing that girls are

810
00:48:55,960 --> 00:48:59,160
Speaker 1: not ever taught how to negotiate for themselves or like

811
00:48:59,320 --> 00:49:03,399
Speaker 1: not taught like how to know the worth of their

812
00:49:04,239 --> 00:49:07,239
Speaker 1: labor and skills and stuff like that. Absolutely, and her

813
00:49:07,239 --> 00:49:09,040
Speaker 1: mom even makes such a big point of like she

814
00:49:09,160 --> 00:49:11,640
Speaker 1: barely knows how to fly, which sort of hit me

815
00:49:11,760 --> 00:49:14,279
Speaker 1: on two points is like, one, you did this at

816
00:49:14,280 --> 00:49:17,440
Speaker 1: thirteen as well, your daughter is like clearly very capable.

817
00:49:17,600 --> 00:49:19,279
Speaker 1: She's like checking the night to make sure you're like,

818
00:49:19,440 --> 00:49:21,439
Speaker 1: I mean, thirteen is very young to be like out

819
00:49:21,480 --> 00:49:25,920
Speaker 1: on your stars as far as like, but as far

820
00:49:25,960 --> 00:49:28,680
Speaker 1: as tradition goes, Just like I think parents often are

821
00:49:28,719 --> 00:49:31,960
Speaker 1: like my babies when they were often doing things either

822
00:49:32,600 --> 00:49:34,920
Speaker 1: you know, more intense or just about as intense when

823
00:49:34,960 --> 00:49:39,600
Speaker 1: they were their kids age, and it wasn't necessarily harmful, um,

824
00:49:39,640 --> 00:49:41,719
Speaker 1: but it was also sort of this idea of like

825
00:49:41,840 --> 00:49:45,839
Speaker 1: Keys sort of been I think only child syndrome, where

826
00:49:45,840 --> 00:49:47,920
Speaker 1: she's just around a lot of adults, so she's very mature,

827
00:49:48,000 --> 00:49:50,719
Speaker 1: and she's running around and doing her own thing, and

828
00:49:50,800 --> 00:49:52,600
Speaker 1: she hasn't had the time to like learn potions or

829
00:49:52,680 --> 00:49:55,680
Speaker 1: learn a trade really so that she's fully prepared for

830
00:49:55,719 --> 00:49:58,080
Speaker 1: this journey. And I sort of like that so much

831
00:49:58,160 --> 00:50:01,600
Speaker 1: of her action is just omption. I just want to

832
00:50:01,600 --> 00:50:03,680
Speaker 1: go to the ocean. Let's just go see what that's like,

833
00:50:03,960 --> 00:50:05,839
Speaker 1: we could probably this sound looks good, like the train

834
00:50:05,920 --> 00:50:08,400
Speaker 1: dropped me off here, Maybe that'll work, you know, like

835
00:50:09,719 --> 00:50:11,960
Speaker 1: I could take the pacifier back, and then doesn't think

836
00:50:11,960 --> 00:50:14,600
Speaker 1: about at all making that her job until again, here's

837
00:50:14,600 --> 00:50:17,280
Speaker 1: this older woman who's like, well that could be a business,

838
00:50:17,360 --> 00:50:19,399
Speaker 1: and you don't have any place to say, like, let

839
00:50:19,400 --> 00:50:21,560
Speaker 1: me give you a room, you poor child out on

840
00:50:21,600 --> 00:50:23,760
Speaker 1: the street. I love when you go to the hotel,

841
00:50:24,239 --> 00:50:26,040
Speaker 1: which again I just think about if I was their

842
00:50:26,080 --> 00:50:28,919
Speaker 1: team trying to do it on my own and be like, yeah,

843
00:50:28,920 --> 00:50:31,279
Speaker 1: I'm gonna check in. Is your parents around? Like who

844
00:50:31,280 --> 00:50:34,399
Speaker 1: are And she's like who's responsible for this child? Which

845
00:50:34,440 --> 00:50:37,839
Speaker 1: is also relatable to like as a thirteen year old,

846
00:50:37,840 --> 00:50:40,200
Speaker 1: but also just as like a person of any age,

847
00:50:40,360 --> 00:50:43,479
Speaker 1: like doing a new thing, going to a new place.

848
00:50:43,480 --> 00:50:45,239
Speaker 1: I think there's a lot of like I mean, there's

849
00:50:45,280 --> 00:50:48,279
Speaker 1: a lot of metaphors you can map on two Kiki's experience.

850
00:50:48,360 --> 00:50:53,200
Speaker 1: Like I was reading a Twitter thread on our Twitter

851
00:50:53,480 --> 00:50:55,600
Speaker 1: when we were posting about wanting to cover this movie,

852
00:50:56,040 --> 00:50:59,239
Speaker 1: and a listener was like, this movie gave me the

853
00:50:59,280 --> 00:51:03,560
Speaker 1: confidence to like go abroad when I was like a

854
00:51:03,560 --> 00:51:07,960
Speaker 1: young adult and like live abroad and other people were

855
00:51:08,000 --> 00:51:10,920
Speaker 1: commenting things like, oh, like I saw this as a

856
00:51:10,960 --> 00:51:15,080
Speaker 1: metaphor for like pursuing art as a career, and like

857
00:51:15,440 --> 00:51:18,200
Speaker 1: how people generally respond to that, but like how you

858
00:51:18,239 --> 00:51:22,400
Speaker 1: have to, like you know, just kind of keep doing

859
00:51:22,440 --> 00:51:24,799
Speaker 1: it and messing up at it until you kind of

860
00:51:24,960 --> 00:51:28,200
Speaker 1: finally figure it out and and then just I also

861
00:51:28,360 --> 00:51:31,800
Speaker 1: think that similar to Paddington, you can kind of map

862
00:51:32,280 --> 00:51:36,960
Speaker 1: like this is similar to an immigrants experience, and there's

863
00:51:37,000 --> 00:51:40,839
Speaker 1: all these just like relatable experiences, and yeah, we were

864
00:51:40,840 --> 00:51:45,120
Speaker 1: already talking about some of them, but there's also you

865
00:51:45,280 --> 00:51:48,759
Speaker 1: rarely see a female character, like a girl of this

866
00:51:48,920 --> 00:51:53,400
Speaker 1: age in a movie being allowed to just kind of

867
00:51:54,239 --> 00:51:59,000
Speaker 1: fumble through what she's trying to do and like make mistakes,

868
00:51:59,040 --> 00:52:03,200
Speaker 1: but like learn and develop her skills and show emotional

869
00:52:03,280 --> 00:52:07,240
Speaker 1: vulnerability but also show strength. We've had a very similar

870
00:52:07,239 --> 00:52:10,319
Speaker 1: discussion on the Spirited Away episode two. Yeah, because this

871
00:52:10,400 --> 00:52:13,240
Speaker 1: is like something that Miazaki is like known for being

872
00:52:14,120 --> 00:52:19,120
Speaker 1: really good with, and like I love that it's like she, yeah,

873
00:52:19,320 --> 00:52:23,520
Speaker 1: similar to Tahiro Kiki, is not great at everything the

874
00:52:23,560 --> 00:52:25,719
Speaker 1: first time she tries it, and you see her like

875
00:52:25,840 --> 00:52:27,960
Speaker 1: get better in a way that feels like you're saying

876
00:52:28,000 --> 00:52:30,759
Speaker 1: Joel like very very grounded for the fantasy world that

877
00:52:30,800 --> 00:52:33,160
Speaker 1: we're in. And I think that also makes her more

878
00:52:34,000 --> 00:52:37,800
Speaker 1: like accessible to kids that are watching the movie, because

879
00:52:37,840 --> 00:52:40,360
Speaker 1: it's like most kids are not going to be amazing

880
00:52:40,360 --> 00:52:42,399
Speaker 1: at something the first time they try it. And like

881
00:52:43,000 --> 00:52:45,520
Speaker 1: the way that Kiki, like, I don't know it stood

882
00:52:45,520 --> 00:52:47,800
Speaker 1: out to me, especially on this viewing. The way that she,

883
00:52:48,400 --> 00:52:52,120
Speaker 1: like her strength is that she approaches the world with

884
00:52:52,160 --> 00:52:56,319
Speaker 1: all this positivity and confidence and just like trusts that

885
00:52:56,560 --> 00:52:59,359
Speaker 1: she's going to find her place. And it's like when

886
00:53:00,080 --> 00:53:04,240
Speaker 1: she feels rejected enough times, that's when she loses herself

887
00:53:04,280 --> 00:53:07,520
Speaker 1: for a little bit and loses what makes her so special,

888
00:53:07,560 --> 00:53:10,120
Speaker 1: which is that she is able to like just have

889
00:53:10,360 --> 00:53:14,640
Speaker 1: this faith in herself that kids are very often able

890
00:53:14,680 --> 00:53:16,960
Speaker 1: to have in themselves, and that sometimes, you know, like

891
00:53:17,760 --> 00:53:19,640
Speaker 1: at the age she's at, when you're when you're thirteen,

892
00:53:19,680 --> 00:53:22,000
Speaker 1: that's when you kind of start to question that and

893
00:53:22,040 --> 00:53:25,319
Speaker 1: lose that. And the fact that she questions it and

894
00:53:25,360 --> 00:53:29,040
Speaker 1: loses it and then like meets this amazing big sister

895
00:53:29,640 --> 00:53:34,239
Speaker 1: who Another really great moment that I remember thinking was

896
00:53:34,280 --> 00:53:36,040
Speaker 1: really sweet when I was a kid too, is the

897
00:53:37,040 --> 00:53:38,839
Speaker 1: you know, Kiki says I think something that a lot

898
00:53:38,880 --> 00:53:42,160
Speaker 1: of thirteen year olds, I mean, regardless of gender say,

899
00:53:42,200 --> 00:53:44,279
Speaker 1: where they're like, why would you want to draw? Like,

900
00:53:44,320 --> 00:53:46,080
Speaker 1: why would you want to draw me? I'm like, I'm

901
00:53:46,080 --> 00:53:49,919
Speaker 1: not pretty, I'm not cute, and because I mean, think

902
00:53:49,960 --> 00:53:51,919
Speaker 1: of a time in your life where you feel less

903
00:53:51,920 --> 00:53:55,920
Speaker 1: cute than being thirteen years old. Oh my god. And

904
00:53:55,960 --> 00:53:59,600
Speaker 1: then her reaction to not be like, oh no, you're beautiful,

905
00:53:59,640 --> 00:54:02,359
Speaker 1: to lave laugh, to laugh so fully, and just being

906
00:54:02,400 --> 00:54:07,000
Speaker 1: like it's not even a rejection of that idea, it's

907
00:54:07,000 --> 00:54:09,080
Speaker 1: a complete understand of course you feel that way, but no,

908
00:54:09,200 --> 00:54:11,319
Speaker 1: let me tell you all your face is beautiful. So

909
00:54:11,520 --> 00:54:14,160
Speaker 1: it's like that sort of like constant love and positivity

910
00:54:14,200 --> 00:54:17,880
Speaker 1: and not over dramatizing a moment, which I think often

911
00:54:17,920 --> 00:54:21,680
Speaker 1: happens for like like oh you feel bad, to stop everything.

912
00:54:21,719 --> 00:54:23,640
Speaker 1: We need to make sure you feel good about yourself

913
00:54:23,680 --> 00:54:26,359
Speaker 1: instead of just sort of embracing that that feeling is

914
00:54:26,840 --> 00:54:28,880
Speaker 1: real and that you can sort of stay with that

915
00:54:28,960 --> 00:54:32,400
Speaker 1: feeling and still recognize that there is beauty in you

916
00:54:32,560 --> 00:54:35,480
Speaker 1: and that you know you look good kid, like you're fine.

917
00:54:35,840 --> 00:54:39,800
Speaker 1: I just think there's there's so much um just support

918
00:54:39,880 --> 00:54:42,200
Speaker 1: and sort of the ideal support that you would hope

919
00:54:42,680 --> 00:54:46,719
Speaker 1: young people would gravitate towards um and none of the

920
00:54:46,760 --> 00:54:49,399
Speaker 1: negative to really counterbalance at all. That it's like there's

921
00:54:49,400 --> 00:54:51,840
Speaker 1: no need, like we're going to keep it two thousand

922
00:54:51,880 --> 00:54:56,520
Speaker 1: percent positive, even if we compare her final heroic scene

923
00:54:56,560 --> 00:55:00,359
Speaker 1: to any other movie's heroic moment, which is always I've

924
00:55:00,440 --> 00:55:03,959
Speaker 1: mastered my skills and now I can do the job

925
00:55:04,000 --> 00:55:07,440
Speaker 1: that needs to be done, which is ludicrous. I mean,

926
00:55:07,520 --> 00:55:10,080
Speaker 1: if you talk to anybody working in literally in the

927
00:55:10,280 --> 00:55:13,640
Speaker 1: field who's sane and not a complete narcissist, they're like, Oh,

928
00:55:13,719 --> 00:55:16,760
Speaker 1: I still have so much to learn. There's I'm constantly

929
00:55:16,760 --> 00:55:19,120
Speaker 1: messing it up. I'm constantly questioning whether I'm doing it right.

930
00:55:19,160 --> 00:55:21,960
Speaker 1: I have no flicking clue how I'm gonna do this

931
00:55:22,040 --> 00:55:24,040
Speaker 1: next step that I need to do. And so to

932
00:55:24,120 --> 00:55:28,200
Speaker 1: show her fumble the whole way until the very last second,

933
00:55:28,520 --> 00:55:30,080
Speaker 1: like there at the moment where you're like, is he

934
00:55:30,120 --> 00:55:32,560
Speaker 1: gonna let this kid just splat on the ground? Is

935
00:55:32,560 --> 00:55:34,360
Speaker 1: he gonna die in front of all these people you

936
00:55:34,440 --> 00:55:38,400
Speaker 1: don't know, not really, and and for it to be

937
00:55:38,520 --> 00:55:40,799
Speaker 1: sort of this great moment and still be so celebrated

938
00:55:40,840 --> 00:55:43,359
Speaker 1: and so not you know, I think again. It could

939
00:55:43,360 --> 00:55:45,360
Speaker 1: easily be like, oh, she almost dropped him most scary.

940
00:55:45,640 --> 00:55:47,160
Speaker 1: Instead I was like, oh my god, you did it,

941
00:55:47,200 --> 00:55:50,720
Speaker 1: Thank God. And it's it's just all constant love and support.

942
00:55:50,840 --> 00:55:53,239
Speaker 1: And this movie feels like a warm hug. Guys, if

943
00:55:53,239 --> 00:55:56,160
Speaker 1: you need one, like you can watch this movie. It's

944
00:55:56,160 --> 00:55:59,840
Speaker 1: getting me all teared up just describing, like it's so

945
00:56:00,120 --> 00:56:03,759
Speaker 1: thoughtful and like that night with Ursula is so special.

946
00:56:03,840 --> 00:56:07,320
Speaker 1: We're like the only Joel. I think you said this earlier,

947
00:56:07,400 --> 00:56:10,560
Speaker 1: Like she's begging for a makeover in the way that

948
00:56:10,600 --> 00:56:14,200
Speaker 1: you would expect in a movie like about young girls

949
00:56:14,200 --> 00:56:16,880
Speaker 1: in general the whole time, and the only thing that

950
00:56:16,960 --> 00:56:21,360
Speaker 1: changes about her is like her mindset and that trip,

951
00:56:21,440 --> 00:56:25,319
Speaker 1: Like it's so nice, it's perfect. Even the way that

952
00:56:25,760 --> 00:56:29,680
Speaker 1: scene is scored, there's an entire crescendo until she turns

953
00:56:29,719 --> 00:56:33,600
Speaker 1: off the light, which I've never noticed before until this screening,

954
00:56:34,040 --> 00:56:37,799
Speaker 1: and so it's like almost mirrors when she's about to fly.

955
00:56:38,000 --> 00:56:39,640
Speaker 1: So when she's about to fly, it's like all the

956
00:56:39,680 --> 00:56:42,080
Speaker 1: sound cuts out and then there's that wishing wrestling, and

957
00:56:42,120 --> 00:56:44,839
Speaker 1: then she takes off and goose bumps. By the way

958
00:56:44,840 --> 00:56:47,080
Speaker 1: in the final scene where she bought like I'm just

959
00:56:47,120 --> 00:56:49,719
Speaker 1: doing that, like you're like, oh, God's happening. But in

960
00:56:49,760 --> 00:56:53,080
Speaker 1: this scene it's sort of the opposite, where it's all

961
00:56:53,480 --> 00:56:56,200
Speaker 1: the magic is in the actual notes of the music,

962
00:56:56,320 --> 00:56:58,840
Speaker 1: is not something that has to be concentrated on or

963
00:56:59,440 --> 00:57:02,480
Speaker 1: really ex breast. It's just naturally there. And when she

964
00:57:02,520 --> 00:57:06,000
Speaker 1: turns off the light, it's even more magical because you know,

965
00:57:06,040 --> 00:57:08,440
Speaker 1: if you've been at a sleepover, when the lights go off,

966
00:57:08,480 --> 00:57:10,440
Speaker 1: that's in the real conversations. And now we're just two

967
00:57:10,520 --> 00:57:14,080
Speaker 1: voices talking in the dark and and like being somehow

968
00:57:14,120 --> 00:57:16,880
Speaker 1: even more honest and intimate than we were before. When

969
00:57:16,880 --> 00:57:19,880
Speaker 1: the lights are on. It is like such a perfect

970
00:57:20,080 --> 00:57:25,160
Speaker 1: encapsulation of just those girlhood sleepovers, and I really love it.

971
00:57:25,960 --> 00:57:29,320
Speaker 1: It's so special. Speaking of I mean, we already touched

972
00:57:29,320 --> 00:57:32,400
Speaker 1: on this a little bit, but I wanted to do

973
00:57:32,440 --> 00:57:38,440
Speaker 1: a deeper dive into Kiki's relationships with other girls and women,

974
00:57:39,000 --> 00:57:42,919
Speaker 1: because you have scenes at the beginning where it's clear

975
00:57:42,960 --> 00:57:45,680
Speaker 1: that she has a good relationship with her mom. We

976
00:57:45,800 --> 00:57:50,000
Speaker 1: see her say goodbye to her like group of female

977
00:57:50,040 --> 00:57:53,880
Speaker 1: friends that are like her age. Everybody seems very supportive

978
00:57:54,000 --> 00:57:56,640
Speaker 1: of her, you know, they're all wishing her well and

979
00:57:56,680 --> 00:57:59,640
Speaker 1: like so excited for her to embark on this journey

980
00:58:00,200 --> 00:58:03,640
Speaker 1: than when she gets to the city, she befriends a

981
00:58:03,760 --> 00:58:09,080
Speaker 1: son No, she befriends Ursula, the lesbian couple. No woman

982
00:58:09,120 --> 00:58:13,880
Speaker 1: betrays her in the hall, like there's no and there's

983
00:58:13,880 --> 00:58:18,440
Speaker 1: no real like villain of this movie either, like the Wind. Yeah,

984
00:58:18,520 --> 00:58:21,920
Speaker 1: the Wind is the sole villain of the Like there's

985
00:58:21,960 --> 00:58:25,120
Speaker 1: the only villain. She's a challenger. It is just something

986
00:58:25,200 --> 00:58:28,919
Speaker 1: she has to work with. Yeah, yeah, Like the only

987
00:58:29,000 --> 00:58:32,560
Speaker 1: villain is like her, like loss of confidence, and like

988
00:58:32,600 --> 00:58:37,000
Speaker 1: the forces that cause her to lose her confidence is

989
00:58:37,040 --> 00:58:41,040
Speaker 1: the real enemy. And then so she has all these

990
00:58:41,080 --> 00:58:46,640
Speaker 1: like just wonderful, supportive relationships with women, and you know,

991
00:58:46,720 --> 00:58:50,000
Speaker 1: they kind of take on different roles where like a

992
00:58:50,120 --> 00:58:53,280
Speaker 1: son No kind of becomes sort of like a mother

993
00:58:53,400 --> 00:58:55,920
Speaker 1: figure but also a bit of a mentor, like a

994
00:58:56,920 --> 00:59:01,480
Speaker 1: business mentor almost. Ursula is sort of like taking on

995
00:59:01,520 --> 00:59:06,960
Speaker 1: this big sister also mentorish role where she's like, yeah,

996
00:59:07,120 --> 00:59:10,520
Speaker 1: I experienced something similar. You can confide in me. I'm

997
00:59:10,520 --> 00:59:12,520
Speaker 1: going to give you some advice on how to get

998
00:59:12,560 --> 00:59:17,600
Speaker 1: through this. Um you've got madam and what is her

999
00:59:17,680 --> 00:59:19,680
Speaker 1: lover's name? And again, I don't think they're not like

1000
00:59:19,720 --> 00:59:24,640
Speaker 1: canonically necessarily lovers, but they definitely call her by a name,

1001
00:59:24,960 --> 00:59:29,200
Speaker 1: Yea Barsa maybe, yes, yes, that is absolutely correct. Are

1002
00:59:29,240 --> 00:59:31,920
Speaker 1: we supposed to think that Barsa works for her? I

1003
00:59:31,920 --> 00:59:34,280
Speaker 1: feel like there's like a line of dialogue that indicates that, yeah,

1004
00:59:34,320 --> 00:59:37,800
Speaker 1: she might be like an employee, but it seems like

1005
00:59:37,840 --> 00:59:41,200
Speaker 1: they're in love. That's probably what it's supposed to be.

1006
00:59:41,400 --> 00:59:45,520
Speaker 1: So very unprofessional of Debbie Reynolds to be dating her employee.

1007
00:59:45,760 --> 00:59:48,800
Speaker 1: It's very definitely now, this is how they could be together. Okay,

1008
00:59:48,840 --> 00:59:51,640
Speaker 1: she has to pretend to be the employee so they

1009
00:59:51,640 --> 00:59:55,960
Speaker 1: can live their lesbian lifestyle without judgment. Because it's also like,

1010
00:59:56,040 --> 00:59:57,840
Speaker 1: I don't know what era we're supposed to be in,

1011
00:59:58,080 --> 01:00:01,040
Speaker 1: but it seems like, based on the horrors, it might

1012
01:00:01,080 --> 01:00:04,640
Speaker 1: be like the forties or fifties. I felt like when

1013
01:00:04,680 --> 01:00:08,720
Speaker 1: I heard aviation Club, I'm like, World War two write

1014
01:00:09,280 --> 01:00:14,200
Speaker 1: aviation Club, that boy and striped hat and propeller hat,

1015
01:00:14,440 --> 01:00:17,760
Speaker 1: and you know, everything happens in Miyazaki's childhood or present day,

1016
01:00:17,880 --> 01:00:21,200
Speaker 1: and that's pretty much it. So I feel like I

1017
01:00:21,200 --> 01:00:23,680
Speaker 1: feel like this is probably just around the time he's

1018
01:00:23,760 --> 01:00:26,800
Speaker 1: like in his mid teens, which would be a little

1019
01:00:26,800 --> 01:00:30,840
Speaker 1: bit post World War. In any case, she's got all

1020
01:00:30,880 --> 01:00:35,959
Speaker 1: these just wonderful, supportive relationships with these women. And then

1021
01:00:36,320 --> 01:00:42,640
Speaker 1: the one person her age who she be friends is Tombo, who,

1022
01:00:42,760 --> 01:00:45,680
Speaker 1: as we joked about at the very beginning, does do

1023
01:00:45,800 --> 01:00:48,760
Speaker 1: that like I'm gonna wear you down until you agree

1024
01:00:48,800 --> 01:00:52,280
Speaker 1: to be my friend. And I think you can kind

1025
01:00:52,280 --> 01:00:56,280
Speaker 1: of assume that he has a crush on her, but

1026
01:00:56,400 --> 01:00:59,680
Speaker 1: also it might just be like, you know, he thinks

1027
01:00:59,720 --> 01:01:02,040
Speaker 1: she's really cool because she can fly and he loves

1028
01:01:02,080 --> 01:01:04,160
Speaker 1: to fly, and maybe he just wants to be friends.

1029
01:01:04,360 --> 01:01:10,800
Speaker 1: Either way, no romance emerges, which again, if you're comparing this,

1030
01:01:10,880 --> 01:01:13,560
Speaker 1: and maybe it's not fair to compare like a Studio

1031
01:01:13,560 --> 01:01:17,760
Speaker 1: Ghibli movie to a Disney Renaissance movie, but like, because

1032
01:01:17,800 --> 01:01:21,800
Speaker 1: Disney Renaissance movies are the animated movies that I was watching.

1033
01:01:22,360 --> 01:01:26,280
Speaker 1: Is a kid in the US in the nineties, you know,

1034
01:01:26,440 --> 01:01:28,720
Speaker 1: even though a lot of those movies had a female protagonist,

1035
01:01:29,360 --> 01:01:32,760
Speaker 1: it was stuff like yeah, but she never had a mom,

1036
01:01:32,880 --> 01:01:36,600
Speaker 1: She never had any female friends. If she met a boy,

1037
01:01:37,040 --> 01:01:40,720
Speaker 1: he became her boyfriend. If she had an animal sidekick,

1038
01:01:41,040 --> 01:01:44,280
Speaker 1: the animal sidekick was there to help her get that boyfriend.

1039
01:01:44,320 --> 01:01:45,800
Speaker 1: You know, stuff like that. I mean, I think that's

1040
01:01:45,800 --> 01:01:48,560
Speaker 1: a very fair comparison because it's the same years and

1041
01:01:48,560 --> 01:01:51,800
Speaker 1: and the Disney Renaissance movies were borrowing so heavily from

1042
01:01:51,960 --> 01:01:56,440
Speaker 1: Miyazaki movies, just way less affect, like borrowing all the

1043
01:01:56,480 --> 01:02:00,240
Speaker 1: wrong stuff that not borrowing anything thematically that would have

1044
01:02:00,280 --> 01:02:03,760
Speaker 1: been helpful. But like that art is gorgeous. Fuck a

1045
01:02:03,800 --> 01:02:07,680
Speaker 1: message though, right, we got that unlock. Not interested in

1046
01:02:07,720 --> 01:02:11,919
Speaker 1: evolving there, but beautiful art. I also think like this

1047
01:02:12,000 --> 01:02:17,240
Speaker 1: is a this film really sort of challenges the idea

1048
01:02:17,480 --> 01:02:20,120
Speaker 1: of like I don't even want to say challenges, that's

1049
01:02:20,120 --> 01:02:23,520
Speaker 1: the wrong wording. This film sort of really highlights like Okay,

1050
01:02:23,560 --> 01:02:26,000
Speaker 1: she wants a boyfriend, but has no idea like what

1051
01:02:26,080 --> 01:02:28,760
Speaker 1: that actually means. She just sort of sees like there's

1052
01:02:28,760 --> 01:02:30,280
Speaker 1: that moment where she's in the shop and it's a

1053
01:02:30,320 --> 01:02:32,720
Speaker 1: slow day and she's bored, and she sees like a

1054
01:02:32,800 --> 01:02:35,160
Speaker 1: very elegant girl in her very large floppy hat and

1055
01:02:35,160 --> 01:02:37,760
Speaker 1: her son dress hop on the back of a boy

1056
01:02:37,840 --> 01:02:41,320
Speaker 1: scooter and she's sitting side saddle. How do they do that?

1057
01:02:41,440 --> 01:02:44,200
Speaker 1: It's so elegant, and you know, just one hand brace

1058
01:02:44,280 --> 01:02:46,080
Speaker 1: gently on the back and the other around her guy's

1059
01:02:46,080 --> 01:02:48,400
Speaker 1: waist and they zoom off and it's all very romantic,

1060
01:02:48,440 --> 01:02:51,360
Speaker 1: and she lets out this sort of like deep sigh

1061
01:02:51,480 --> 01:02:53,520
Speaker 1: and then when she has a chance to recreate this,

1062
01:02:53,840 --> 01:02:59,920
Speaker 1: she street doesn't She She's like foxingting side saddle. She's like,

1063
01:03:00,040 --> 01:03:01,760
Speaker 1: I this is how I ride my broom. I know

1064
01:03:01,800 --> 01:03:04,880
Speaker 1: how to fly. And she's completely in her element of like, oh,

1065
01:03:04,920 --> 01:03:06,960
Speaker 1: I know how to fly, like I can get really

1066
01:03:07,040 --> 01:03:08,880
Speaker 1: low into the ground, and I know how to hit

1067
01:03:08,920 --> 01:03:11,280
Speaker 1: these words and you instead of guiding me, and their

1068
01:03:11,280 --> 01:03:15,280
Speaker 1: relationships entirely built on their desire to like fly and

1069
01:03:15,320 --> 01:03:19,360
Speaker 1: be up and move. And it's sort of really interesting too.

1070
01:03:19,800 --> 01:03:21,760
Speaker 1: It's a sort of challenge idea of like she might

1071
01:03:21,800 --> 01:03:24,160
Speaker 1: want a boyfriend, but she's not ready for no nothing,

1072
01:03:24,240 --> 01:03:27,840
Speaker 1: she's thirteen. Like she just gives this opportunity to be friends.

1073
01:03:27,880 --> 01:03:31,320
Speaker 1: And I think, again, what an aspirational thing for young

1074
01:03:31,360 --> 01:03:33,960
Speaker 1: girls to have is just this idea of like you

1075
01:03:33,960 --> 01:03:35,760
Speaker 1: can just be friends with the boys, and that's pretty

1076
01:03:35,760 --> 01:03:38,560
Speaker 1: awesome too, Like, and they can treat you fairly and

1077
01:03:38,600 --> 01:03:42,880
Speaker 1: respectfully and never try to objectify you or challenge you

1078
01:03:42,960 --> 01:03:45,000
Speaker 1: or make fun of you, which I think, especially coming

1079
01:03:45,040 --> 01:03:50,520
Speaker 1: out of like late eighties movies like Porky's and a

1080
01:03:50,640 --> 01:03:53,240
Speaker 1: much better film but with somebody themes fast times Richmond

1081
01:03:53,360 --> 01:03:57,040
Speaker 1: High this idea of like boys are constantly just laughing

1082
01:03:57,880 --> 01:04:01,200
Speaker 1: at girls, and I I think the idea that none

1083
01:04:01,240 --> 01:04:04,640
Speaker 1: of that happens here is it's kind of great. Yeah,

1084
01:04:04,720 --> 01:04:09,280
Speaker 1: he like appreciates her, like initially for her flying skills,

1085
01:04:09,360 --> 01:04:10,800
Speaker 1: and then when he gets to know her better, it

1086
01:04:10,840 --> 01:04:16,400
Speaker 1: just seems that he likes her character, her like kindness

1087
01:04:16,520 --> 01:04:20,800
Speaker 1: and and positivity and stuff like that. And again, like

1088
01:04:21,000 --> 01:04:25,840
Speaker 1: comparing it to a Disney Renaissance movie, those plots are

1089
01:04:26,120 --> 01:04:30,560
Speaker 1: usually revolving entirely around the head. A ro romance versus

1090
01:04:31,120 --> 01:04:33,920
Speaker 1: Keys Delivery service is about like a very just like

1091
01:04:34,560 --> 01:04:39,160
Speaker 1: internal struggle of Kiki, like growing up and coming of

1092
01:04:39,200 --> 01:04:43,560
Speaker 1: age and learning how to be a person in the world.

1093
01:04:44,360 --> 01:04:47,800
Speaker 1: And she makes some friendships along the way and those

1094
01:04:47,920 --> 01:04:53,080
Speaker 1: inform and inspire her. But yeah, it's just like it's

1095
01:04:53,240 --> 01:04:58,120
Speaker 1: not common that you'd have just a story like that

1096
01:04:58,200 --> 01:05:04,360
Speaker 1: about a girl, like a team girl. Imagine so very cool. Yeah,

1097
01:05:04,400 --> 01:05:07,280
Speaker 1: it's it's very it's very beautiful. I think I will

1098
01:05:07,280 --> 01:05:10,240
Speaker 1: say that that that the Tombo stuff, the way it's

1099
01:05:10,280 --> 01:05:13,520
Speaker 1: developed is a little bit that's the only thing about

1100
01:05:13,680 --> 01:05:15,600
Speaker 1: the movie then, like it's a little clunky. At some

1101
01:05:15,680 --> 01:05:20,120
Speaker 1: points he is following her around. She does repeatedly say

1102
01:05:20,400 --> 01:05:22,960
Speaker 1: I don't want to be your friend and it works

1103
01:05:22,960 --> 01:05:26,560
Speaker 1: out for them, and like, I don't know, it's a

1104
01:05:26,600 --> 01:05:29,640
Speaker 1: perfect movie. Uh. That did stick out to me for

1105
01:05:29,640 --> 01:05:32,600
Speaker 1: a second where I'm like, Tombo, take the hint for sure.

1106
01:05:32,720 --> 01:05:35,000
Speaker 1: She doesn't want to hang let her like if she

1107
01:05:35,040 --> 01:05:37,400
Speaker 1: wants to, if she changes her mind, let her come

1108
01:05:37,440 --> 01:05:39,479
Speaker 1: to you. She'll let you know. It's like the most

1109
01:05:39,480 --> 01:05:44,000
Speaker 1: respectful level of because it's so I think, because it's

1110
01:05:44,040 --> 01:05:46,760
Speaker 1: framed as being very inty, like she's so cool? Are

1111
01:05:46,800 --> 01:05:49,160
Speaker 1: you mad at me? Still? Why can you explain it

1112
01:05:49,200 --> 01:05:51,360
Speaker 1: to me? I don't understand what happened? I want to

1113
01:05:51,360 --> 01:05:53,400
Speaker 1: hang out. Why are you sad? What's going on? Like

1114
01:05:53,400 --> 01:05:55,840
Speaker 1: it's so much about like what what can I do

1115
01:05:55,920 --> 01:05:57,560
Speaker 1: to make it better? Like I just I just want

1116
01:05:57,560 --> 01:06:01,560
Speaker 1: to hang out here. And it's never you know, aggressive

1117
01:06:01,880 --> 01:06:06,200
Speaker 1: or and again never blaming or like she's like she's

1118
01:06:06,200 --> 01:06:08,440
Speaker 1: so frigid, she won't talk to me. I don't understand her.

1119
01:06:08,680 --> 01:06:10,720
Speaker 1: It's just constantly going back to you, like you just

1120
01:06:10,720 --> 01:06:12,880
Speaker 1: tell them what's going on? And I think it's it's

1121
01:06:12,920 --> 01:06:15,760
Speaker 1: sort of the sweetest way you could be hopelessly I

1122
01:06:15,760 --> 01:06:17,560
Speaker 1: don't even want to say hopelessly in love, but sort

1123
01:06:17,600 --> 01:06:20,560
Speaker 1: of like attracted to somebody and again not even in

1124
01:06:20,560 --> 01:06:22,400
Speaker 1: a romantic way, but just attracted to that person. But

1125
01:06:22,480 --> 01:06:25,320
Speaker 1: who is this person? Please talk to me. I feel

1126
01:06:25,320 --> 01:06:29,320
Speaker 1: like they could be good friends. It's precious, right. Yeah,

1127
01:06:29,560 --> 01:06:32,720
Speaker 1: I agree Jamie that like the way it's handled is

1128
01:06:32,760 --> 01:06:36,080
Speaker 1: a little like especially because like it works out for

1129
01:06:36,120 --> 01:06:38,160
Speaker 1: them and they become friends, even though he did wear

1130
01:06:38,200 --> 01:06:40,680
Speaker 1: her down and not not really like take her hints

1131
01:06:40,680 --> 01:06:43,480
Speaker 1: and stuff like that. But Joel, you're also right in

1132
01:06:43,520 --> 01:06:48,600
Speaker 1: that he's not really displaying aside from like some light stalking. Uh,

1133
01:06:48,640 --> 01:06:54,320
Speaker 1: he's not. He's not engaging in other toxic behaviors that

1134
01:06:54,840 --> 01:06:59,200
Speaker 1: also usually get rewarded in movies. So the only thing

1135
01:06:59,240 --> 01:07:01,360
Speaker 1: I wish is that Anna hadn't sent her to his

1136
01:07:01,480 --> 01:07:04,880
Speaker 1: house that I was. I guess the woman does betray

1137
01:07:04,920 --> 01:07:07,800
Speaker 1: her for a second, like you don't know what he's like,

1138
01:07:08,000 --> 01:07:11,000
Speaker 1: You don't know this boy? Is he good? Right, especially

1139
01:07:11,040 --> 01:07:14,919
Speaker 1: because Kiki's reaction is like so know, how did how

1140
01:07:14,920 --> 01:07:17,360
Speaker 1: could you do this to me? And it's like, yeah,

1141
01:07:17,480 --> 01:07:20,440
Speaker 1: like you're throwing Kiki under the bus right now like

1142
01:07:20,680 --> 01:07:24,920
Speaker 1: a lot. That's truly like the only element that felt

1143
01:07:25,280 --> 01:07:29,400
Speaker 1: late eighties to me. Everything else was like timeless, perfect,

1144
01:07:29,720 --> 01:07:33,280
Speaker 1: no notes, But that that part, that little element, It's like, oh,

1145
01:07:33,320 --> 01:07:35,400
Speaker 1: I bet that that if that was written now, would

1146
01:07:35,400 --> 01:07:38,680
Speaker 1: be done a little differently. The only other example of

1147
01:07:38,800 --> 01:07:42,320
Speaker 1: something like that for me was um. So there's a

1148
01:07:42,360 --> 01:07:45,440
Speaker 1: pancake motif as well, and this I love a motif,

1149
01:07:45,480 --> 01:07:47,920
Speaker 1: And there's so many motifs in this movie. One of

1150
01:07:47,920 --> 01:07:51,720
Speaker 1: them is a pancake motif. Um. It's initially introduced when

1151
01:07:51,760 --> 01:07:54,600
Speaker 1: she is worried that she is only going to be

1152
01:07:54,640 --> 01:07:57,640
Speaker 1: able to eat pancakes because that's all she's going to

1153
01:07:57,680 --> 01:07:59,800
Speaker 1: be able to afford. So it's kind of this like

1154
01:08:00,240 --> 01:08:03,640
Speaker 1: class thing and she's like getting her business off the

1155
01:08:03,640 --> 01:08:06,840
Speaker 1: ground and like not really earning money yet. But then

1156
01:08:06,920 --> 01:08:11,919
Speaker 1: later she's a girl building her empire, which like we yeah,

1157
01:08:11,920 --> 01:08:14,160
Speaker 1: we have joked about that before, and I think there

1158
01:08:14,240 --> 01:08:18,439
Speaker 1: is like a possible like capitalist read to this, but

1159
01:08:18,640 --> 01:08:23,920
Speaker 1: I choose to view her enter into Yeah, I just think,

1160
01:08:24,320 --> 01:08:27,040
Speaker 1: you know, she's she's not starting a business so she

1161
01:08:27,080 --> 01:08:29,760
Speaker 1: can get rich and exploit other people. She's just like

1162
01:08:29,880 --> 01:08:32,559
Speaker 1: I have a skill that most other people don't see

1163
01:08:32,600 --> 01:08:34,920
Speaker 1: them to have because most other people are not witches

1164
01:08:34,920 --> 01:08:37,080
Speaker 1: who can fly on a broom. And I'm going to

1165
01:08:37,200 --> 01:08:40,559
Speaker 1: use this skill and provide a helpful service in order

1166
01:08:40,600 --> 01:08:44,360
Speaker 1: to support myself and learn independence. Yeah, I have to

1167
01:08:44,400 --> 01:08:47,080
Speaker 1: live in a capitalist society. And it's not her fault.

1168
01:08:47,560 --> 01:08:51,360
Speaker 1: She does have to live through it. It's tradition. It's

1169
01:08:51,439 --> 01:08:54,000
Speaker 1: tradition that you need to start a business on your

1170
01:08:54,040 --> 01:09:00,400
Speaker 1: thirteenth birthday. Yes, um okay. So she's talking about how

1171
01:09:00,439 --> 01:09:02,640
Speaker 1: she's only ever going to be able to afford to

1172
01:09:02,680 --> 01:09:04,680
Speaker 1: eat pancakes, and then at one point she says, if

1173
01:09:04,680 --> 01:09:06,800
Speaker 1: I don't get customers, I'm going to have to eat

1174
01:09:06,800 --> 01:09:09,519
Speaker 1: pancakes forever, and then I'm going to get fat, fat, fat.

1175
01:09:10,280 --> 01:09:13,040
Speaker 1: So I didn't appreciate, but but then I'm like, well,

1176
01:09:13,040 --> 01:09:15,360
Speaker 1: that is a very like thirteen year old girl thing

1177
01:09:15,439 --> 01:09:19,320
Speaker 1: to say, because she's been conditioned to Yeah, I think

1178
01:09:19,360 --> 01:09:23,080
Speaker 1: that fatness equals bad. But I think if this movie

1179
01:09:23,120 --> 01:09:25,519
Speaker 1: were to come out today, a line like that would

1180
01:09:25,520 --> 01:09:29,439
Speaker 1: be eliminated. It's very little stuff like it. It is

1181
01:09:29,520 --> 01:09:33,000
Speaker 1: kind of wile that the grapes we have are like comparatively.

1182
01:09:33,920 --> 01:09:36,760
Speaker 1: I mean compared to like Disney movies of the same

1183
01:09:36,760 --> 01:09:40,040
Speaker 1: era we've covered, where it's like cracking your knuckles being like,

1184
01:09:40,080 --> 01:09:45,320
Speaker 1: all right, where do we begin, like our sleeves. Yeah.

1185
01:09:45,760 --> 01:09:48,360
Speaker 1: The last kind of thing I wanted to talk about

1186
01:09:48,840 --> 01:09:53,360
Speaker 1: is we have discussed on the podcast before the representation

1187
01:09:53,640 --> 01:09:59,559
Speaker 1: of women or girls as witches in media and how

1188
01:10:00,080 --> 01:10:06,320
Speaker 1: which is are often portrayed as villains. They're scary, evil seductresses,

1189
01:10:06,800 --> 01:10:12,920
Speaker 1: or they are like old body horror hags or some

1190
01:10:13,040 --> 01:10:18,040
Speaker 1: other version of bad scary witch lady, um, and how

1191
01:10:18,080 --> 01:10:23,280
Speaker 1: that was born from a historical fear and misunderstanding of

1192
01:10:24,000 --> 01:10:28,679
Speaker 1: women's sexuality, women's bodies, women existing in the world period.

1193
01:10:29,560 --> 01:10:33,760
Speaker 1: But this movie doesn't do anything like that. It's borrowing

1194
01:10:33,880 --> 01:10:38,040
Speaker 1: some like iconography from which stuff such as a black

1195
01:10:38,120 --> 01:10:42,240
Speaker 1: cat and flying on a broom and like potions mixing

1196
01:10:42,360 --> 01:10:44,400
Speaker 1: that like we see her mom doing at the beginning

1197
01:10:44,439 --> 01:10:48,559
Speaker 1: and end. But other than that, it's just like she's

1198
01:10:48,560 --> 01:10:52,400
Speaker 1: a witch and that's actually really cool and um most

1199
01:10:52,439 --> 01:10:54,960
Speaker 1: people are fine with it, except for that one cop.

1200
01:10:56,720 --> 01:11:01,600
Speaker 1: And I found a great essay by Christine John Baptiste

1201
01:11:01,720 --> 01:11:03,680
Speaker 1: on bitch media from a couple of years ago that

1202
01:11:03,760 --> 01:11:07,240
Speaker 1: like does a great job of fully unpacking like Kiki's

1203
01:11:07,320 --> 01:11:10,439
Speaker 1: place in which culture and also like Japanese magic girl

1204
01:11:10,520 --> 01:11:14,479
Speaker 1: culture is really good. The passage that stuck out to

1205
01:11:14,520 --> 01:11:18,519
Speaker 1: me goes a little something like this hit it quote.

1206
01:11:18,640 --> 01:11:21,799
Speaker 1: Like Witchcraft itself, the film centers on the bonds between women,

1207
01:11:22,080 --> 01:11:24,760
Speaker 1: though the male savior remains a common trope incoming of

1208
01:11:24,800 --> 01:11:27,360
Speaker 1: age movies. Girl Meets boy, Girl falls in love with boy.

1209
01:11:27,439 --> 01:11:30,360
Speaker 1: Boy makes girls lives better. It's women whom Kiki can

1210
01:11:30,360 --> 01:11:33,920
Speaker 1: trust as she learns about herself and rediscovers her strength. Uh.

1211
01:11:33,960 --> 01:11:36,360
Speaker 1: And it goes on to just kind of unpack how

1212
01:11:37,040 --> 01:11:40,519
Speaker 1: traditionally which is you know, it's a way of of

1213
01:11:40,920 --> 01:11:45,920
Speaker 1: making women who are empowered and uh sustaining themselves and

1214
01:11:46,040 --> 01:11:51,360
Speaker 1: often engaging in like sisterhood and solidarity with other women

1215
01:11:51,840 --> 01:11:55,479
Speaker 1: seem like an evil and terrifying thing that is worthy

1216
01:11:55,560 --> 01:11:58,640
Speaker 1: of violence. And this is this movie is saying the

1217
01:11:58,640 --> 01:12:02,679
Speaker 1: exact opposite, Like it's strength. Keiki is using her powers

1218
01:12:03,479 --> 01:12:07,559
Speaker 1: for good while also knowing her own worth. She like

1219
01:12:07,800 --> 01:12:11,960
Speaker 1: gets self esteem and gives self esteem to the women

1220
01:12:12,040 --> 01:12:14,679
Speaker 1: around her, and they're all kind of in it together.

1221
01:12:14,840 --> 01:12:17,120
Speaker 1: There's no and there's no villain in this story. And

1222
01:12:17,439 --> 01:12:24,080
Speaker 1: she's like she's accepted. It's it's very beautiful. Um, is

1223
01:12:24,120 --> 01:12:27,360
Speaker 1: there anything else? Uh, we want to talk about? Actually,

1224
01:12:27,400 --> 01:12:32,320
Speaker 1: one thing that I was curious about, because this is

1225
01:12:32,360 --> 01:12:35,519
Speaker 1: something I noticed a lot in my neighbor Toto and

1226
01:12:35,600 --> 01:12:39,240
Speaker 1: this movie in Kiki Delivery Service, was that you see

1227
01:12:39,960 --> 01:12:46,519
Speaker 1: young girls underwear a lot, which in animation is a

1228
01:12:46,640 --> 01:12:50,880
Speaker 1: very deliberate choice. You have to like very deliberately animate

1229
01:12:51,120 --> 01:12:58,679
Speaker 1: that animation famously not real. Yeah, correct, And I was like, Okay,

1230
01:12:58,880 --> 01:13:03,840
Speaker 1: is this just sort of like my puritanical American point

1231
01:13:03,840 --> 01:13:07,679
Speaker 1: of view where I was kind of weirded out by

1232
01:13:07,960 --> 01:13:13,080
Speaker 1: the very frequent shots of young underage girls and seeing

1233
01:13:13,120 --> 01:13:16,120
Speaker 1: their underwear, or is this maybe a cultural thing that

1234
01:13:16,160 --> 01:13:19,759
Speaker 1: I'm just not fully aware of, especially because these movies

1235
01:13:19,800 --> 01:13:23,639
Speaker 1: never like sexualize the characters in any way. There's never

1236
01:13:23,680 --> 01:13:29,160
Speaker 1: any kind of like predatory camera work happening. But at

1237
01:13:29,200 --> 01:13:32,000
Speaker 1: the same time, I was like, why do we see

1238
01:13:32,000 --> 01:13:35,120
Speaker 1: their underwear so much? It's a good question. And and

1239
01:13:35,160 --> 01:13:38,759
Speaker 1: so we consulted our guests on the Spirited Away episode,

1240
01:13:38,800 --> 01:13:43,280
Speaker 1: Aomi Shionazaki, and I asked if she had any insight

1241
01:13:43,360 --> 01:13:47,120
Speaker 1: about this, and she sure did, and she sure did,

1242
01:13:47,160 --> 01:13:51,080
Speaker 1: and we are so grateful and this is what she

1243
01:13:51,240 --> 01:13:55,280
Speaker 1: had to say, Jamie, would you do the honors? Sure, so,

1244
01:13:55,760 --> 01:13:59,320
Speaker 1: Aaomi says, regarding kikiS delivery service and my neighbor Totoro.

1245
01:14:00,040 --> 01:14:03,559
Speaker 1: Let's start with this unfortunate panti question. I'm not even

1246
01:14:03,600 --> 01:14:06,559
Speaker 1: someone I would consider a historian of Japanese animation as

1247
01:14:06,560 --> 01:14:08,800
Speaker 1: a whole, but since Magical Girls have been around a

1248
01:14:08,840 --> 01:14:10,599
Speaker 1: long time, and I've watched a lot of shows from

1249
01:14:10,600 --> 01:14:13,839
Speaker 1: across the decades, I'm unfortunately very familiar with this topic.

1250
01:14:14,360 --> 01:14:16,240
Speaker 1: I do have to admit that, as someone who has

1251
01:14:16,280 --> 01:14:18,920
Speaker 1: taught very young Japanese children for years, kids who were

1252
01:14:18,920 --> 01:14:21,880
Speaker 1: addresses often end up showing their panties without realizing it

1253
01:14:21,960 --> 01:14:24,599
Speaker 1: because their children and they play and they're literally not

1254
01:14:24,640 --> 01:14:27,240
Speaker 1: thinking about stuff like that yet, and I wouldn't want

1255
01:14:27,280 --> 01:14:31,040
Speaker 1: them to have to, which obviously true of all kids. However,

1256
01:14:31,280 --> 01:14:33,519
Speaker 1: there is a reason why we never see panties and

1257
01:14:33,600 --> 01:14:37,320
Speaker 1: spirited away. After Miyazaki paid attention to media for young girls.

1258
01:14:37,720 --> 01:14:40,240
Speaker 1: Even now, it's an audience whose comics and cartoons are

1259
01:14:40,320 --> 01:14:43,720
Speaker 1: generally panty free. But also there were major changes made

1260
01:14:43,720 --> 01:14:46,840
Speaker 1: to regulations in children's media in the nineties, which, from

1261
01:14:46,840 --> 01:14:51,679
Speaker 1: my understanding, occurred after the Pokemon seizure fiasco. I don't

1262
01:14:51,680 --> 01:14:56,680
Speaker 1: know what that means either. The Pokemon cartoons back in

1263
01:14:56,720 --> 01:15:00,200
Speaker 1: the day had so much flash animation that they would

1264
01:15:00,240 --> 01:15:04,160
Speaker 1: occasionally caused kids to have seizures, so they were like

1265
01:15:04,200 --> 01:15:07,559
Speaker 1: heav we edited before they came over to America. I

1266
01:15:07,600 --> 01:15:09,880
Speaker 1: don't know much about what happened on the Japanese side,

1267
01:15:09,920 --> 01:15:11,320
Speaker 1: but I do know they want to started airing over

1268
01:15:11,320 --> 01:15:13,280
Speaker 1: here and people caught win that that had happened. That

1269
01:15:13,320 --> 01:15:16,240
Speaker 1: there was a lot of concern among parents about their

1270
01:15:16,280 --> 01:15:18,599
Speaker 1: kids watching the show. That is why I was thinking,

1271
01:15:19,120 --> 01:15:24,360
Speaker 1: seizing Pokemon cards happened at my school. If you had

1272
01:15:24,400 --> 01:15:27,280
Speaker 1: Pokemon cards, they were seen. That is how I interpreted

1273
01:15:27,320 --> 01:15:31,479
Speaker 1: that as well. Okay continuing, I want to look into that.

1274
01:15:31,479 --> 01:15:35,640
Speaker 1: That's wild um continuing with Ayomi. When it comes to

1275
01:15:35,680 --> 01:15:39,400
Speaker 1: the concept, we can blame Osamu Tezuka, the god of manga,

1276
01:15:39,479 --> 01:15:42,599
Speaker 1: who began work in comics and animation from the nineteen fifties.

1277
01:15:42,840 --> 01:15:45,360
Speaker 1: He began to drop panti shots in Astro Boy for

1278
01:15:45,400 --> 01:15:48,240
Speaker 1: the character of Iran, who was a child and went

1279
01:15:48,320 --> 01:15:51,520
Speaker 1: really wild with the marvelous Melmo. In the early seventies,

1280
01:15:51,680 --> 01:15:53,880
Speaker 1: a Magical Girl series about a nine year old girl

1281
01:15:53,880 --> 01:15:56,840
Speaker 1: who gets magical candies that aged her up or down

1282
01:15:57,200 --> 01:16:00,519
Speaker 1: and whose panties can be seen just all over the place. Well,

1283
01:16:00,600 --> 01:16:03,439
Speaker 1: earlier magical girl shows had been for girls and was

1284
01:16:03,479 --> 01:16:06,400
Speaker 1: thus largely panty free. This was the show focused on

1285
01:16:06,439 --> 01:16:10,759
Speaker 1: teaching sex education to children. For the record, parents complained

1286
01:16:10,800 --> 01:16:14,040
Speaker 1: about the show, but primarily about the sex education part,

1287
01:16:14,280 --> 01:16:17,960
Speaker 1: not the panti shot part. Confusing world we live in.

1288
01:16:18,439 --> 01:16:26,880
Speaker 1: I know, boomer parents really really uh wow? Okay, or

1289
01:16:26,880 --> 01:16:29,080
Speaker 1: I guess this would be the boomer parents parents. Anyways,

1290
01:16:29,600 --> 01:16:31,800
Speaker 1: Later on in the seventies, we also got the first

1291
01:16:31,840 --> 01:16:35,320
Speaker 1: fighting magical girl, Cutie Honey, who has rendered nude all

1292
01:16:35,360 --> 01:16:39,160
Speaker 1: the time despite being seventeen years old, and parents definitely

1293
01:16:39,200 --> 01:16:44,280
Speaker 1: complained about that nudity fair her series has been a

1294
01:16:44,320 --> 01:16:47,839
Speaker 1: lot of variations in terms of levels of sexualization depending

1295
01:16:47,880 --> 01:16:51,519
Speaker 1: on the intended audience. As she's been rebooted, panty shots

1296
01:16:51,520 --> 01:16:55,000
Speaker 1: had become extremely normalized in media not targeted to girls

1297
01:16:55,000 --> 01:16:57,400
Speaker 1: in Japan, to the point where some viewers might be

1298
01:16:57,520 --> 01:16:59,840
Speaker 1: numb to it. But it's not just you. I did

1299
01:16:59,840 --> 01:17:02,360
Speaker 1: some googling in Japanese and found a lot of parents

1300
01:17:02,400 --> 01:17:05,080
Speaker 1: and or feminist blogs and social media posts asking if

1301
01:17:05,080 --> 01:17:07,559
Speaker 1: it's okay to still show these two movies to kids,

1302
01:17:08,080 --> 01:17:10,599
Speaker 1: often only realizing the panti shots were weird in the

1303
01:17:10,600 --> 01:17:14,799
Speaker 1: context of hearing non Japanese insight on the films. If

1304
01:17:14,840 --> 01:17:17,080
Speaker 1: these movies were made today, I think they'd have either

1305
01:17:17,360 --> 01:17:19,840
Speaker 1: very few panti shots or none at all, due to

1306
01:17:19,880 --> 01:17:23,000
Speaker 1: that change in regulations of children's media in the nineties.

1307
01:17:23,160 --> 01:17:25,679
Speaker 1: Improvement can be seen in Pano to be Sure, where

1308
01:17:25,680 --> 01:17:28,479
Speaker 1: she is designed with adorable poofy white shorts. Oh yeah

1309
01:17:28,479 --> 01:17:32,719
Speaker 1: she is. Um. The regularity of panti shots and media,

1310
01:17:32,840 --> 01:17:35,040
Speaker 1: especially media for teen boys and young men, is so

1311
01:17:35,120 --> 01:17:38,160
Speaker 1: normalized that it's often celebrated or shocking when a show

1312
01:17:38,240 --> 01:17:42,000
Speaker 1: doesn't cross that line. Luckily, I mostly watched shows for kids,

1313
01:17:42,000 --> 01:17:43,519
Speaker 1: so I don't have to be subjected to that most

1314
01:17:43,560 --> 01:17:46,800
Speaker 1: of the time. Um, it goes on, It goes on

1315
01:17:46,880 --> 01:17:49,360
Speaker 1: for their but it First of all, thank you so

1316
01:17:49,439 --> 01:17:55,160
Speaker 1: much Aumi for that truly contextualization. What a wild history, Uh,

1317
01:17:55,200 --> 01:17:59,200
Speaker 1: what a world? And also I think, as Aumi points out,

1318
01:17:59,400 --> 01:18:05,800
Speaker 1: another example of a male tour filmmaker realizing kind of

1319
01:18:05,800 --> 01:18:08,000
Speaker 1: the implications of what he was doing, or sort of

1320
01:18:08,000 --> 01:18:11,439
Speaker 1: like connecting some of the dots and and seeing how

1321
01:18:12,120 --> 01:18:17,120
Speaker 1: his work could be interpreted or the similarities of far

1322
01:18:17,160 --> 01:18:21,720
Speaker 1: more troubling depictions of uh young girls in media and

1323
01:18:21,760 --> 01:18:25,800
Speaker 1: then course correcting as a result. So another shout out

1324
01:18:26,080 --> 01:18:31,120
Speaker 1: to Miyazaki for kind of recognizing that. But yeah, that

1325
01:18:31,280 --> 01:18:34,800
Speaker 1: is something because I grew up watching Toto. That was

1326
01:18:35,000 --> 01:18:38,519
Speaker 1: the only um Miyazaki film that I had exposure to

1327
01:18:38,680 --> 01:18:42,439
Speaker 1: as a kid, and I remember thinking as a kid like, wow,

1328
01:18:42,479 --> 01:18:46,280
Speaker 1: there's a lot of underwears in the movie and that

1329
01:18:46,560 --> 01:18:51,440
Speaker 1: and that's weird because I try to hide my underwear. UM,

1330
01:18:51,800 --> 01:18:54,920
Speaker 1: So yeah, I was just curious about that. So once again,

1331
01:18:54,920 --> 01:18:57,920
Speaker 1: thank you Aomi for um providing all of that insight

1332
01:18:57,960 --> 01:19:01,360
Speaker 1: and context, very very helpful. And I want to learn

1333
01:19:01,360 --> 01:19:04,360
Speaker 1: more about the Pokemon. Thank you Joel for telling us

1334
01:19:04,360 --> 01:19:07,840
Speaker 1: what the Pokemon seizure scandal is. There's so much, god,

1335
01:19:08,439 --> 01:19:10,439
Speaker 1: so much, so many, so many bizarre things to know

1336
01:19:10,520 --> 01:19:14,600
Speaker 1: in this world. So is there anything else said we

1337
01:19:14,600 --> 01:19:17,360
Speaker 1: wanted to touch on. I think that's it from me.

1338
01:19:17,760 --> 01:19:20,360
Speaker 1: I'm good. I feel thank you guys for this. I

1339
01:19:20,400 --> 01:19:23,719
Speaker 1: really appreciated taking a this trip back. I watch How's

1340
01:19:23,760 --> 01:19:26,280
Speaker 1: Moving Castle like three times a year. It's my favorite

1341
01:19:26,280 --> 01:19:30,040
Speaker 1: Miyazaki film. Unfortunate, I'm so sorry. I want to be

1342
01:19:30,040 --> 01:19:35,000
Speaker 1: better best. But every time, like look at Howl and

1343
01:19:35,000 --> 01:19:38,240
Speaker 1: then she's old and she learning life lesses is so great. Um.

1344
01:19:38,280 --> 01:19:41,240
Speaker 1: I mean we have so many requests for all of

1345
01:19:41,280 --> 01:19:43,400
Speaker 1: these movies. Like when we announced we were doing it's

1346
01:19:43,400 --> 01:19:45,840
Speaker 1: going to take us years. Yeah, so we're going like

1347
01:19:45,840 --> 01:19:48,479
Speaker 1: everyone's like, well, why aren't you doing Princess Mononoke? And

1348
01:19:48,520 --> 01:19:50,559
Speaker 1: I was like, we will just give us we will

1349
01:19:50,600 --> 01:19:54,320
Speaker 1: get there at a time, please, But if you haven't

1350
01:19:54,320 --> 01:19:57,360
Speaker 1: already done Howl's I will two thousand percent come back

1351
01:19:57,360 --> 01:20:03,040
Speaker 1: for House because it is oh so pretty good. Um.

1352
01:20:03,080 --> 01:20:05,200
Speaker 1: And it does have a bad language, but we can

1353
01:20:05,200 --> 01:20:08,360
Speaker 1: talk about her later. Um. But yes, it's only back

1354
01:20:08,360 --> 01:20:11,040
Speaker 1: to Kiki and it just what a way to honor

1355
01:20:11,200 --> 01:20:13,760
Speaker 1: your inner thirteen year old child if you're doing that

1356
01:20:13,840 --> 01:20:16,920
Speaker 1: kind of work in therapy, like I am. Um, I

1357
01:20:16,960 --> 01:20:19,240
Speaker 1: was like, look at her, she serves to be loved

1358
01:20:19,479 --> 01:20:22,200
Speaker 1: and just supported, and look at how great things turned

1359
01:20:22,200 --> 01:20:25,200
Speaker 1: out when she trust her heart and herself. And oh god,

1360
01:20:25,240 --> 01:20:29,799
Speaker 1: what a beautiful movie it probably it is. I forgot

1361
01:20:29,800 --> 01:20:33,799
Speaker 1: how episodic it was in It's I love an episodic movie.

1362
01:20:34,040 --> 01:20:38,680
Speaker 1: I just Kiki. I I can't wait to show Kiki

1363
01:20:38,760 --> 01:20:45,120
Speaker 1: to my niece when she's also shout out to the

1364
01:20:45,240 --> 01:20:51,440
Speaker 1: children's book that this was adapted from book by Ko Kadono,

1365
01:20:52,160 --> 01:20:57,120
Speaker 1: which I read that there were pretty significant adaptation changes

1366
01:20:57,240 --> 01:21:01,760
Speaker 1: that Muzaki made in the script and the Originally the

1367
01:21:01,840 --> 01:21:06,040
Speaker 1: author was not thrilled with those changes, and the project

1368
01:21:06,040 --> 01:21:09,880
Speaker 1: almost got shut down because of it. But eventually the

1369
01:21:09,920 --> 01:21:13,479
Speaker 1: author was like, actually, go go ahead. Um. Some of

1370
01:21:13,479 --> 01:21:18,400
Speaker 1: the more cinematic moments, such as the Hindenburg crashing, was

1371
01:21:18,479 --> 01:21:22,600
Speaker 1: not in the source material. That felt like a movie momentum.

1372
01:21:22,840 --> 01:21:27,479
Speaker 1: But the book was also kind of episodic. Uh, And

1373
01:21:27,520 --> 01:21:30,160
Speaker 1: I think that's probably where that structure in the movie

1374
01:21:30,200 --> 01:21:33,479
Speaker 1: comes from. But yeah, I just wanted to shout out

1375
01:21:34,080 --> 01:21:38,360
Speaker 1: the source material. I haven't read it. Oh my gosh, guys.

1376
01:21:38,479 --> 01:21:40,400
Speaker 1: One of the notes from the author is this Kiki

1377
01:21:40,479 --> 01:21:43,600
Speaker 1: delivery service was inspired by one of my daughter's drawings.

1378
01:21:43,640 --> 01:21:45,880
Speaker 1: It was a picture of which Blancus guy listening to

1379
01:21:45,960 --> 01:21:49,280
Speaker 1: a radio musical notes dance around her reminded me photos

1380
01:21:49,280 --> 01:21:51,080
Speaker 1: of New York from a bird's eye view that I

1381
01:21:51,120 --> 01:21:54,280
Speaker 1: had seen in Life magazine. They were beautiful images and

1382
01:21:54,280 --> 01:21:56,639
Speaker 1: I felt like there was a story there. Oh God,

1383
01:21:56,720 --> 01:22:03,240
Speaker 1: I love this so fret, everything about this is so wholesome,

1384
01:22:03,760 --> 01:22:06,120
Speaker 1: and thank you, thank you for noting that the source

1385
01:22:06,200 --> 01:22:08,160
Speaker 1: material is by a woman, because I feel like that

1386
01:22:08,760 --> 01:22:12,719
Speaker 1: very much. I mean always always happy to like give

1387
01:22:12,960 --> 01:22:18,880
Speaker 1: Miyazaki his flowers for being exceptionally good at taking great

1388
01:22:18,920 --> 01:22:23,040
Speaker 1: care with his characters who are women. But also shout

1389
01:22:23,040 --> 01:22:26,679
Speaker 1: out to Igo Kadono, and also just a quick shout

1390
01:22:26,680 --> 01:22:30,040
Speaker 1: out because this is the dub that I and I

1391
01:22:30,080 --> 01:22:33,400
Speaker 1: think all of us are very emotionally attached to. Kirsten

1392
01:22:33,479 --> 01:22:38,080
Speaker 1: dunst Man, What what a run, what a career? Holy shit?

1393
01:22:38,680 --> 01:22:42,160
Speaker 1: The fact that kikiS delivery service the Disney dub is

1394
01:22:42,200 --> 01:22:47,080
Speaker 1: like the fifties coolest thing she's ever done, is just

1395
01:22:47,120 --> 01:22:51,400
Speaker 1: a testament lover r I p. Phil Hartman, Gene Garthell

1396
01:22:51,720 --> 01:22:56,559
Speaker 1: Drill I funked it up to and of course Jeff

1397
01:22:56,600 --> 01:23:01,360
Speaker 1: the Dog Jeff and Jeff the Dog as himself feminist icon.

1398
01:23:01,439 --> 01:23:05,720
Speaker 1: Jeff the Dog does this movie past the Becco test? Yes,

1399
01:23:05,760 --> 01:23:12,040
Speaker 1: it does, almost constantly mentioned from scene one your perfection,

1400
01:23:12,320 --> 01:23:15,439
Speaker 1: and that brings us to our nipple scales zero to

1401
01:23:15,520 --> 01:23:18,880
Speaker 1: five nipples based on how the movie fares. Examining it

1402
01:23:19,000 --> 01:23:24,200
Speaker 1: through an intersectional feminist lens. I'm gonna go like four

1403
01:23:25,560 --> 01:23:29,160
Speaker 1: and a half, maybe four point seven five. Even the

1404
01:23:29,200 --> 01:23:33,479
Speaker 1: only thing I'm really docking it for is how the

1405
01:23:33,600 --> 01:23:38,400
Speaker 1: Tombo character does that I'm gonna wear you down and

1406
01:23:38,439 --> 01:23:43,000
Speaker 1: I'm gonna not respect to your boundaries, and that's not

1407
01:23:43,080 --> 01:23:46,080
Speaker 1: really interrogated in any meaningful way, and it ends up

1408
01:23:46,120 --> 01:23:49,800
Speaker 1: working out for everybody because they become friends. And that

1409
01:23:49,840 --> 01:23:53,240
Speaker 1: behavior should not be encouraged or portrayed in such a

1410
01:23:53,280 --> 01:23:57,000
Speaker 1: way that it yields good results or at least without

1411
01:23:57,000 --> 01:24:00,679
Speaker 1: a significant like having to reckon with that behavior, because

1412
01:24:00,680 --> 01:24:04,000
Speaker 1: I'm all for it, Like I think it actually could

1413
01:24:04,000 --> 01:24:07,360
Speaker 1: be really valuable for boys watching movies to see that

1414
01:24:07,439 --> 01:24:10,479
Speaker 1: behavior and then see of like, oh, I can't do that,

1415
01:24:10,600 --> 01:24:13,200
Speaker 1: and I will not be rewarded with friendship if I

1416
01:24:13,280 --> 01:24:16,120
Speaker 1: do that, And like watching a character learned that could

1417
01:24:16,120 --> 01:24:18,200
Speaker 1: have been it just it feels like the only missed

1418
01:24:18,240 --> 01:24:21,559
Speaker 1: opportunity of the movie because it does take her a while,

1419
01:24:21,760 --> 01:24:24,479
Speaker 1: like she's like, oh, you're rude and you didn't introduce

1420
01:24:24,520 --> 01:24:26,599
Speaker 1: yourself and you don't even know my name, and you know,

1421
01:24:26,720 --> 01:24:28,920
Speaker 1: like she's not receptive to it for a long time.

1422
01:24:29,160 --> 01:24:30,760
Speaker 1: But I wish there had just been more of a

1423
01:24:30,800 --> 01:24:34,360
Speaker 1: clear when she does switch, and like she gets excited

1424
01:24:34,400 --> 01:24:36,280
Speaker 1: to go to the party after he invites her. I

1425
01:24:36,320 --> 01:24:41,200
Speaker 1: don't really know why, what inspired, Like what's the catalyst

1426
01:24:41,280 --> 01:24:44,280
Speaker 1: for So I wish, yeah, he had been like, I'm

1427
01:24:44,280 --> 01:24:47,400
Speaker 1: sorry for stalking you. I won't do it again. Here's

1428
01:24:47,400 --> 01:24:50,200
Speaker 1: an invitation to my party. Something like that would have

1429
01:24:50,200 --> 01:24:53,000
Speaker 1: worked a little bit better for me. But um, otherwise, like,

1430
01:24:53,080 --> 01:24:56,040
Speaker 1: there's just so much to love about this movie. There's

1431
01:24:56,040 --> 01:25:00,720
Speaker 1: so much that it's doing well that media that's like

1432
01:25:00,760 --> 01:25:03,799
Speaker 1: appropriate for children, like a you know, kids and family

1433
01:25:04,160 --> 01:25:10,200
Speaker 1: movie that especially in mainstream American cinema, was not doing

1434
01:25:10,320 --> 01:25:15,879
Speaker 1: at all. So I love the relationships between female characters

1435
01:25:15,880 --> 01:25:19,800
Speaker 1: in this movie. I love that it's an exploration of

1436
01:25:20,000 --> 01:25:24,920
Speaker 1: a girl who's figuring things out and exploring what she

1437
01:25:25,080 --> 01:25:26,599
Speaker 1: likes and what she wants to do, and what her

1438
01:25:26,600 --> 01:25:29,040
Speaker 1: skills are, and who she is and what type of

1439
01:25:29,040 --> 01:25:33,280
Speaker 1: person she wants to be and how the world and

1440
01:25:33,600 --> 01:25:37,200
Speaker 1: you know, like external factors and other people that you

1441
01:25:37,280 --> 01:25:41,720
Speaker 1: encounter are going to maybe put a damper on your

1442
01:25:41,760 --> 01:25:46,080
Speaker 1: attitude sometimes, but like learning how to deal with that

1443
01:25:46,320 --> 01:25:51,759
Speaker 1: and overcome those obstacles and just like the whole character

1444
01:25:52,080 --> 01:25:56,280
Speaker 1: arc and just like exploration of her character that happens

1445
01:25:56,280 --> 01:25:59,160
Speaker 1: in the movie is just like so wonderful. We're in

1446
01:25:59,240 --> 01:26:02,760
Speaker 1: desperate need of more of those types of stories and

1447
01:26:02,880 --> 01:26:08,360
Speaker 1: characters still to this day. Four and three quarters nipples

1448
01:26:08,960 --> 01:26:12,960
Speaker 1: one Takiki, one to a son, No one to Ursula,

1449
01:26:13,160 --> 01:26:18,800
Speaker 1: one to the lesbian couple, and my three quarters nipples.

1450
01:26:19,680 --> 01:26:22,880
Speaker 1: I don't know if I should do Gigi or Jeff

1451
01:26:22,880 --> 01:26:27,719
Speaker 1: the dog because I know so much. Add silent husband

1452
01:26:27,720 --> 01:26:30,439
Speaker 1: and they each get a part of the quarter. Okay,

1453
01:26:30,640 --> 01:26:36,200
Speaker 1: true look and then and then you know Greg at

1454
01:26:36,200 --> 01:26:38,400
Speaker 1: the end, Greg is there at the end. There is

1455
01:26:38,439 --> 01:26:41,439
Speaker 1: a Greg born from the Greg Nancy and we have

1456
01:26:41,600 --> 01:26:48,200
Speaker 1: to acknowledge that young Greg cousin Greg Um. Anyways, I'm

1457
01:26:48,200 --> 01:26:50,439
Speaker 1: going to meet you there at four point seven five.

1458
01:26:50,640 --> 01:26:53,719
Speaker 1: I do think the tambo Uh story was a missed

1459
01:26:53,720 --> 01:26:58,240
Speaker 1: opportunity to completely subvert literally everything else going on in

1460
01:26:58,800 --> 01:27:02,280
Speaker 1: children's media at that time, at least in the West.

1461
01:27:02,400 --> 01:27:07,120
Speaker 1: And I do I'm very into right now learning about

1462
01:27:07,720 --> 01:27:11,720
Speaker 1: the Disney Studio Jeebli relationship and how it seems it

1463
01:27:11,760 --> 01:27:14,879
Speaker 1: also seems like Studio Ghibli movies had a huge impact

1464
01:27:14,920 --> 01:27:19,479
Speaker 1: on how Disney animated movies look but how Pixar animated

1465
01:27:19,520 --> 01:27:24,120
Speaker 1: movies are written with you know, point on like a

1466
01:27:24,320 --> 01:27:27,679
Speaker 1: strong emotional stories and like subverting what you're used to seeing,

1467
01:27:27,720 --> 01:27:31,839
Speaker 1: and just I just think that that interaction between the two, um,

1468
01:27:32,000 --> 01:27:35,759
Speaker 1: the two studios just really fascinating and speaks to Studio

1469
01:27:35,800 --> 01:27:39,639
Speaker 1: Ghimbili so much, because it's like Yazaki's movies are so

1470
01:27:39,680 --> 01:27:43,320
Speaker 1: good that they made Western movies progressively better over time

1471
01:27:43,400 --> 01:27:46,320
Speaker 1: because the bar was simply so high come on icon

1472
01:27:47,040 --> 01:27:55,200
Speaker 1: on influencer, influencer, and that like Miyazaki was inspired by

1473
01:27:55,280 --> 01:27:57,640
Speaker 1: Disney originally, so it's like this weird like back and

1474
01:27:57,760 --> 01:28:02,400
Speaker 1: forth relationship. For sure, you know, not to hand it

1475
01:28:02,439 --> 01:28:06,400
Speaker 1: to men, but it's just interesting. Um Kiki is just

1476
01:28:07,000 --> 01:28:08,920
Speaker 1: I loved her when as a kid. I love her now.

1477
01:28:09,720 --> 01:28:13,360
Speaker 1: I think it's like the law. The more time that passes,

1478
01:28:13,400 --> 01:28:16,680
Speaker 1: the more I'm astounded that there's a story about a

1479
01:28:16,880 --> 01:28:20,680
Speaker 1: young girl learning her own worth and like not you know,

1480
01:28:20,840 --> 01:28:24,280
Speaker 1: learning things over time and like discovering what makes her

1481
01:28:24,320 --> 01:28:28,160
Speaker 1: special even if she her skills are not honed yet

1482
01:28:28,200 --> 01:28:32,080
Speaker 1: she's a kid like of course, and finding these supportive

1483
01:28:32,520 --> 01:28:35,120
Speaker 1: figures that are rooting for her that she can be

1484
01:28:35,200 --> 01:28:39,360
Speaker 1: vulnerable and emotionally honest with and even just like simple

1485
01:28:39,600 --> 01:28:42,120
Speaker 1: writing choices. I don't know if this is the writer

1486
01:28:42,320 --> 01:28:45,240
Speaker 1: of the original book or if this is a Miyazaki choice.

1487
01:28:45,479 --> 01:28:48,040
Speaker 1: Don't know, but um, but just the fact that I

1488
01:28:48,040 --> 01:28:51,519
Speaker 1: feel like a lesser movie would have Kiki rediscover her

1489
01:28:51,560 --> 01:28:54,680
Speaker 1: confidence through Tombo. But it's Ursula. This character who was

1490
01:28:54,720 --> 01:28:58,559
Speaker 1: in the movie for like three minutes comes back, and

1491
01:28:58,600 --> 01:29:04,040
Speaker 1: it has this incredible arc and teaches Kiki awesome big

1492
01:29:04,080 --> 01:29:12,080
Speaker 1: sister stuff. Another Titanic parallel is Ursula draws not like

1493
01:29:12,200 --> 01:29:14,280
Speaker 1: one of her friends. No no, no, no no, but

1494
01:29:15,280 --> 01:29:20,760
Speaker 1: it would have caught this compares. It's not any romantic thing,

1495
01:29:20,880 --> 01:29:23,519
Speaker 1: but a sort of serve the same purpose of being

1496
01:29:23,560 --> 01:29:27,120
Speaker 1: like you were, independently of everything else going on, beautiful

1497
01:29:27,240 --> 01:29:31,720
Speaker 1: and yourself and I care about that individual. Yeah, in

1498
01:29:31,800 --> 01:29:36,439
Speaker 1: that moment, they were both completely at ease and uniquely seen. Yes,

1499
01:29:37,120 --> 01:29:41,080
Speaker 1: there's no denying Okay, the parallels, they're the Titanic, the

1500
01:29:41,080 --> 01:29:45,200
Speaker 1: Shrek parallels, I mean, the Shreky in nature. I mean,

1501
01:29:45,200 --> 01:29:48,479
Speaker 1: there's no denying it. Um. Yeah, I just it's it's

1502
01:29:48,520 --> 01:29:52,519
Speaker 1: an incredible movie, and I am excited to watch it

1503
01:29:52,840 --> 01:29:55,280
Speaker 1: more frequently now because now it's like, I don't know

1504
01:29:55,360 --> 01:29:58,680
Speaker 1: as an adult that makes stuff for a living. That

1505
01:29:58,760 --> 01:30:01,679
Speaker 1: scene with Ursula, I'm like, gotta return to that more often.

1506
01:30:01,920 --> 01:30:07,240
Speaker 1: I think to the woods, it's really good way to Joel,

1507
01:30:07,360 --> 01:30:10,160
Speaker 1: what say you? Wait, I gotta give my nipples along.

1508
01:30:10,200 --> 01:30:14,880
Speaker 1: I'm sorry, yeah, sorry, sorry, s all right. I'm given

1509
01:30:14,960 --> 01:30:20,160
Speaker 1: one to Ursula. I'm getting too Tiki Ki giving one

1510
01:30:20,360 --> 01:30:26,280
Speaker 1: to Gigi, the Japanese Gigi, the girl Gigi. How many?

1511
01:30:26,400 --> 01:30:28,439
Speaker 1: And I'll give the remaining point seven five to fill

1512
01:30:28,520 --> 01:30:33,000
Speaker 1: Heartman Gigi because I appreciate both of them, and I

1513
01:30:33,040 --> 01:30:37,400
Speaker 1: think that full Heartman Gigi is um an excellent ally

1514
01:30:37,439 --> 01:30:45,320
Speaker 1: and an Yago style hilarious animal sidekick. Yes, Joel, what

1515
01:30:45,479 --> 01:30:49,160
Speaker 1: to say? Um? I agree with you guys entirely. I

1516
01:30:49,200 --> 01:30:51,799
Speaker 1: can't go above or below this ratings for the obvious

1517
01:30:51,800 --> 01:30:57,360
Speaker 1: reasons already stated. Um, I do wish um Tombo, which

1518
01:30:57,360 --> 01:30:59,400
Speaker 1: now that I'm saying it is too close to Sambo,

1519
01:30:59,479 --> 01:31:03,519
Speaker 1: so I would chee into that name. And I feel

1520
01:31:03,560 --> 01:31:05,960
Speaker 1: like the reason Keiki accepts his invitation to the party

1521
01:31:06,120 --> 01:31:08,040
Speaker 1: is just She's been accepted by so many adults and

1522
01:31:08,080 --> 01:31:09,760
Speaker 1: has his career. This is her first opportunity to like

1523
01:31:09,840 --> 01:31:12,280
Speaker 1: hang out with kids her own age, and I sort

1524
01:31:12,280 --> 01:31:14,720
Speaker 1: of wish that had been hit harder. Who else is

1525
01:31:14,760 --> 01:31:17,200
Speaker 1: going to be there? Is that mean girl who doesn't

1526
01:31:17,240 --> 01:31:18,840
Speaker 1: like her grandma going to be there? Because I could

1527
01:31:18,840 --> 01:31:23,599
Speaker 1: skip that. Um Also, um, the car they drove around

1528
01:31:23,720 --> 01:31:26,439
Speaker 1: in would terrify me too. She was very right to

1529
01:31:26,439 --> 01:31:28,880
Speaker 1: be afraid of a car filled with mad children with

1530
01:31:28,960 --> 01:31:30,800
Speaker 1: the word monkeys scribbled on the side. I don't know

1531
01:31:30,800 --> 01:31:33,360
Speaker 1: what you're getting into, but nothing good happens in that car.

1532
01:31:33,640 --> 01:31:37,719
Speaker 1: I promise you not a seatbelt in sight. Um Ursula

1533
01:31:37,960 --> 01:31:41,400
Speaker 1: obviously gets one. Assano totally gets one. I'm going to

1534
01:31:41,479 --> 01:31:43,360
Speaker 1: give one to her mother because he has such a

1535
01:31:43,360 --> 01:31:46,519
Speaker 1: beautiful line, which sort of see her trying to not

1536
01:31:46,600 --> 01:31:48,280
Speaker 1: even though she's not like a bad kid. She's not

1537
01:31:48,320 --> 01:31:50,680
Speaker 1: trying to contradict her mother, but she is trying to

1538
01:31:50,720 --> 01:31:53,400
Speaker 1: create space that's just her own the whole time she's

1539
01:31:53,400 --> 01:31:56,599
Speaker 1: around her mom. And there's this like iconic moment for

1540
01:31:56,680 --> 01:31:59,400
Speaker 1: me anyway, where she gets away from her mother and

1541
01:31:59,439 --> 01:32:01,960
Speaker 1: she's like, my mom has been teaching me to fly

1542
01:32:02,080 --> 01:32:03,880
Speaker 1: since I was a baby. She taught me to never

1543
01:32:03,960 --> 01:32:06,400
Speaker 1: be afraid. And I was like, moms are the best.

1544
01:32:06,800 --> 01:32:10,719
Speaker 1: They're just the best. Like there's so much love and

1545
01:32:10,840 --> 01:32:13,720
Speaker 1: respect in that line that she doesn't get to necessarily

1546
01:32:13,720 --> 01:32:16,120
Speaker 1: show her mother when she's around her, because you don't

1547
01:32:16,120 --> 01:32:18,599
Speaker 1: when you're thirteen. Um, and I thought that was such

1548
01:32:18,640 --> 01:32:20,799
Speaker 1: a lovely tribute to the woman who sort of shaped

1549
01:32:20,800 --> 01:32:23,280
Speaker 1: her before we get to meet her. So one goes

1550
01:32:23,320 --> 01:32:28,080
Speaker 1: to mom, Um, I'm gonna give one just to Debbie

1551
01:32:28,080 --> 01:32:31,600
Speaker 1: Reynolds for being Wie Reynolds. Um. Yeah, and then one

1552
01:32:31,640 --> 01:32:34,280
Speaker 1: of the dog and wanted the cat because obviously they

1553
01:32:34,280 --> 01:32:38,000
Speaker 1: have supported and uplifted this story and you know, way

1554
01:32:38,080 --> 01:32:40,040
Speaker 1: to hold it down for the kids when the parents

1555
01:32:40,120 --> 01:32:44,680
Speaker 1: are distracted, really appreciate making sure everything goes smoothly when

1556
01:32:44,680 --> 01:32:48,639
Speaker 1: adults are doing adult things. Shout out to pets, pet,

1557
01:32:49,520 --> 01:32:52,200
Speaker 1: it's incredible. And then I that when when you said

1558
01:32:52,200 --> 01:32:55,160
Speaker 1: the thing about her her mom, it is like fascinating.

1559
01:32:55,160 --> 01:32:59,040
Speaker 1: In the Miyazaki movies we've covered so far, so Kiki's

1560
01:32:59,080 --> 01:33:02,720
Speaker 1: in Spirited Away, theyre is like this interesting needle he

1561
01:33:02,800 --> 01:33:06,840
Speaker 1: seems to thread with his characters where it's never like

1562
01:33:06,920 --> 01:33:11,960
Speaker 1: a reject tradition, embrace modernity or reject modernity, embrace tradition.

1563
01:33:12,040 --> 01:33:15,280
Speaker 1: It's always like embrace a little bit of both. And

1564
01:33:15,360 --> 01:33:18,200
Speaker 1: like even in Kiki's outfit where like she has the

1565
01:33:18,200 --> 01:33:21,080
Speaker 1: bow as hers and that's her like modern girl thing,

1566
01:33:21,200 --> 01:33:24,800
Speaker 1: but she's wearing the traditional dress and like sticks by

1567
01:33:24,880 --> 01:33:27,680
Speaker 1: it even when she's like teased for it. And I

1568
01:33:28,439 --> 01:33:31,599
Speaker 1: like that kind of thematic blend of like there's always

1569
01:33:31,600 --> 01:33:34,280
Speaker 1: some old and some new, and his character is like

1570
01:33:34,560 --> 01:33:37,160
Speaker 1: see the value in tradition, but also like leave the

1571
01:33:37,160 --> 01:33:40,439
Speaker 1: ship they don't like behind and it's a it's a

1572
01:33:40,439 --> 01:33:43,799
Speaker 1: good way to live your life. Well, and that's Kiki's

1573
01:33:43,840 --> 01:33:47,559
Speaker 1: delivery service. Yes it is, Joel. Thank you so much

1574
01:33:47,560 --> 01:33:50,160
Speaker 1: for joining us. This has been an absolute delight. Thank

1575
01:33:50,160 --> 01:33:52,479
Speaker 1: you guys so much for having me. I need and

1576
01:33:52,600 --> 01:33:57,240
Speaker 1: seriously come back for house moving castle. Where can people

1577
01:33:57,720 --> 01:34:00,799
Speaker 1: follow you on social media? Check out your stuff, support

1578
01:34:00,800 --> 01:34:03,800
Speaker 1: your stuff. You guys can find me all over the

1579
01:34:03,840 --> 01:34:06,560
Speaker 1: internet at guama Nique. That's j O E L L

1580
01:34:06,640 --> 01:34:09,920
Speaker 1: E m O n I Q you E please please

1581
01:34:09,920 --> 01:34:12,439
Speaker 1: please go check out my new podcast. It's called Comic

1582
01:34:12,520 --> 01:34:15,280
Speaker 1: Con Meta Pod. There are no dashes in there, don't

1583
01:34:15,280 --> 01:34:20,040
Speaker 1: worry about it. Comic Con Meta Pod for separate words. Um.

1584
01:34:20,080 --> 01:34:22,240
Speaker 1: I'm really excited about it. We have some great interviews

1585
01:34:22,280 --> 01:34:24,880
Speaker 1: for you. We just did the most chaotic interview of

1586
01:34:24,920 --> 01:34:28,680
Speaker 1: my life with Seth Green and Donald phase on. Um

1587
01:34:28,760 --> 01:34:32,600
Speaker 1: it's I think we're gonna release it, uh this coming Wednesday.

1588
01:34:32,640 --> 01:34:35,280
Speaker 1: Whatever that is to talk about being two of the

1589
01:34:35,320 --> 01:34:38,960
Speaker 1: members of jour from Joe and Putat, we don't even

1590
01:34:39,040 --> 01:34:42,320
Speaker 1: get to do. They're supposed to come on for fifteen minutes,

1591
01:34:42,400 --> 01:34:45,400
Speaker 1: and they stay for an hour and halfway through there

1592
01:34:45,400 --> 01:34:47,400
Speaker 1: just talking to each other, and we were like, what

1593
01:34:47,640 --> 01:34:50,880
Speaker 1: the tape roll? And it was so much of Seth

1594
01:34:51,000 --> 01:34:53,840
Speaker 1: being like here, like Donald will start talking in a

1595
01:34:53,840 --> 01:34:56,320
Speaker 1: negative tone about himself, stuff to be like, don't you dare,

1596
01:34:56,479 --> 01:34:58,760
Speaker 1: don't you do it? He's like, you're really out here

1597
01:34:58,760 --> 01:35:01,880
Speaker 1: working and trying. The are such good buddies in real life.

1598
01:35:02,000 --> 01:35:03,800
Speaker 1: We tried to make them debate, but they had all

1599
01:35:03,840 --> 01:35:06,639
Speaker 1: of the same feelings about everything, and so the debate

1600
01:35:06,680 --> 01:35:10,640
Speaker 1: totally glad. It's very chaotic but so much fun. And

1601
01:35:10,680 --> 01:35:13,240
Speaker 1: we had Um, John Carlo is supposed to go on,

1602
01:35:13,520 --> 01:35:17,400
Speaker 1: who is as kind and warm as you'd want him

1603
01:35:17,400 --> 01:35:20,680
Speaker 1: to be the absolute opposite of Gusts his character I'm

1604
01:35:20,720 --> 01:35:24,320
Speaker 1: breaking bad um not all a bad guy, totally like

1605
01:35:24,520 --> 01:35:26,680
Speaker 1: good human from the like twenty minutes that we got

1606
01:35:26,680 --> 01:35:29,040
Speaker 1: to interact with him to the point where we were

1607
01:35:29,080 --> 01:35:31,960
Speaker 1: crying over fandom, which if you followed me on any

1608
01:35:32,000 --> 01:35:33,960
Speaker 1: of my other shows, you know, like fandom is everything.

1609
01:35:33,960 --> 01:35:37,120
Speaker 1: I love fans, um not the toxic kind, but the

1610
01:35:37,160 --> 01:35:41,240
Speaker 1: kind that are just really loving their content and get

1611
01:35:41,240 --> 01:35:44,200
Speaker 1: into theories and you know, media has the power to

1612
01:35:44,280 --> 01:35:47,320
Speaker 1: change lives, as you guys so know. And to see

1613
01:35:47,360 --> 01:35:51,920
Speaker 1: somebody who you know makes it valuing their fans and

1614
01:35:51,960 --> 01:35:55,400
Speaker 1: these very precious interactions, you know, and then to the

1615
01:35:55,400 --> 01:35:59,880
Speaker 1: point where he is actually shedding tears, I mean transformational.

1616
01:36:00,040 --> 01:36:02,280
Speaker 1: We felt so much lighter and we were like just

1617
01:36:02,360 --> 01:36:04,680
Speaker 1: in disbelief. My co host Hector and I were just like,

1618
01:36:04,880 --> 01:36:08,080
Speaker 1: I can't believe this happened. It's the most like just uplifting,

1619
01:36:08,360 --> 01:36:11,479
Speaker 1: positive interview we've had in so long. Um So, there's

1620
01:36:11,479 --> 01:36:13,000
Speaker 1: a lot of great stuff out there, and if you

1621
01:36:13,040 --> 01:36:18,160
Speaker 1: know anything about Hector, he's just wonderful, brilliant, treasure, adorable human.

1622
01:36:18,400 --> 01:36:20,439
Speaker 1: Um So, I hope you guys will calm check it out.

1623
01:36:20,479 --> 01:36:25,920
Speaker 1: It's available wherever you get podcast, comic con, metapod, hell, yes,

1624
01:36:26,439 --> 01:36:30,280
Speaker 1: check it out. You can check us out on Instagram

1625
01:36:30,360 --> 01:36:33,479
Speaker 1: and Twitter at Bechtel Cast. You can check out our

1626
01:36:33,880 --> 01:36:37,599
Speaker 1: Patreon a k a Matreon at patreon dot com slash

1627
01:36:37,680 --> 01:36:40,880
Speaker 1: Bechtel Cast, where you get to bonus episodes every month

1628
01:36:41,360 --> 01:36:46,559
Speaker 1: and access to the entire back catalog of bonuses, of

1629
01:36:46,640 --> 01:36:50,599
Speaker 1: which there are over one hundred. Can you believe it?

1630
01:36:51,400 --> 01:36:57,000
Speaker 1: The passage of time is wild? Like that? Wow? Wow? Yeah?

1631
01:36:57,040 --> 01:37:00,719
Speaker 1: This this month, the month of May, were doing Face

1632
01:37:00,760 --> 01:37:03,479
Speaker 1: Off and Top Gun. So if you want a very

1633
01:37:03,479 --> 01:37:09,400
Speaker 1: different vibe, head over there, because oh guys, it is

1634
01:37:09,760 --> 01:37:13,800
Speaker 1: very follow up chaos. I want to be grapple with

1635
01:37:13,840 --> 01:37:17,040
Speaker 1: the fact that I think Face Off is an amazing movie,

1636
01:37:17,680 --> 01:37:20,880
Speaker 1: so good. No shame they took the face all the

1637
01:37:20,880 --> 01:37:24,240
Speaker 1: way off when they shocked and put it on to

1638
01:37:24,400 --> 01:37:27,240
Speaker 1: someone else the amount. I just wasn't expecting to see

1639
01:37:27,240 --> 01:37:29,400
Speaker 1: the faces off quite so much, and I was like,

1640
01:37:29,520 --> 01:37:32,320
Speaker 1: so as a big body horror fan, oh, I love

1641
01:37:32,320 --> 01:37:35,680
Speaker 1: when those faces are not on. Um anyways, head over

1642
01:37:35,720 --> 01:37:37,479
Speaker 1: there for that. You can check out our merch at

1643
01:37:37,479 --> 01:37:41,360
Speaker 1: t public dot com slash the Bechtel Cast, follow us

1644
01:37:41,360 --> 01:37:46,160
Speaker 1: on Twitter Instagram at Bechtel Cast and uh, what do

1645
01:37:46,160 --> 01:37:48,759
Speaker 1: you say, gang, why don't we get on our brooms

1646
01:37:48,760 --> 01:37:51,680
Speaker 1: and brooms and zoom to kick off with zoom on

1647
01:37:51,720 --> 01:37:54,640
Speaker 1: those brooms