1
00:00:02,080 --> 00:00:05,480
Speaker 1: The Dog Cast. The questions asked, movies have when and

2
00:00:05,600 --> 00:00:08,920
Speaker 1: in them? Are all their discussions just boyfriends and husbands?

3
00:00:09,080 --> 00:00:14,040
Speaker 1: Do they have individualism? The patriarchy? Zef in best start

4
00:00:14,160 --> 00:00:18,960
Speaker 1: changing it with the cast. Hello, welcome to the back

5
00:00:19,040 --> 00:00:23,119
Speaker 1: dol cast. Jamie, you got me a marmalade pillow. You

6
00:00:23,160 --> 00:00:26,439
Speaker 1: made it, I made you marmalade pillow. And I got

7
00:00:26,440 --> 00:00:29,320
Speaker 1: I got a second. I got a little companion over here. Please,

8
00:00:29,400 --> 00:00:34,000
Speaker 1: this bitch got crafty. I did it. I did it. Yeah.

9
00:00:34,520 --> 00:00:37,639
Speaker 1: I'm also caused playing as Patton for the listeners at home,

10
00:00:37,640 --> 00:00:39,320
Speaker 1: but I am going to tell you was like, I'm

11
00:00:39,360 --> 00:00:44,080
Speaker 1: truly a brilliant move for our audio podcast. It looks incredible.

12
00:00:44,200 --> 00:00:47,640
Speaker 1: I'm I mean, it's Caitlin's birthday. Give it up for David,

13
00:00:48,240 --> 00:00:50,760
Speaker 1: give it up for her birthday. It's her Jordan ear,

14
00:00:50,920 --> 00:00:55,400
Speaker 1: it's her christ hear. She's living in a class of nine. Right,

15
00:00:55,960 --> 00:00:59,240
Speaker 1: Really incredible stuff. Thank you so much, thanks for coming

16
00:00:59,240 --> 00:01:03,120
Speaker 1: to the bachel Cast. Thank you. We're so excited for tonight.

17
00:01:03,160 --> 00:01:11,240
Speaker 1: It's paddingtons big night for U. So so quick survey

18
00:01:11,920 --> 00:01:13,920
Speaker 1: clap if if you've listened to the back to cast

19
00:01:13,959 --> 00:01:19,319
Speaker 1: before amazing and then clap don't be shy if you

20
00:01:19,360 --> 00:01:25,000
Speaker 1: are the person that has been dragged here by someone else. Yeah, okay,

21
00:01:25,040 --> 00:01:27,880
Speaker 1: we gotta hesitated. Yeah, there, there's it's always a trickle.

22
00:01:27,959 --> 00:01:31,760
Speaker 1: It's always someone who's like, I'm a coward, Like, uh cool, well,

23
00:01:31,800 --> 00:01:33,720
Speaker 1: thank you for being here. We're psyched that you're here

24
00:01:34,080 --> 00:01:37,240
Speaker 1: out of curiosity. Is there anyone who has not seen

25
00:01:37,680 --> 00:01:42,560
Speaker 1: The Paddington's don't raise your hand, you clap, it's an

26
00:01:42,600 --> 00:01:48,360
Speaker 1: audio medium. Oh wow, not on the show movie? What's

27
00:01:48,400 --> 00:01:51,760
Speaker 1: going on here? Well? I had only i'd only seen

28
00:01:51,800 --> 00:01:57,560
Speaker 1: the movie watch it on Christmas. Yeah, so you know,

29
00:01:58,120 --> 00:02:01,200
Speaker 1: we're all on our own paddingtons're ernie. That's true, that's true.

30
00:02:01,200 --> 00:02:03,520
Speaker 1: I don't want to shame anyone but Ron Plaz who

31
00:02:03,640 --> 00:02:12,280
Speaker 1: has seen the Paddington's. Ah, you've only seen one. Yeah,

32
00:02:12,440 --> 00:02:18,040
Speaker 1: just just hit yourself. That seems like a reasonable compromise.

33
00:02:18,680 --> 00:02:22,000
Speaker 1: So the Bechtel Cast for the two people who are

34
00:02:22,080 --> 00:02:25,239
Speaker 1: here and everyone at home, We are a podcast that

35
00:02:25,360 --> 00:02:29,560
Speaker 1: looks at popular movies from a feminist perspective, using the

36
00:02:29,600 --> 00:02:32,280
Speaker 1: Bechtel test as a jumping off point. That's right, and

37
00:02:32,440 --> 00:02:35,440
Speaker 1: the Becktel test, if you're not familiar, requires that two

38
00:02:35,480 --> 00:02:39,320
Speaker 1: female identifying characters have names there in the movie together,

39
00:02:39,720 --> 00:02:42,120
Speaker 1: they have to talk to each other, and they can't

40
00:02:42,160 --> 00:02:47,680
Speaker 1: talk about men or Paddington's unfortunately, although I think any

41
00:02:47,760 --> 00:02:53,760
Speaker 1: conversation about Paddington's still passes the Bechtel test. I disagree,

42
00:02:53,760 --> 00:02:58,400
Speaker 1: it's my birthday, but fine, disagree. Uh can we demo

43
00:02:58,480 --> 00:03:01,079
Speaker 1: the Bechdel test? I do have a beck to test

44
00:03:01,120 --> 00:03:04,840
Speaker 1: relevant questions? Okay, Hi Caitlin, Hi Jamie. Do you think

45
00:03:05,320 --> 00:03:11,480
Speaker 1: Nicole Kidman's wig is is more egregious in Paddington one

46
00:03:11,800 --> 00:03:15,200
Speaker 1: or Big Little Eyes Season one? I have not seen

47
00:03:15,240 --> 00:03:17,640
Speaker 1: Big Little Eyes. If you've seen the poster, you've seen

48
00:03:17,639 --> 00:03:21,640
Speaker 1: the whig. Okay, I'm gonna go with Big Little Eyes then,

49
00:03:21,680 --> 00:03:26,520
Speaker 1: because everything about Paddington is perfect, Okay, fair, fair, At

50
00:03:26,600 --> 00:03:28,880
Speaker 1: least in Paddington. I'm like, it's supposed to look like

51
00:03:28,919 --> 00:03:34,160
Speaker 1: it's a wig, whereas a big little lies it's very distracted. Um,

52
00:03:34,240 --> 00:03:37,240
Speaker 1: well that was my beck to test. We did end

53
00:03:37,320 --> 00:03:41,280
Speaker 1: up talking about Paddington. You ended up well, Paddington One.

54
00:03:41,320 --> 00:03:45,720
Speaker 1: I guess the movie not Paddington the the movie is genderless, yes,

55
00:03:45,880 --> 00:03:51,920
Speaker 1: genderless icon Paddington's movie. Should we bring out our guests?

56
00:03:52,280 --> 00:03:56,520
Speaker 1: You know him from being a TV writer. He is

57
00:03:56,680 --> 00:04:00,560
Speaker 1: the co host of Punch Up the Jam podcast. He's

58
00:04:00,600 --> 00:04:02,840
Speaker 1: also been a previous gust of ours on our Star

59
00:04:02,840 --> 00:04:12,000
Speaker 1: Wars Force Awakens episode give It Up for Demi? Did you? eBay? Hi?

60
00:04:12,880 --> 00:04:16,640
Speaker 1: Thanks for coming back. Thank you for having me back. Also,

61
00:04:16,720 --> 00:04:20,080
Speaker 1: in defense of you saying that Paddington doesn't count for

62
00:04:20,160 --> 00:04:23,160
Speaker 1: Beck told cast it's you. You can't talk about a man, right, yes,

63
00:04:23,480 --> 00:04:28,520
Speaker 1: a boy? Oh true, little baby boy. We found a loophole.

64
00:04:29,680 --> 00:04:33,880
Speaker 1: We had to start the podcast over. Great. Great, So,

65
00:04:33,960 --> 00:04:36,480
Speaker 1: DENNI thank you so much for being here. What's your

66
00:04:36,560 --> 00:04:41,560
Speaker 1: history your relationship with the Paddington movie. I feel like

67
00:04:42,000 --> 00:04:44,160
Speaker 1: you just asked me grandpa, tell me a story about

68
00:04:44,160 --> 00:04:47,320
Speaker 1: the war. And I'm like, oh, Paddington, but like a

69
00:04:47,400 --> 00:04:50,680
Speaker 1: really wonderful war that we all love so much. This

70
00:04:50,800 --> 00:04:52,680
Speaker 1: is how this is how Titanic starts. And I just

71
00:04:52,760 --> 00:04:54,920
Speaker 1: leave out the everything after the sex. I'm like, no,

72
00:04:55,000 --> 00:04:57,640
Speaker 1: that didn't happen. It's just a nice boat, right, um.

73
00:04:57,640 --> 00:05:01,320
Speaker 1: Basically Paddington. People were like for hang out about Paddington two,

74
00:05:01,560 --> 00:05:04,679
Speaker 1: and I was kind of like, okay, well everyone seems

75
00:05:04,720 --> 00:05:06,680
Speaker 1: to really on ironically love it. I'm gonna go see it.

76
00:05:06,680 --> 00:05:07,840
Speaker 1: And I went to see it with a bunch of

77
00:05:07,839 --> 00:05:10,800
Speaker 1: friends and then I was like, wow, that was delight,

78
00:05:10,839 --> 00:05:14,240
Speaker 1: but I haven't seen Paddington one. So I went home,

79
00:05:14,680 --> 00:05:17,800
Speaker 1: like the next day watched Paddington one because on Netflix,

80
00:05:18,240 --> 00:05:20,440
Speaker 1: and then I was like, I think you texted me

81
00:05:20,560 --> 00:05:22,560
Speaker 1: going like have you seen Paddington I was like, no,

82
00:05:22,600 --> 00:05:24,800
Speaker 1: but I want to see it again. And we went

83
00:05:24,839 --> 00:05:27,480
Speaker 1: and saw Paddington two in theaters again. I think it

84
00:05:27,520 --> 00:05:30,480
Speaker 1: was my second time, your third time at the time. Yes, yes,

85
00:05:31,040 --> 00:05:34,279
Speaker 1: And I was just like, this movie is very good,

86
00:05:35,360 --> 00:05:39,719
Speaker 1: very good. It's just so pleasant. Didn't you get kicked

87
00:05:39,720 --> 00:05:44,080
Speaker 1: off of Twitter for yes? Yeah? For defending his honor.

88
00:05:44,360 --> 00:05:47,880
Speaker 1: This is the war part of the story. I basically

89
00:05:48,680 --> 00:05:51,560
Speaker 1: a friend of mine, ben Con, was tweeting one day

90
00:05:51,640 --> 00:05:54,840
Speaker 1: that he was jokingly saying, well, guys, just finally saw

91
00:05:54,880 --> 00:05:56,960
Speaker 1: Paddington two, and I gotta say that bear kind of

92
00:05:56,960 --> 00:06:02,359
Speaker 1: a naive dipshit and I no, fair point, half a

93
00:06:02,400 --> 00:06:06,800
Speaker 1: fair point, he's naive, but we love him for no.

94
00:06:07,120 --> 00:06:10,360
Speaker 1: So basically I responded to him saying, as a joke,

95
00:06:10,560 --> 00:06:16,440
Speaker 1: I just said I will kill you Benjamin, and Twitter

96
00:06:16,480 --> 00:06:20,159
Speaker 1: don't like that. So someone basically started like abusing the

97
00:06:20,200 --> 00:06:23,000
Speaker 1: reports stem and got me kicked off, and then everyone

98
00:06:23,120 --> 00:06:25,839
Speaker 1: was like, what are you? Why are you know? Hey,

99
00:06:25,920 --> 00:06:29,400
Speaker 1: that's not how it works. And Twitter was like, yeah, okay, sorry,

100
00:06:29,680 --> 00:06:31,960
Speaker 1: Well I'm glad you're back on Twitter. O me too,

101
00:06:32,640 --> 00:06:36,960
Speaker 1: Victory Jamie, what's your history with Paddington You harassed me

102
00:06:37,040 --> 00:06:40,680
Speaker 1: until I watched it on Christmas? I liked I did

103
00:06:40,720 --> 00:06:43,919
Speaker 1: remember I watched there was a TV series that I watched,

104
00:06:43,960 --> 00:06:46,440
Speaker 1: and when I was younger and I read some of

105
00:06:46,480 --> 00:06:48,400
Speaker 1: the books, it wasn't like it was weird. I was

106
00:06:48,480 --> 00:06:54,640
Speaker 1: more attached to Babar kid. You don't know him as

107
00:06:54,720 --> 00:06:59,599
Speaker 1: babe Bar baye Bar. I don't, well, I know, I

108
00:06:59,600 --> 00:07:02,320
Speaker 1: think it is bay Bar, but really, oh, I just

109
00:07:02,320 --> 00:07:04,559
Speaker 1: looked at someone like that. I was trying to cross.

110
00:07:04,680 --> 00:07:07,520
Speaker 1: I feel like, this is a moment when I realized,

111
00:07:07,680 --> 00:07:12,680
Speaker 1: why did I confidently correct you mid phrase? This is

112
00:07:12,720 --> 00:07:14,640
Speaker 1: like when one time I thought I knew how to

113
00:07:14,680 --> 00:07:18,800
Speaker 1: say you and McGregor's last Oh my god, Elwen, it's

114
00:07:18,880 --> 00:07:21,680
Speaker 1: you win, you win. That doesn't make it. You kept

115
00:07:21,720 --> 00:07:26,280
Speaker 1: saying I guess I said it. Really, I said it

116
00:07:26,360 --> 00:07:30,000
Speaker 1: really conivident. I was like, I like he was named

117
00:07:30,040 --> 00:07:35,800
Speaker 1: by ARNLD Schwarzenegger, so Gregor. You know, there's no way

118
00:07:35,840 --> 00:07:40,800
Speaker 1: to know how Babar. I don't even know who bab

119
00:07:40,840 --> 00:07:48,000
Speaker 1: bar ishant. Okay, I know British elephant suit crown, what

120
00:07:48,360 --> 00:07:54,080
Speaker 1: you want? I'm learning things there. Anyways, you know we

121
00:07:54,160 --> 00:07:57,840
Speaker 1: gotta get that friend. Where's the social justice bay Bar franchise?

122
00:07:58,680 --> 00:08:00,720
Speaker 1: Good question? To make it happen? So I made you.

123
00:08:00,760 --> 00:08:03,840
Speaker 1: I harassed you into watching it, both of them back

124
00:08:03,880 --> 00:08:06,960
Speaker 1: to back on Christmas, and I did love them, and

125
00:08:07,000 --> 00:08:09,520
Speaker 1: then I watched them back for this and I still

126
00:08:09,520 --> 00:08:13,400
Speaker 1: love them. It hasn't been that long. Yeah, what about Well,

127
00:08:13,760 --> 00:08:20,720
Speaker 1: I really you know that I love these movies. I

128
00:08:20,760 --> 00:08:22,600
Speaker 1: saw the first one, not right when it came out,

129
00:08:22,640 --> 00:08:27,840
Speaker 1: but I would say like late twenty fifteen into I think, Yeah,

130
00:08:27,920 --> 00:08:32,560
Speaker 1: I saw Paddington two in theaters four times, and I

131
00:08:32,600 --> 00:08:34,680
Speaker 1: just love it so much. It makes me cry. Even

132
00:08:34,720 --> 00:08:37,679
Speaker 1: when I'm watching it. The parts that don't make me cry,

133
00:08:37,400 --> 00:08:40,680
Speaker 1: I just think about the parts that do make me cry,

134
00:08:40,720 --> 00:08:44,640
Speaker 1: and then I cry. Anyway. So the act of crying

135
00:08:44,720 --> 00:08:47,280
Speaker 1: through Paddington has become like a sort of meta exercise,

136
00:08:47,320 --> 00:08:49,280
Speaker 1: and that crying is so much a part of it

137
00:08:49,360 --> 00:08:51,520
Speaker 1: that you have to think of either the fact that

138
00:08:51,559 --> 00:08:54,199
Speaker 1: you are crying or the lack of tears. Yes, yeah,

139
00:08:54,520 --> 00:08:57,679
Speaker 1: I appreciate when a movie tells me when to cry

140
00:08:57,920 --> 00:09:02,240
Speaker 1: via music, because sometimes you're like, oh, wait, I'm heartless,

141
00:09:02,240 --> 00:09:04,240
Speaker 1: how do I know? And then the movie goes like

142
00:09:04,600 --> 00:09:10,120
Speaker 1: n and you're like, oh, I'm yeah, that was Avengers Endgame.

143
00:09:10,160 --> 00:09:13,199
Speaker 1: I didn't know what the funk was going on. Oh yeah,

144
00:09:13,480 --> 00:09:16,160
Speaker 1: characters I've never heard of? So wait, did you watch Endgame?

145
00:09:16,280 --> 00:09:19,040
Speaker 1: Having not seen any of it, I'd seen like three

146
00:09:19,160 --> 00:09:21,920
Speaker 1: out of twenty, and then I went to see Endgame

147
00:09:21,960 --> 00:09:25,120
Speaker 1: and I was in I was weeping, but only when

148
00:09:25,160 --> 00:09:28,079
Speaker 1: I was told that is just it's I feel like

149
00:09:28,080 --> 00:09:29,840
Speaker 1: I'm getting off on a different thing here. But I'm like,

150
00:09:29,880 --> 00:09:32,080
Speaker 1: that is fascinating because I feel like, even with three

151
00:09:32,200 --> 00:09:34,800
Speaker 1: you kind of get it all, you understand. I mean,

152
00:09:34,840 --> 00:09:39,559
Speaker 1: it's easy to be like, oh, they're friends. Yeah, um

153
00:09:39,600 --> 00:09:41,800
Speaker 1: should I do the recap? Let's do it. So I'm

154
00:09:41,800 --> 00:09:46,400
Speaker 1: gonna recap both movies in a slightly less detailed way

155
00:09:46,400 --> 00:09:48,920
Speaker 1: than I normally do because we we have a finite

156
00:09:48,960 --> 00:09:51,720
Speaker 1: amount of time for the show. We got two movies

157
00:09:51,800 --> 00:09:56,600
Speaker 1: to talk ad here we go. So Paddington one, it's

158
00:09:56,640 --> 00:10:04,000
Speaker 1: about a little bear. I'm already crying. Um. He immigrates

159
00:10:04,160 --> 00:10:07,760
Speaker 1: to London from Darkest Peru. He's trying to find a

160
00:10:07,760 --> 00:10:11,400
Speaker 1: new home after an earthquake destroys his home that he

161
00:10:11,440 --> 00:10:17,360
Speaker 1: lives in with his aunt Lucy and uncle Pastuzo. Uh.

162
00:10:17,559 --> 00:10:22,200
Speaker 1: He goes looking for the explorer who his aunt and

163
00:10:22,280 --> 00:10:25,560
Speaker 1: uncle had met when the explorer went on an expedition

164
00:10:25,640 --> 00:10:29,320
Speaker 1: to Peru. And this explore discovered that the bears can talk,

165
00:10:29,840 --> 00:10:32,920
Speaker 1: and he introduces them to Marmalade and he teaches them

166
00:10:32,920 --> 00:10:37,280
Speaker 1: English and he is clearly actively trying to call any

167
00:10:37,520 --> 00:10:41,680
Speaker 1: and he's a cologne. But then he doesn't, so we

168
00:10:41,800 --> 00:10:45,440
Speaker 1: love him. He thought about it, but then he's like,

169
00:10:45,600 --> 00:10:50,559
Speaker 1: they can speak English. I won't colonize that he's bad.

170
00:10:50,720 --> 00:10:54,600
Speaker 1: So anyway. Uh. The little Bear arrives in London and

171
00:10:54,679 --> 00:10:57,640
Speaker 1: people aren't as welcoming as he thought they would be.

172
00:10:58,200 --> 00:11:03,280
Speaker 1: But eventually a family finds him at Paddington Station, which

173
00:11:03,320 --> 00:11:06,600
Speaker 1: is basically the Ellis Island of this movie. Right, It's

174
00:11:06,640 --> 00:11:09,079
Speaker 1: like if everyone who came to Ellis Island was named

175
00:11:09,080 --> 00:11:16,320
Speaker 1: Ellis Island. Yeah. Uh, and this is the Brown family. Um,

176
00:11:16,360 --> 00:11:20,800
Speaker 1: it's Mrs Brown who names him Paddington. Mr Brown, their

177
00:11:20,880 --> 00:11:24,880
Speaker 1: kids Judy and Jonathan and then a relative Mrs Bird,

178
00:11:25,080 --> 00:11:29,360
Speaker 1: who we meet a little later on. Is that Rown Mom? Yes,

179
00:11:29,440 --> 00:11:33,560
Speaker 1: that is Julie Walter's Yeah. Also in Mamma Mia. Yeah.

180
00:11:33,679 --> 00:11:43,640
Speaker 1: In Mary Poppin's Returns, whoa her career? She's had a salute, Julie, Yes,

181
00:11:44,200 --> 00:11:49,679
Speaker 1: what a strong four years. So the family takes Paddington

182
00:11:49,800 --> 00:11:53,000
Speaker 1: home and they promised to help him find this explorer.

183
00:11:53,320 --> 00:11:57,840
Speaker 1: Important to note that Mr Brown is pretty racist towards Bears.

184
00:11:59,559 --> 00:12:02,640
Speaker 1: He's a full on xenopope, I think, honestly in the

185
00:12:02,679 --> 00:12:05,559
Speaker 1: Brown family in the first movie, you're like, the Brexit

186
00:12:05,640 --> 00:12:08,880
Speaker 1: vote is split in this household. Yeah, it makes you

187
00:12:08,920 --> 00:12:12,199
Speaker 1: wonder why Mr and Mrs Brown are married. I wonder

188
00:12:12,280 --> 00:12:15,720
Speaker 1: this whole franchise why she doesn't dump his as. Yeah,

189
00:12:15,760 --> 00:12:18,920
Speaker 1: oh my god. This movie is the cute version of

190
00:12:18,920 --> 00:12:24,360
Speaker 1: Green Book because in that same sense, Linda Cardlini is like, no,

191
00:12:24,600 --> 00:12:27,200
Speaker 1: my husband's thrown a my spoiling green Book for anyone.

192
00:12:27,320 --> 00:12:31,080
Speaker 1: I'm just kidding. It spoils itself. Basically, he like throws

193
00:12:31,120 --> 00:12:35,280
Speaker 1: away two glasses that's like two black construction workers drink

194
00:12:35,320 --> 00:12:37,280
Speaker 1: out of, which is just a vile act of racism.

195
00:12:37,280 --> 00:12:38,600
Speaker 1: It's like they touched this, I can't have it in

196
00:12:38,640 --> 00:12:40,440
Speaker 1: my home, and she just looks it in the trash

197
00:12:40,440 --> 00:12:44,720
Speaker 1: and I was like, my husband like, she's just like, oh, racism,

198
00:12:44,800 --> 00:12:49,880
Speaker 1: such an inconvenience, wasting so many glasses. Learns to love

199
00:12:49,880 --> 00:12:55,040
Speaker 1: the manly just like Mr Brown well Sally Hawkins. I mean,

200
00:12:55,080 --> 00:12:58,079
Speaker 1: in that relationship, she must be addicted to emotional labor,

201
00:12:58,080 --> 00:13:00,520
Speaker 1: because that's all that is for her, is her being

202
00:13:00,559 --> 00:13:02,920
Speaker 1: like in the first movie, she's like, please don't be racist,

203
00:13:02,960 --> 00:13:04,800
Speaker 1: and the second movie she's like, please don't hate people

204
00:13:04,840 --> 00:13:07,840
Speaker 1: who got a prison so much. And every time Mr

205
00:13:07,880 --> 00:13:10,040
Speaker 1: Brown gets to be do the cathartic speech at the

206
00:13:10,120 --> 00:13:13,280
Speaker 1: end and be like I figured it out, I shouldn't

207
00:13:13,320 --> 00:13:17,160
Speaker 1: be racist, and we're like, yes, she's just gonna be

208
00:13:17,240 --> 00:13:20,760
Speaker 1: like ha ha, yeah, yes, yep, he did it. Good job.

209
00:13:21,880 --> 00:13:25,160
Speaker 1: So one of the reasons that Mr Brown isn't a

210
00:13:25,200 --> 00:13:28,240
Speaker 1: big fan of Paddington is that he does mess up

211
00:13:28,280 --> 00:13:31,960
Speaker 1: their house a lot because he's a clumsy little Berry

212
00:13:32,040 --> 00:13:35,240
Speaker 1: can't help it. Cute, but allegory falls away at this point,

213
00:13:35,760 --> 00:13:42,400
Speaker 1: by the way, and then meanwhile, Nicole Kidman is in

214
00:13:42,440 --> 00:13:45,959
Speaker 1: the movie with a wig. Nicole Kiman and Nicole Kiman's wig.

215
00:13:46,040 --> 00:13:49,520
Speaker 1: Please don't forget they're saying they are credited separately. Yes, yes, yes, yes,

216
00:13:49,800 --> 00:13:53,680
Speaker 1: the wig higher billing. Yeah, the wig is Union baby.

217
00:13:54,559 --> 00:13:58,200
Speaker 1: She finds out that this little bear is in town,

218
00:13:58,679 --> 00:14:00,560
Speaker 1: and then she goes looking for him because she wants

219
00:14:00,640 --> 00:14:03,280
Speaker 1: to kill and stuff him. And then there's also a

220
00:14:03,360 --> 00:14:07,720
Speaker 1: racist neighbor, Mr. Curry, who's trying to help Nicole Kidman

221
00:14:07,760 --> 00:14:13,000
Speaker 1: because he also hates bears. Meanwhile, Paddington and the Browns

222
00:14:13,000 --> 00:14:15,880
Speaker 1: continue to try to track down the explorer with the

223
00:14:15,880 --> 00:14:19,360
Speaker 1: help of Mr Gruber and Paddington's hat that leads them

224
00:14:19,360 --> 00:14:22,320
Speaker 1: to the Geographer's Guild, and then they learned the name

225
00:14:22,440 --> 00:14:26,360
Speaker 1: of the explorer, Montgomery Clyde. So then Paddington is about

226
00:14:26,400 --> 00:14:29,200
Speaker 1: to go like find Montgomery Cline, but then he overhears

227
00:14:29,280 --> 00:14:32,720
Speaker 1: Mr Brown being like, Paddington sucks and he's putting our

228
00:14:32,760 --> 00:14:36,160
Speaker 1: family in danger, and then Sally Hawkins is like kind

229
00:14:36,240 --> 00:14:42,360
Speaker 1: of so Paddington leaves and we cry. Then he goes

230
00:14:42,400 --> 00:14:46,320
Speaker 1: to the last m Clyde in the book, and it's

231
00:14:46,360 --> 00:14:50,120
Speaker 1: the same house that Nicole Kidman lives at and her

232
00:14:50,160 --> 00:14:53,960
Speaker 1: wig and her wig she kidnaps him and it turns

233
00:14:53,960 --> 00:14:56,720
Speaker 1: out that she is the daughter of the explorer, and

234
00:14:56,920 --> 00:15:00,400
Speaker 1: she is bitter that her late father refus used to

235
00:15:00,520 --> 00:15:05,200
Speaker 1: collect the specimen of this species of bears who can

236
00:15:05,400 --> 00:15:11,720
Speaker 1: stem with Daddy issues man home run. So then the

237
00:15:11,760 --> 00:15:15,440
Speaker 1: Browns go to rescue Paddington because they realize how good

238
00:15:15,440 --> 00:15:19,720
Speaker 1: this we better is for the family. And then Paddington

239
00:15:19,800 --> 00:15:23,400
Speaker 1: almost dies, but then the Browns save him and they

240
00:15:23,520 --> 00:15:26,360
Speaker 1: bring him into their family. Is one of their own.

241
00:15:27,040 --> 00:15:30,840
Speaker 1: The end of the first one of the first one, Yes,

242
00:15:31,000 --> 00:15:34,800
Speaker 1: and now onto Paddington to the best movie ever made.

243
00:15:35,400 --> 00:15:40,840
Speaker 1: Um Allegory is back. Yes, a different one. It appears

244
00:15:40,880 --> 00:15:43,800
Speaker 1: for a few all right, the first act set up,

245
00:15:43,840 --> 00:15:45,400
Speaker 1: it's gonna be just like this thing's like all right,

246
00:15:45,440 --> 00:15:48,520
Speaker 1: But what about when he's like making sandwich is all right?

247
00:15:48,520 --> 00:15:51,840
Speaker 1: It's it's a different movie. Then, I like, Wendy, I

248
00:15:51,880 --> 00:15:54,280
Speaker 1: want to imagine like the Paddington two pitch of like

249
00:15:54,320 --> 00:15:56,280
Speaker 1: someone busting down the door. They would be like, this

250
00:15:56,360 --> 00:16:01,480
Speaker 1: is an indictment of the prison industrial complex. They're like, yeah, sure,

251
00:16:03,360 --> 00:16:06,640
Speaker 1: hello listeners. It was at this point during the live

252
00:16:06,680 --> 00:16:10,880
Speaker 1: show that something happened to our recording the connection with

253
00:16:11,680 --> 00:16:14,800
Speaker 1: Curse Indoors. Yes, but it was only for five minutes,

254
00:16:14,840 --> 00:16:17,400
Speaker 1: so we only lost five minutes of audio. At this point,

255
00:16:17,480 --> 00:16:20,320
Speaker 1: the assassins came into the room so we were fighting

256
00:16:20,320 --> 00:16:26,360
Speaker 1: them off and Hugh Grant came in and it was like, yeah, um,

257
00:16:26,440 --> 00:16:28,560
Speaker 1: so here's what you missed. Yes, so we're just gonna

258
00:16:28,840 --> 00:16:31,200
Speaker 1: we're in the studio now, we're filling in the gaps.

259
00:16:31,560 --> 00:16:36,240
Speaker 1: Mind the gap because Britain, because of British Yes. Okay,

260
00:16:36,280 --> 00:16:41,120
Speaker 1: So here's the recap to Paddington two. Um. Paddington has

261
00:16:41,160 --> 00:16:44,400
Speaker 1: been living with the Browns for a few years now.

262
00:16:45,160 --> 00:16:48,680
Speaker 1: They all love each other. Everything is great until Paddington

263
00:16:49,040 --> 00:16:51,600
Speaker 1: is in the wrong place at the wrong time and

264
00:16:51,760 --> 00:16:57,320
Speaker 1: he likely story just so typical of Paddington um. And

265
00:16:57,360 --> 00:17:01,200
Speaker 1: he is accused of stealing a pop up book of London,

266
00:17:01,280 --> 00:17:03,480
Speaker 1: which is the same book that he was saving up

267
00:17:03,480 --> 00:17:07,000
Speaker 1: money for to buy as a gift to his brought Lucy,

268
00:17:07,119 --> 00:17:10,520
Speaker 1: Yes from Mr Gruber um because he wants to give

269
00:17:10,560 --> 00:17:13,679
Speaker 1: something to Aunt Lucy for her birthday and I also

270
00:17:13,800 --> 00:17:17,960
Speaker 1: had a birthday icon paying it forward. Less, we find

271
00:17:17,960 --> 00:17:21,639
Speaker 1: out that the actual thief is their new neighbor, Phoenix Buchanan,

272
00:17:22,080 --> 00:17:26,399
Speaker 1: played by Hugh Grant in the role of a lifetime

273
00:17:26,600 --> 00:17:29,240
Speaker 1: really incredible. Seeing Hugh Grant in this role made me

274
00:17:29,280 --> 00:17:31,320
Speaker 1: think about how he should have been count all off

275
00:17:31,880 --> 00:17:34,840
Speaker 1: in a series of unfortunate events. He's doing basically the

276
00:17:34,880 --> 00:17:37,600
Speaker 1: same character and doing circles around new Patrick Harris and

277
00:17:37,680 --> 00:17:42,760
Speaker 1: Jim Carey. Yes, yes, so Phoenix Buchanan stole the book

278
00:17:42,760 --> 00:17:44,960
Speaker 1: because it turns out that it's a treasure map to

279
00:17:45,119 --> 00:17:48,600
Speaker 1: Madame Koslova's fortune that Phoenix is also planning to steal.

280
00:17:49,400 --> 00:17:55,040
Speaker 1: But Paddington is tried, convicted, and sent to prison very

281
00:17:55,119 --> 00:17:57,920
Speaker 1: quickly this all happens, and honestly, I was just like, damn,

282
00:17:57,960 --> 00:18:01,879
Speaker 1: Parliament is so much more efficient. They were American justice

283
00:18:01,920 --> 00:18:05,359
Speaker 1: system in our in America, it would have been a

284
00:18:05,440 --> 00:18:09,440
Speaker 1: three month long televised event, right, But there's just a

285
00:18:09,520 --> 00:18:13,360
Speaker 1: female judge is like, fuck, you gotta jail. No, it's

286
00:18:13,359 --> 00:18:16,680
Speaker 1: a it's a male. It's a female lawyer in Paddington too,

287
00:18:16,680 --> 00:18:18,760
Speaker 1: but it's the male judge who gets his head buzzed

288
00:18:19,240 --> 00:18:22,960
Speaker 1: because of Paddington anyway, So he gets sent to prison

289
00:18:23,040 --> 00:18:27,360
Speaker 1: for Phoenix's crime, and the Brown's work to clear Paddington's name,

290
00:18:27,440 --> 00:18:31,200
Speaker 1: and eventually Mrs Brown figures out that it is Phoenix

291
00:18:31,480 --> 00:18:34,199
Speaker 1: Buchanan who's the real thief. But by that time a

292
00:18:34,240 --> 00:18:37,399
Speaker 1: few of the other prisoners have convinced Paddington to break

293
00:18:37,400 --> 00:18:40,480
Speaker 1: out of prison with them, but not before Paddington has

294
00:18:40,640 --> 00:18:44,280
Speaker 1: reformed the prison and made a lot of baked goods there, right,

295
00:18:44,640 --> 00:18:47,560
Speaker 1: I do love the prison before message. I will say,

296
00:18:47,600 --> 00:18:50,159
Speaker 1: when they escaped prison, we don't know what they're guilty of,

297
00:18:50,240 --> 00:18:52,600
Speaker 1: and it may in fact be very dangerous that certain

298
00:18:52,640 --> 00:18:58,040
Speaker 1: prisoners might be rapists literally like statists. I mean, at

299
00:18:58,119 --> 00:19:01,639
Speaker 1: least one shouldn't have got out of jail. Yeah, there's

300
00:19:01,800 --> 00:19:06,680
Speaker 1: plenty of false over convictions. Prison industrial complex is strong, yes,

301
00:19:07,000 --> 00:19:09,399
Speaker 1: but at least one there's like seven of them. I'm like,

302
00:19:09,440 --> 00:19:11,919
Speaker 1: at least one person really should have stated I'm hoping

303
00:19:11,960 --> 00:19:16,400
Speaker 1: they were all there on like minor marijuana possession charges. Yeah,

304
00:19:16,600 --> 00:19:19,520
Speaker 1: oh that's nice. Yeah, they just like live somewhere where

305
00:19:19,520 --> 00:19:22,040
Speaker 1: it's not quite legal and they got busted like three

306
00:19:22,119 --> 00:19:24,399
Speaker 1: years too early. I have no idea if marijuana is

307
00:19:24,480 --> 00:19:28,480
Speaker 1: legal in the UK or not. Listeners, English listeners, are

308
00:19:28,480 --> 00:19:33,600
Speaker 1: you high right now? And if so, is it legal? Um? So?

309
00:19:33,640 --> 00:19:36,240
Speaker 1: They the prisoners have convinced Paddington to break out with

310
00:19:36,320 --> 00:19:38,920
Speaker 1: them because they've convinced him that it's his only chance

311
00:19:38,960 --> 00:19:42,399
Speaker 1: to clear his name. So Paddington escapes and then he

312
00:19:42,800 --> 00:19:44,920
Speaker 1: realizes that they've lied to him, so he goes off

313
00:19:44,960 --> 00:19:47,760
Speaker 1: on his own and he contacts the Browns and they

314
00:19:47,800 --> 00:19:51,840
Speaker 1: tell him to meet them at Paddington Station. Wouldn't you

315
00:19:52,000 --> 00:19:57,560
Speaker 1: believe it? Because that is where the Koslova Traveling Fair

316
00:19:57,720 --> 00:20:00,280
Speaker 1: is about to leave from, and that is also where

317
00:20:00,280 --> 00:20:03,480
Speaker 1: they think Phoenix Buchanan is about to steal the fortune

318
00:20:03,520 --> 00:20:06,520
Speaker 1: from I love a third act. Everyone's got to be

319
00:20:06,560 --> 00:20:10,680
Speaker 1: in this location at this time, so they all they

320
00:20:10,680 --> 00:20:14,480
Speaker 1: find him. They're chasing after him on various trains, and

321
00:20:14,520 --> 00:20:19,520
Speaker 1: they all finally stop Phoenix, but then Paddington almost dies again.

322
00:20:20,040 --> 00:20:23,280
Speaker 1: I mean, the train scene is incredibly done. Like I

323
00:20:23,320 --> 00:20:25,680
Speaker 1: think for everyone at the live show, it was evoking

324
00:20:25,720 --> 00:20:27,399
Speaker 1: something a little bit different. For me, it was the

325
00:20:27,440 --> 00:20:29,960
Speaker 1: Bye Bye By music video. Sure sure for me it

326
00:20:30,080 --> 00:20:33,119
Speaker 1: was the end of Back to the Future three and

327
00:20:33,200 --> 00:20:36,960
Speaker 1: also the beginning of Indiana Jones and the Last Crusade.

328
00:20:37,000 --> 00:20:38,479
Speaker 1: For me, it was really just the by By By

329
00:20:38,600 --> 00:20:45,040
Speaker 1: music video beautiful. And then Mrs Brown saves Paddington with

330
00:20:45,119 --> 00:20:48,400
Speaker 1: the help of the prisoner bodies who come back for him,

331
00:20:48,680 --> 00:20:51,760
Speaker 1: and then At the very end, the Browns and the

332
00:20:51,760 --> 00:20:55,879
Speaker 1: whole neighborhood get together and they surprise Paddington by bringing

333
00:20:56,520 --> 00:21:00,440
Speaker 1: Lucy to London to see him, and we cry, Christ

334
00:21:00,520 --> 00:21:03,840
Speaker 1: it is so beautiful. I love this movie. So learn

335
00:21:03,960 --> 00:21:09,479
Speaker 1: he respects women, he does seminist icon Paddington. Can we

336
00:21:09,520 --> 00:21:12,480
Speaker 1: make that shirt? Please? I guess so. I feel like

337
00:21:12,520 --> 00:21:16,040
Speaker 1: he doesn't really, I'm sorry. I mean, he's not really

338
00:21:16,080 --> 00:21:20,000
Speaker 1: doing He's not out there at the protest. He's yet,

339
00:21:20,160 --> 00:21:23,600
Speaker 1: he's he's I think Paddington does the bare minimum, which

340
00:21:23,600 --> 00:21:28,160
Speaker 1: we appreciate, bear minimum, the bear there's the shirt doing

341
00:21:28,200 --> 00:21:31,800
Speaker 1: the bear minimum. That's not true. He does the bear maximum.

342
00:21:31,960 --> 00:21:34,760
Speaker 1: Can you say that? I think that's a good compromise,

343
00:21:34,760 --> 00:21:38,520
Speaker 1: a compromise. Once Paddington shows up at a rally, then

344
00:21:38,680 --> 00:21:41,040
Speaker 1: you know he'll achieve feministe. Let's put it to a

345
00:21:41,119 --> 00:21:43,600
Speaker 1: vote on our on our Twitter. We're gonna have the

346
00:21:43,640 --> 00:21:48,280
Speaker 1: different design options and then let's let the leaves decide. Yeah. Well,

347
00:21:48,320 --> 00:21:50,240
Speaker 1: you know they're going to be like, oh look bear,

348
00:21:50,960 --> 00:21:52,879
Speaker 1: God damn it, I don't want to make this shirt.

349
00:21:53,200 --> 00:21:55,359
Speaker 1: I'll make it. I'm not a very good artist, but

350
00:21:55,520 --> 00:22:01,200
Speaker 1: I'll for Paddington. I will design so this Okay, cool,

351
00:22:01,480 --> 00:22:03,159
Speaker 1: So we have to go to a quick break and

352
00:22:03,200 --> 00:22:10,760
Speaker 1: then we will come right back, and we're back. We're

353
00:22:10,760 --> 00:22:14,440
Speaker 1: still in the studio because yes, because the very beginning

354
00:22:14,480 --> 00:22:17,640
Speaker 1: of our discussion got cut off. But hopefully we'll find

355
00:22:17,640 --> 00:22:21,119
Speaker 1: a way to smoothly transition back into the live show.

356
00:22:21,280 --> 00:22:24,280
Speaker 1: Here we go. So, something that's stuck out to me

357
00:22:24,840 --> 00:22:27,680
Speaker 1: and I think it's worth, you know, discussing, is in

358
00:22:27,720 --> 00:22:30,600
Speaker 1: both of the Paddington movies there is a use of

359
00:22:30,640 --> 00:22:33,080
Speaker 1: what I've viewed to be kind of a trophy use

360
00:22:33,640 --> 00:22:39,480
Speaker 1: of sudden maternal instinct syndrome in regards to the Paddington

361
00:22:39,640 --> 00:22:44,359
Speaker 1: character that will work as an effective transition back into

362
00:22:44,720 --> 00:22:47,399
Speaker 1: the live show, which we see in a million movies

363
00:22:47,520 --> 00:22:50,600
Speaker 1: of like the second that Mary Brown sees Paddington, she's like,

364
00:22:50,800 --> 00:22:53,280
Speaker 1: we have to help him. I am a mummy, and

365
00:22:53,760 --> 00:22:56,320
Speaker 1: then in padding to do it kind of even doubles

366
00:22:56,359 --> 00:22:59,879
Speaker 1: down on that, where like Aunt Lucy sees padding to

367
00:23:00,000 --> 00:23:02,880
Speaker 1: in the little cub and it's like we're not moving

368
00:23:03,520 --> 00:23:08,600
Speaker 1: because I'm mommy, Like it's it's it's fairly intense. Yeah,

369
00:23:08,840 --> 00:23:14,919
Speaker 1: I choose to see all of that as Mary and

370
00:23:15,359 --> 00:23:18,560
Speaker 1: Judy and Mrs Bird just being very active participants in

371
00:23:18,600 --> 00:23:21,840
Speaker 1: the story. But I will, I mean, it is like

372
00:23:21,920 --> 00:23:24,760
Speaker 1: worth noting that we don't see any male character have

373
00:23:25,000 --> 00:23:28,400
Speaker 1: that inherent caring, which I wish they're too busy being

374
00:23:28,600 --> 00:23:32,359
Speaker 1: racist against say that. The one time where you do

375
00:23:32,520 --> 00:23:35,600
Speaker 1: see that sort of caring instinct from Mr Brown is

376
00:23:35,640 --> 00:23:37,760
Speaker 1: sort of shown as a joke where it's like they

377
00:23:37,760 --> 00:23:39,520
Speaker 1: go into the hospital with the motorcycle and he comes down.

378
00:23:39,520 --> 00:23:42,000
Speaker 1: It's like, oh, everybody, stay away, stay away. A protective person. Yeah,

379
00:23:42,000 --> 00:23:44,760
Speaker 1: that's true. It's funny. He doesn't feel that towards anyone

380
00:23:44,800 --> 00:23:48,000
Speaker 1: who is not his own children, right exactly. Yeah, Like

381
00:23:48,040 --> 00:23:51,439
Speaker 1: he would never extend that caring too, So it's like

382
00:23:51,560 --> 00:23:53,240
Speaker 1: caring and and it's like that I don't even know

383
00:23:53,280 --> 00:23:55,280
Speaker 1: where I fall on this, but it is definitely a

384
00:23:55,359 --> 00:23:59,040
Speaker 1: trope relegated to women of like something turns on inside

385
00:23:59,040 --> 00:24:00,960
Speaker 1: of you and you'll just pick up a bear, like

386
00:24:01,040 --> 00:24:06,680
Speaker 1: you'll just do it, like we're bringing it home. This

387
00:24:06,760 --> 00:24:10,359
Speaker 1: is my son now, Like now I see what you're saying,

388
00:24:10,359 --> 00:24:12,439
Speaker 1: And yes, I agree, and I would argue even that

389
00:24:12,520 --> 00:24:15,960
Speaker 1: like Mrs Bird ends up being like a caregiver, not

390
00:24:16,000 --> 00:24:19,000
Speaker 1: necessarily so much as a maternal figure, but she she

391
00:24:19,440 --> 00:24:22,400
Speaker 1: spends most of the movie cleaning up after Paddington, so

392
00:24:22,640 --> 00:24:26,240
Speaker 1: that's you know, she's forced into a caregiver type role.

393
00:24:26,400 --> 00:24:29,000
Speaker 1: So what I like about Mrs Brown is that we

394
00:24:29,040 --> 00:24:31,800
Speaker 1: know what she does for a fucking job that happens.

395
00:24:31,840 --> 00:24:34,440
Speaker 1: I was worried that And I don't know if this

396
00:24:34,520 --> 00:24:36,879
Speaker 1: is true in the books, like uh if there are

397
00:24:36,880 --> 00:24:40,080
Speaker 1: any book hits anyone here read a fucking book before

398
00:24:40,800 --> 00:24:44,760
Speaker 1: uh me either, But I think it's cool that, like

399
00:24:44,800 --> 00:24:47,080
Speaker 1: she has given a career, we know what it is

400
00:24:47,160 --> 00:24:52,040
Speaker 1: the entire franchise. It's not added as like an afterthought,

401
00:24:52,480 --> 00:24:56,160
Speaker 1: which because we're kind of given this like nuclear family,

402
00:24:56,480 --> 00:24:59,399
Speaker 1: like isn't really a given for for the mom to

403
00:24:59,520 --> 00:25:01,679
Speaker 1: even have of a job, much less we know what

404
00:25:01,760 --> 00:25:04,280
Speaker 1: it is or like how it affects their lives. And

405
00:25:04,440 --> 00:25:07,840
Speaker 1: even in the in the second movie, her job lends

406
00:25:07,880 --> 00:25:10,399
Speaker 1: itself to a skill that actually becomes pretty important to

407
00:25:10,440 --> 00:25:14,800
Speaker 1: the story because she draws descriptions of the different criminals

408
00:25:14,800 --> 00:25:17,560
Speaker 1: who were showing up, and which is what I think

409
00:25:17,600 --> 00:25:19,840
Speaker 1: is one of the movie's great strengths is that all

410
00:25:19,920 --> 00:25:22,239
Speaker 1: the female characters who we get to know who are

411
00:25:22,240 --> 00:25:25,560
Speaker 1: significant to the story are just that they are significant

412
00:25:25,560 --> 00:25:30,120
Speaker 1: to the story because they all have skills or interests

413
00:25:30,280 --> 00:25:34,240
Speaker 1: or a job that actually like contributes to the events

414
00:25:34,280 --> 00:25:38,040
Speaker 1: of the story and that they can, especially in the

415
00:25:38,080 --> 00:25:40,639
Speaker 1: second one, because there is like you know, it's like

416
00:25:41,200 --> 00:25:43,520
Speaker 1: we are like always looking out for Mary Sue kind

417
00:25:43,520 --> 00:25:48,840
Speaker 1: of tropes where in a lesser movie that isn't Paddington too,

418
00:25:49,560 --> 00:25:53,560
Speaker 1: Sally Hawkins being able to dive into like the ocean

419
00:25:53,720 --> 00:25:56,680
Speaker 1: or whatever body of water it is, and like almost

420
00:25:56,720 --> 00:25:59,399
Speaker 1: released Paddington would be like, how the fund does she

421
00:25:59,440 --> 00:26:01,520
Speaker 1: do that? But that's set up at the beginning of

422
00:26:01,560 --> 00:26:04,359
Speaker 1: the movie that she's been trapped to sing, she's been

423
00:26:04,400 --> 00:26:06,800
Speaker 1: swimming a lot, and the same as sort of lent

424
00:26:06,880 --> 00:26:10,840
Speaker 1: to um. Judy has has this interest in journalism that

425
00:26:10,920 --> 00:26:12,800
Speaker 1: set up at the beginning of the movie that becomes

426
00:26:12,880 --> 00:26:17,080
Speaker 1: useful to helping figure out what's happening to Paddington. I

427
00:26:17,119 --> 00:26:20,359
Speaker 1: wish that, like in the second movie, like Mary and

428
00:26:20,480 --> 00:26:25,000
Speaker 1: Judy should have started like a serial style podcast. Oh

429
00:26:25,040 --> 00:26:30,880
Speaker 1: where's this bear at? That? Did odd non do it? Did? Yeah?

430
00:26:31,000 --> 00:26:34,320
Speaker 1: That would be fun. Everything that we're describing probably just

431
00:26:34,400 --> 00:26:37,320
Speaker 1: sounds like how storytelling should work, you know, like the

432
00:26:37,359 --> 00:26:41,720
Speaker 1: female characters contributing to the events of the plot, But

433
00:26:41,800 --> 00:26:44,840
Speaker 1: if you've ever heard our show before, you know that

434
00:26:44,840 --> 00:26:49,200
Speaker 1: that's actually pretty rare. So get to do one thing

435
00:26:49,400 --> 00:26:52,080
Speaker 1: like out of nowhere, right exactly. But in this movie,

436
00:26:52,160 --> 00:26:55,080
Speaker 1: like all the female characters pretty much every step of

437
00:26:55,119 --> 00:26:58,639
Speaker 1: the way throughout both movies are contributing to the story

438
00:26:58,800 --> 00:27:02,639
Speaker 1: and have like skills and interests that pay off in

439
00:27:02,680 --> 00:27:05,760
Speaker 1: some significant way. Here's the question, do you think the

440
00:27:06,200 --> 00:27:08,560
Speaker 1: maternal instinct that comes from the women in this franchise

441
00:27:08,800 --> 00:27:11,600
Speaker 1: is sort of done that way because they need the

442
00:27:11,720 --> 00:27:13,879
Speaker 1: women to be the voice of reason and all the

443
00:27:13,920 --> 00:27:16,640
Speaker 1: men are like the buffoons sort of in a way

444
00:27:16,680 --> 00:27:19,680
Speaker 1: that it's like, if the women are the voice of reason,

445
00:27:19,840 --> 00:27:21,959
Speaker 1: they have to find the solution, and because the plot

446
00:27:22,000 --> 00:27:25,920
Speaker 1: is saved this child bear, it feels like being the

447
00:27:26,000 --> 00:27:28,520
Speaker 1: voice of reason is sort of coming off as maternal.

448
00:27:29,440 --> 00:27:34,560
Speaker 1: I like where you're thinking, DEMI, I still think that

449
00:27:34,640 --> 00:27:38,119
Speaker 1: it's like this movie accomplished, Like this whole franchise gets

450
00:27:38,119 --> 00:27:40,520
Speaker 1: to be so nuanced in so many ways, and that's

451
00:27:40,520 --> 00:27:42,679
Speaker 1: like one of the few ways where it didn't do it,

452
00:27:42,720 --> 00:27:46,960
Speaker 1: where like the men are so cartoonishly uninterested in helping

453
00:27:46,960 --> 00:27:50,160
Speaker 1: a helpless child in both of them that it almost

454
00:27:50,200 --> 00:27:53,160
Speaker 1: feels unrealistic or so I don't even know if that's

455
00:27:53,200 --> 00:27:55,800
Speaker 1: that cartoonish, because I mean this is where sort of

456
00:27:55,840 --> 00:27:59,960
Speaker 1: like the allegory comes in. Well, yeah, for especially Paddington One,

457
00:28:00,200 --> 00:28:03,919
Speaker 1: where like Mr Brown is just behaving the way a

458
00:28:03,960 --> 00:28:07,240
Speaker 1: lot of people would behave to you know, an immigrant

459
00:28:07,400 --> 00:28:10,720
Speaker 1: or an outsider, someone who's been mothered in a way

460
00:28:10,760 --> 00:28:14,320
Speaker 1: that is unfortunately pretty realistic for how a lot of

461
00:28:14,320 --> 00:28:17,680
Speaker 1: people behave. That's fair. I I just I do think

462
00:28:17,720 --> 00:28:21,400
Speaker 1: that like the maternal instinct turning on like a light

463
00:28:21,440 --> 00:28:23,760
Speaker 1: switch and like just sort of being something that is

464
00:28:23,800 --> 00:28:26,399
Speaker 1: integral to the plot, Like there's I don't know, like

465
00:28:26,480 --> 00:28:29,720
Speaker 1: there's a more nuanced way to accomplish that, because it

466
00:28:29,800 --> 00:28:32,679
Speaker 1: happens in so many movies of just like the man

467
00:28:32,760 --> 00:28:34,919
Speaker 1: doesn't have the time for it, and then the female

468
00:28:35,040 --> 00:28:37,560
Speaker 1: character is like, no, we have to, and it's like

469
00:28:37,640 --> 00:28:39,480
Speaker 1: that is a good thing, that is the thing that

470
00:28:39,560 --> 00:28:42,960
Speaker 1: all people should be capable of doing. But it it

471
00:28:43,080 --> 00:28:46,480
Speaker 1: does just sort of seem trophy to to relegate it

472
00:28:46,640 --> 00:28:49,240
Speaker 1: to her in a completely unnuanced way. But you're right,

473
00:28:49,280 --> 00:28:51,640
Speaker 1: like the fact that it is an allegory kind of

474
00:28:51,680 --> 00:28:55,520
Speaker 1: does shift that dynamic a little bit. I sometimes feel

475
00:28:55,560 --> 00:28:58,640
Speaker 1: like when people do that in movies where it's just like, oh,

476
00:28:58,680 --> 00:29:00,840
Speaker 1: the women have to be the voice reason the entire time,

477
00:29:00,880 --> 00:29:04,040
Speaker 1: it's because they're afraid that when people watch movies and

478
00:29:04,080 --> 00:29:08,080
Speaker 1: see a woman being like funny or even just like

479
00:29:08,160 --> 00:29:09,840
Speaker 1: flawed in any way, they'll be like, well, we can't

480
00:29:09,840 --> 00:29:12,400
Speaker 1: do that, people hate us for it's not perfect. And

481
00:29:12,400 --> 00:29:15,120
Speaker 1: it's like that's not it's not the problem. Yeah. So

482
00:29:15,240 --> 00:29:18,040
Speaker 1: there's so many Merry Sue characters too, It's just like

483
00:29:18,320 --> 00:29:20,800
Speaker 1: most times there's mary See characters. I feel like it's

484
00:29:20,800 --> 00:29:23,760
Speaker 1: written by like guys who are feeling insecure about like,

485
00:29:24,000 --> 00:29:25,760
Speaker 1: well I don't want girls to hate me. Let me

486
00:29:25,840 --> 00:29:29,000
Speaker 1: just like write a boring as character that gets everything right.

487
00:29:29,040 --> 00:29:32,040
Speaker 1: And that's not necessarily these characters. But you know this

488
00:29:32,080 --> 00:29:36,040
Speaker 1: movie is written by men. Yeah, so me with with

489
00:29:36,160 --> 00:29:41,400
Speaker 1: no mothering instinct to speak of, because like if there

490
00:29:41,480 --> 00:29:44,440
Speaker 1: is like an overly maternal character, or like a female

491
00:29:44,520 --> 00:29:47,320
Speaker 1: character is characterized in such a way that like she

492
00:29:47,520 --> 00:29:49,480
Speaker 1: just she's like the mommy who has to be the

493
00:29:49,520 --> 00:29:52,040
Speaker 1: mommy to everyone, like that definitely is something that I

494
00:29:52,120 --> 00:29:56,240
Speaker 1: tend to notice. And you know, depending on how severe

495
00:29:56,280 --> 00:29:59,440
Speaker 1: it is, will you know, annoy me that amount for

496
00:29:59,600 --> 00:30:02,400
Speaker 1: these I see like Mrs Brown, I guess just as

497
00:30:02,440 --> 00:30:08,240
Speaker 1: being more compassionate than maternal. But again, I just can't

498
00:30:08,280 --> 00:30:12,640
Speaker 1: criticize this movie, so I don't know, but I mean

499
00:30:12,680 --> 00:30:14,400
Speaker 1: it tips a little bit that way for me, but

500
00:30:14,440 --> 00:30:16,600
Speaker 1: it's like not to the point where I, I mean,

501
00:30:16,640 --> 00:30:19,640
Speaker 1: the good thing is, even though I feel like that's present,

502
00:30:19,680 --> 00:30:22,360
Speaker 1: there's still so much more to that character that we

503
00:30:22,400 --> 00:30:24,880
Speaker 1: know about, especially like between movies one and two, I

504
00:30:24,920 --> 00:30:27,600
Speaker 1: feel like there's an even more of an improvement on

505
00:30:27,760 --> 00:30:32,120
Speaker 1: how much like care is given to the female characters

506
00:30:32,160 --> 00:30:34,959
Speaker 1: in terms of they're always active participants, but in like

507
00:30:35,240 --> 00:30:38,080
Speaker 1: how much we know about them were In the first movie,

508
00:30:38,280 --> 00:30:40,560
Speaker 1: Judy's storyline is mostly like she has a crush on

509
00:30:40,560 --> 00:30:43,040
Speaker 1: a boy and at the end she introduces the boy

510
00:30:43,080 --> 00:30:46,520
Speaker 1: to her mom. And then in the second one, I

511
00:30:46,520 --> 00:30:49,040
Speaker 1: feel like, and I hope that, you know, all franchises

512
00:30:49,080 --> 00:30:51,480
Speaker 1: can kind of move in this direction in a lot

513
00:30:51,480 --> 00:30:54,080
Speaker 1: of ways of like, oh, maybe that was a little

514
00:30:54,120 --> 00:30:57,440
Speaker 1: bit lazy, and like, Okay, let's give her an interest.

515
00:30:57,480 --> 00:31:00,320
Speaker 1: Let's give her she basically starts Jezebel at the Getting

516
00:31:00,360 --> 00:31:03,600
Speaker 1: Him this movie, it's like this, She's like she starts

517
00:31:03,600 --> 00:31:08,120
Speaker 1: in All female newspaper Boys Loud and Yes, is it

518
00:31:08,160 --> 00:31:12,240
Speaker 1: implied that it's because she like felt sad about a

519
00:31:12,280 --> 00:31:14,880
Speaker 1: relationship ending. Sure, but that's also why I started in comedy.

520
00:31:14,920 --> 00:31:23,680
Speaker 1: So whatever one start. Yeah, I like started to write

521
00:31:23,720 --> 00:31:25,360
Speaker 1: a note being critical of that, and I'm like, Jamie,

522
00:31:25,440 --> 00:31:29,680
Speaker 1: you fucking did that. But it is cool, Like between

523
00:31:29,720 --> 00:31:32,280
Speaker 1: movies one and two it seems like, you know, the

524
00:31:32,320 --> 00:31:36,520
Speaker 1: writers were you know, taking notes. Even the first one,

525
00:31:36,520 --> 00:31:39,080
Speaker 1: though it's set up early on that she has an

526
00:31:39,080 --> 00:31:41,920
Speaker 1: interest in like language, and it's like she's learning Chinese

527
00:31:41,920 --> 00:31:44,280
Speaker 1: and she wants to open a small business. She's going

528
00:31:44,320 --> 00:31:46,480
Speaker 1: to be a business owner. Uh. And then that pays

529
00:31:46,520 --> 00:31:49,760
Speaker 1: off because she starts learned Paddington starts teaching her Bear,

530
00:31:50,400 --> 00:31:53,160
Speaker 1: and then she's able to communicate with him in Bear

531
00:31:53,400 --> 00:31:55,840
Speaker 1: and ends up helping to save his life because she's like, oh,

532
00:31:55,840 --> 00:31:57,080
Speaker 1: we need to go to the roof. He's going for

533
00:31:57,080 --> 00:32:00,200
Speaker 1: the roof. So um, at least like she's equipped with

534
00:32:00,280 --> 00:32:03,640
Speaker 1: that skill and that interest that again, like you know,

535
00:32:03,720 --> 00:32:07,360
Speaker 1: contributes to the events of the story. Um. In both movies,

536
00:32:07,400 --> 00:32:10,960
Speaker 1: we get like an overview of the Brown family where

537
00:32:10,960 --> 00:32:15,800
Speaker 1: it's basically like Paddington relaying to his aunt Lucie, like

538
00:32:15,920 --> 00:32:18,120
Speaker 1: just who the Browns are and what they do, And

539
00:32:18,160 --> 00:32:20,560
Speaker 1: I was kind of reminded of what happens in the

540
00:32:20,640 --> 00:32:23,400
Speaker 1: Royal tent West. Yeah. It was like the west planbe

541
00:32:23,520 --> 00:32:29,280
Speaker 1: Plan movie. Yeah, the West Yeah, the Weston flambe Plan movie.

542
00:32:30,640 --> 00:32:35,239
Speaker 1: That movie that is every every frame is yellow. So

543
00:32:35,280 --> 00:32:38,040
Speaker 1: in The Royal Tenant Bombs, which we talked about on

544
00:32:38,080 --> 00:32:41,680
Speaker 1: the show, there's like this voiceover narration and it's like,

545
00:32:41,800 --> 00:32:44,600
Speaker 1: look at all the boys. Here's all the things they've accomplished,

546
00:32:44,600 --> 00:32:46,880
Speaker 1: here's all the things they like to do, and here's

547
00:32:46,880 --> 00:32:50,320
Speaker 1: how awesome they all aren't, like visually similar to yeah yeah,

548
00:32:50,360 --> 00:32:53,160
Speaker 1: yeah yeah. And then for the female characters in The

549
00:32:53,240 --> 00:32:55,960
Speaker 1: Royal Tenant Bombs, it's like, here's all the boys that

550
00:32:56,120 --> 00:32:59,240
Speaker 1: she fucked at the end, so like that's all we

551
00:32:59,280 --> 00:33:01,360
Speaker 1: know about that. And that again does happen to like

552
00:33:01,360 --> 00:33:04,960
Speaker 1: a small degree with like Judy because it's like she

553
00:33:05,200 --> 00:33:08,480
Speaker 1: has a crush on Tony uh and you like wish

554
00:33:08,560 --> 00:33:11,320
Speaker 1: that the information was reversed, but at least the year right,

555
00:33:11,440 --> 00:33:13,680
Speaker 1: like the thing with like, Okay, there's at least more

556
00:33:13,760 --> 00:33:16,880
Speaker 1: to her than like likes a boy and likes the

557
00:33:16,920 --> 00:33:18,920
Speaker 1: boy and learning a language is better than I was

558
00:33:18,960 --> 00:33:23,200
Speaker 1: doing it. Twelve Should we just talk about sort of

559
00:33:23,240 --> 00:33:27,760
Speaker 1: the allegorical elements of these fine movies? I mean, where

560
00:33:27,760 --> 00:33:32,240
Speaker 1: do you kin? Yeah, sure, let's do it. So the

561
00:33:32,320 --> 00:33:38,280
Speaker 1: first one, Paddington one, is essentially an allegory for uh

562
00:33:38,280 --> 00:33:42,200
Speaker 1: An immigrants experience. I think it's a good allegory, except

563
00:33:42,360 --> 00:33:48,040
Speaker 1: that I think the problem might be that this could

564
00:33:48,080 --> 00:33:53,640
Speaker 1: have given visibility to an actual brown or black person

565
00:33:53,840 --> 00:33:57,680
Speaker 1: who is an immigrant and like seeing their story, and

566
00:33:57,760 --> 00:34:03,040
Speaker 1: instead it's a bear, and then everyone else's So wait,

567
00:34:03,080 --> 00:34:06,240
Speaker 1: are you saying that instead of Paddington's being a bear

568
00:34:06,520 --> 00:34:13,840
Speaker 1: he should have been a I'm not saying that necessarily

569
00:34:13,920 --> 00:34:17,520
Speaker 1: because if there's if you're if your take here is,

570
00:34:17,560 --> 00:34:24,880
Speaker 1: I can't criticize anything about this movie, however, an indigenous

571
00:34:24,920 --> 00:34:29,560
Speaker 1: Peruvian boy. Yes, um, I don't know if I'm communicating

572
00:34:29,600 --> 00:34:33,040
Speaker 1: my point very well. I say, I see what you're saying.

573
00:34:33,480 --> 00:34:35,880
Speaker 1: I mean, where there could have been visibility to an

574
00:34:35,880 --> 00:34:39,279
Speaker 1: immigrant who is from Peru who would probably be a

575
00:34:39,320 --> 00:34:43,480
Speaker 1: brown person. Instead it's a bear who speaks the Queen's English.

576
00:34:44,000 --> 00:34:45,880
Speaker 1: So I mean I think that that I mean for

577
00:34:45,960 --> 00:34:48,400
Speaker 1: this franchise. I don't know how possible it is to

578
00:34:48,440 --> 00:34:54,600
Speaker 1: make that edit without it becoming a very different Yeah,

579
00:34:55,120 --> 00:34:57,080
Speaker 1: but there is I mean, and then there is such

580
00:34:57,160 --> 00:34:59,120
Speaker 1: like a history with I mean, we can go straight

581
00:34:59,200 --> 00:35:04,600
Speaker 1: up Sally Hawkins movies specifically with other characters being you know,

582
00:35:04,680 --> 00:35:07,960
Speaker 1: like subbed out by like animals or by creatures, and

583
00:35:08,000 --> 00:35:10,960
Speaker 1: there's like such a history of that happening, which I

584
00:35:11,000 --> 00:35:14,239
Speaker 1: feel like this is one of the gentler examples of

585
00:35:14,239 --> 00:35:16,759
Speaker 1: that because you know, you can extend that allegory to

586
00:35:16,840 --> 00:35:19,879
Speaker 1: like early monster movies and like a lot of ship

587
00:35:19,960 --> 00:35:22,719
Speaker 1: like that were I don't know, Yeah, there's been there's

588
00:35:22,719 --> 00:35:24,719
Speaker 1: been a lot of like interesting I've got I've got

589
00:35:24,719 --> 00:35:27,919
Speaker 1: some quotes. Sure, there's been a lot of interesting stuff

590
00:35:27,960 --> 00:35:32,360
Speaker 1: written about how Paddington is like an other creature that

591
00:35:32,520 --> 00:35:35,640
Speaker 1: is representing a different group of people. I got some

592
00:35:35,719 --> 00:35:40,200
Speaker 1: hot facts, Jamie's hot facts, Hot facts with Jamie. So,

593
00:35:40,320 --> 00:35:45,239
Speaker 1: Paddington has been a political symbol for over sixty years,

594
00:35:45,840 --> 00:35:48,879
Speaker 1: uh so since or almost sixty years. Sorry my facts

595
00:35:48,920 --> 00:35:53,359
Speaker 1: are bad. But the the author of the original books

596
00:35:53,400 --> 00:35:58,440
Speaker 1: has always used Paddington as a as a political symbol.

597
00:35:58,480 --> 00:36:01,719
Speaker 1: As recently as two thousand and nine, Paddington was like

598
00:36:02,000 --> 00:36:05,360
Speaker 1: the voice of like his character was used in a

599
00:36:05,440 --> 00:36:09,480
Speaker 1: campaign to end the arrested detention of hundreds of child

600
00:36:09,480 --> 00:36:13,040
Speaker 1: asylum seekers in prison like conditions in the UK. Like

601
00:36:13,160 --> 00:36:18,600
Speaker 1: he's a huge like UK like immigration advocate, so me

602
00:36:19,280 --> 00:36:23,480
Speaker 1: an icon for a very long time, and like was

603
00:36:23,600 --> 00:36:26,920
Speaker 1: I was very curious about in the adaptation, like how

604
00:36:27,080 --> 00:36:28,920
Speaker 1: much of the intent was in the book versus how

605
00:36:29,000 --> 00:36:31,120
Speaker 1: much was translated. But he was written that way to

606
00:36:31,239 --> 00:36:35,880
Speaker 1: be because the author of the books had been a

607
00:36:35,960 --> 00:36:38,920
Speaker 1: Holocaust survivor, and like, there there were a lot of uh,

608
00:36:39,040 --> 00:36:42,680
Speaker 1: displaced children narratives that went into like the writing of

609
00:36:42,719 --> 00:36:45,279
Speaker 1: this book, So I thought that was interesting. One of

610
00:36:45,320 --> 00:36:48,719
Speaker 1: the things that also, like the only criticism from the

611
00:36:48,719 --> 00:36:52,840
Speaker 1: original creators of Paddington, the only criticisms of the movie

612
00:36:53,440 --> 00:36:58,520
Speaker 1: were the relationship between Paddington and Mr Gruber because apparently

613
00:36:59,040 --> 00:37:02,400
Speaker 1: also originally the fact that Paddington is from Peru was

614
00:37:02,719 --> 00:37:07,120
Speaker 1: a suggestion of an editor. He was originally from darkest Africa,

615
00:37:07,200 --> 00:37:09,400
Speaker 1: and then they were like, how about darkest Peru And

616
00:37:09,440 --> 00:37:14,359
Speaker 1: it's like, still fucking weird, still fucking racist, but sure

617
00:37:14,880 --> 00:37:18,880
Speaker 1: so originally the Mr Gruber Paddington's relationship was written to

618
00:37:19,040 --> 00:37:24,160
Speaker 1: be too Immigrants to London who were bonding, and so

619
00:37:24,239 --> 00:37:27,600
Speaker 1: the fact that a white actor was cast as Mr

620
00:37:27,640 --> 00:37:30,439
Speaker 1: Gruber kind of irked the original creators because they had

621
00:37:30,560 --> 00:37:32,840
Speaker 1: they would always have tea at Eleven's is and I

622
00:37:32,920 --> 00:37:35,640
Speaker 1: guess that that was something that Paddington had done in

623
00:37:35,640 --> 00:37:38,719
Speaker 1: Peru that was brought to London and they were that

624
00:37:38,760 --> 00:37:41,239
Speaker 1: was supposed to be their connection, and that was like

625
00:37:41,320 --> 00:37:45,160
Speaker 1: lost in translation in the movie. I literally just watched

626
00:37:45,160 --> 00:37:47,800
Speaker 1: this movie yesterday, but I can you help me remember

627
00:37:47,840 --> 00:37:51,480
Speaker 1: who Mr Grouper is. Jim Broadbent. He's the guy who

628
00:37:51,600 --> 00:37:55,399
Speaker 1: has has the antika, Yes, right, yeah, No, that does

629
00:37:55,480 --> 00:37:57,200
Speaker 1: feel like a role that they want you to believe

630
00:37:57,360 --> 00:37:59,840
Speaker 1: is like someone who's not from like with the accent

631
00:38:00,040 --> 00:38:02,800
Speaker 1: everything you I think they wanted to get the credit

632
00:38:02,840 --> 00:38:05,600
Speaker 1: of it being like a foreigner, but not actually give

633
00:38:05,880 --> 00:38:09,120
Speaker 1: the role to a person who wasn't from the UK. Yeah. Yeah,

634
00:38:09,160 --> 00:38:11,560
Speaker 1: so that was like the one thing that and I said, sorry,

635
00:38:11,600 --> 00:38:14,920
Speaker 1: the the editor of Paddington was a Holocaust survivor. The

636
00:38:15,120 --> 00:38:17,239
Speaker 1: writer was not. But they were the two people who

637
00:38:17,360 --> 00:38:20,680
Speaker 1: shaped the character, and so that was their one note,

638
00:38:20,719 --> 00:38:23,520
Speaker 1: which is like better than you know, most adaptations. Sure,

639
00:38:23,920 --> 00:38:26,279
Speaker 1: that's Jamie's hat facts. I love it. I mean, it's

640
00:38:26,280 --> 00:38:29,840
Speaker 1: no cat facts with Caitlin, it was are the cats

641
00:38:29,840 --> 00:38:33,760
Speaker 1: in these movies? There's no cats? Harsh. There's a dog

642
00:38:33,840 --> 00:38:36,080
Speaker 1: in the second one, but actually there's a dog in

643
00:38:36,120 --> 00:38:38,359
Speaker 1: both of them. There's a dog. Yeah. The dog scene

644
00:38:38,400 --> 00:38:40,480
Speaker 1: in the first one almost made me cry yesterday. I

645
00:38:40,480 --> 00:38:42,360
Speaker 1: don't know why. When he like picks it up and

646
00:38:42,520 --> 00:38:46,479
Speaker 1: takes it on the escalator. Just before that, the part

647
00:38:46,520 --> 00:38:48,560
Speaker 1: where he like steps his foot on the escalator and

648
00:38:48,600 --> 00:38:50,840
Speaker 1: like pulls his leg back, I almost I just started

649
00:38:50,960 --> 00:38:55,040
Speaker 1: being like, he's so afraid right now. I don't know why.

650
00:38:55,239 --> 00:38:57,000
Speaker 1: And then like also the scene at the end where

651
00:38:57,000 --> 00:38:59,000
Speaker 1: he's climbing up with the vacuums and then like one

652
00:38:59,040 --> 00:39:01,960
Speaker 1: of the vacuums stops and he just starts falling towards

653
00:39:02,000 --> 00:39:03,719
Speaker 1: the fire. I was like, oh my god, what what

654
00:39:03,760 --> 00:39:07,840
Speaker 1: the fund are they doing? I don't know what place

655
00:39:07,880 --> 00:39:11,719
Speaker 1: I'm in. But I have multiple points in both of

656
00:39:11,760 --> 00:39:14,520
Speaker 1: these movies. First, like I kept because we had like

657
00:39:14,560 --> 00:39:17,040
Speaker 1: a Paddington Bear toy at my house when I was

658
00:39:17,040 --> 00:39:19,640
Speaker 1: a little and I kept thinking that he was a

659
00:39:19,680 --> 00:39:23,680
Speaker 1: toy and not an actual bear, which at certain points

660
00:39:23,719 --> 00:39:27,040
Speaker 1: would make a big difference. Yeah, but I yeah, I

661
00:39:27,120 --> 00:39:33,560
Speaker 1: kept forgetting that he was actual bear who came from Peru. Yeah,

662
00:39:35,360 --> 00:39:37,239
Speaker 1: I guess I want to talk a little bit more

663
00:39:37,320 --> 00:39:41,719
Speaker 1: about each of the main female characters who we get

664
00:39:41,760 --> 00:39:46,520
Speaker 1: to know, starting with Mrs Brown, because she is kind

665
00:39:46,520 --> 00:39:49,760
Speaker 1: of largely responsible for getting the story going. Like she's

666
00:39:49,800 --> 00:39:52,680
Speaker 1: the worst time. Yeah, she's the one who approaches Paddington

667
00:39:53,080 --> 00:39:56,640
Speaker 1: at the station. She's the one who keeps challenging her

668
00:39:56,719 --> 00:40:00,960
Speaker 1: racist husband to like say, it's just help him, like

669
00:40:01,000 --> 00:40:03,879
Speaker 1: it's just for the night kind of Yeah, why are

670
00:40:03,920 --> 00:40:09,839
Speaker 1: they married? They have nothing in common any sense, Yeah,

671
00:40:10,000 --> 00:40:15,080
Speaker 1: Judy and Jonathan, And then in movie Too, in Paddington Too,

672
00:40:15,360 --> 00:40:17,879
Speaker 1: it's Mary who like is especially hell bent on trying

673
00:40:17,920 --> 00:40:21,239
Speaker 1: to figure out who the actual thief is. She's doing

674
00:40:21,280 --> 00:40:24,800
Speaker 1: all the drawing. She goes full Sarcanic. She's like, gotta

675
00:40:24,880 --> 00:40:28,319
Speaker 1: fun pinboard. She's like this means this, This means this.

676
00:40:28,400 --> 00:40:32,400
Speaker 1: He's just like, holy sh it. She like breaks and

677
00:40:32,600 --> 00:40:38,799
Speaker 1: enters into Phoenix's. She really goes like full investigative reporter. Yeah, yeah,

678
00:40:38,840 --> 00:40:41,040
Speaker 1: I just I guess I like that how active she

679
00:40:41,239 --> 00:40:44,120
Speaker 1: is and how much of a driving force she is

680
00:40:44,280 --> 00:40:47,040
Speaker 1: to like keep the narrative going. In both movies, and

681
00:40:47,200 --> 00:40:50,359
Speaker 1: both times, like in spite of her husband, she is

682
00:40:50,440 --> 00:40:55,080
Speaker 1: continuing to advocate for this bear who becomes her bear son.

683
00:40:56,680 --> 00:40:59,239
Speaker 1: And the first one she's like, I'm no, I love

684
00:40:59,280 --> 00:41:01,879
Speaker 1: this bear. Also he should be our son. And then

685
00:41:01,920 --> 00:41:04,440
Speaker 1: the second and she's like, he's our son, now, please

686
00:41:04,440 --> 00:41:10,560
Speaker 1: stop being rude the prisoners and like she does where

687
00:41:10,600 --> 00:41:14,000
Speaker 1: like Mr Brown, you can see he does inch forward

688
00:41:14,440 --> 00:41:17,719
Speaker 1: as the plot goes on in each movie, which is encouraging.

689
00:41:18,280 --> 00:41:20,239
Speaker 1: One thing I do not love about that character is

690
00:41:20,280 --> 00:41:23,680
Speaker 1: that he always gets a cathartic speech and moment for

691
00:41:23,840 --> 00:41:29,719
Speaker 1: making a very basic human decision where he's like, actually,

692
00:41:29,840 --> 00:41:33,200
Speaker 1: racism is bad. And every time like a white guy

693
00:41:33,200 --> 00:41:35,719
Speaker 1: says that, they get like a standing oh. And this

694
00:41:35,760 --> 00:41:41,160
Speaker 1: movie kind of gives that to him and this it

695
00:41:41,280 --> 00:41:44,480
Speaker 1: wins an oscar uh and kind of the same thing.

696
00:41:44,480 --> 00:41:46,719
Speaker 1: In the second one, he has like a little cathartic

697
00:41:46,760 --> 00:41:49,919
Speaker 1: speech and every time that happens, you're just like, yeah,

698
00:41:50,040 --> 00:41:52,640
Speaker 1: well you're your wife has been saying that for five

699
00:41:52,719 --> 00:41:56,680
Speaker 1: French well, Jamie. Men need to redeem themselves all the time.

700
00:41:57,719 --> 00:42:01,719
Speaker 1: There is a moment um in Ington to where Mr

701
00:42:01,760 --> 00:42:04,680
Speaker 1: and Mrs Brown are sneaking through Phoenix Buchanan's house and

702
00:42:04,719 --> 00:42:06,160
Speaker 1: then they go up to the attic and I see

703
00:42:06,200 --> 00:42:09,200
Speaker 1: like all of the costumes and then Mr Brown is like,

704
00:42:09,440 --> 00:42:12,799
Speaker 1: we were right, and then Mrs Brown is like we

705
00:42:14,160 --> 00:42:17,160
Speaker 1: because it was only her and he's trying to take

706
00:42:17,239 --> 00:42:21,399
Speaker 1: credit for her work. Yeah that felt like a little yeah,

707
00:42:21,480 --> 00:42:25,080
Speaker 1: little bone thrown. Sure, um, I guess and I just

708
00:42:25,160 --> 00:42:30,360
Speaker 1: like that Mrs Brown um challenges her shitty husband of

709
00:42:30,560 --> 00:42:33,120
Speaker 1: the time, it's true. But then there's a moment in

710
00:42:33,120 --> 00:42:35,960
Speaker 1: like Paddington One where towards the end there in the

711
00:42:36,080 --> 00:42:40,120
Speaker 1: Natural History Museum and he's like someone has to go

712
00:42:40,160 --> 00:42:43,640
Speaker 1: out this window to save Paddington and that someone is

713
00:42:43,680 --> 00:42:46,360
Speaker 1: going to be me, and he does this like display

714
00:42:46,440 --> 00:42:51,080
Speaker 1: of like kind of traditional like macho heroism, and then

715
00:42:51,200 --> 00:42:56,320
Speaker 1: Mrs Brown is like, oh, Henry, you're such a man,

716
00:42:56,600 --> 00:42:58,640
Speaker 1: and like she gets like all weak in the knees,

717
00:42:58,920 --> 00:43:03,080
Speaker 1: which I felt was unnecessary. But then that doesn't really

718
00:43:03,120 --> 00:43:09,359
Speaker 1: happen in Paddington Twoad. Mr Brown is like, I'm having

719
00:43:09,400 --> 00:43:13,640
Speaker 1: a midlife crisis and I'm getting old and I wasn't

720
00:43:13,640 --> 00:43:18,960
Speaker 1: promoted at work. So it's actually about his fragile male ego. Well,

721
00:43:19,000 --> 00:43:22,200
Speaker 1: there's also a little too to his credit like that

722
00:43:22,280 --> 00:43:25,080
Speaker 1: he there's like a little tiny like he's passed over

723
00:43:25,160 --> 00:43:27,839
Speaker 1: because he's older, and that is the first time he's

724
00:43:27,880 --> 00:43:32,760
Speaker 1: been marginalized in his life, and it blows his fucking

725
00:43:33,000 --> 00:43:35,320
Speaker 1: He becomes such an as he's like, wait a second,

726
00:43:35,600 --> 00:43:39,319
Speaker 1: I can't hear what are I fucking want? And then

727
00:43:39,320 --> 00:43:42,360
Speaker 1: a book and then he like signing up for yoga classes,

728
00:43:42,360 --> 00:43:47,520
Speaker 1: which I thought was funny. Yeah, uh, Judy, we talked

729
00:43:47,560 --> 00:43:51,240
Speaker 1: about her sort of like linguistics skills in the first

730
00:43:51,280 --> 00:43:54,480
Speaker 1: movie and then like her interest in journalism in the

731
00:43:54,560 --> 00:43:57,279
Speaker 1: second one. I like how that character grows. Yeah, she

732
00:43:57,719 --> 00:43:59,920
Speaker 1: and I feel like she and she might even be

733
00:44:00,120 --> 00:44:03,319
Speaker 1: like a little more integral to the plot than Jonathan is,

734
00:44:03,360 --> 00:44:06,960
Speaker 1: but they're about equal and Jonathan the first one. Like

735
00:44:07,239 --> 00:44:08,560
Speaker 1: in the first one, I was like, well, why do

736
00:44:08,640 --> 00:44:12,160
Speaker 1: we know about Judy's romantic interest in not Jonathan, but

737
00:44:12,200 --> 00:44:15,399
Speaker 1: he's younger. And then but then as he ages up,

738
00:44:15,760 --> 00:44:18,040
Speaker 1: we don't really find out that much about Like we

739
00:44:18,080 --> 00:44:23,160
Speaker 1: don't get his equivalent of Tony. We get Jay Dog, right, right,

740
00:44:23,480 --> 00:44:26,360
Speaker 1: Jay Dog might be his equivalent of Tony. That's true,

741
00:44:26,960 --> 00:44:29,359
Speaker 1: that's his kind, that's his He's like, listen, I've hit

742
00:44:29,440 --> 00:44:33,800
Speaker 1: Puberty's He's like trying to impress this kid, but that

743
00:44:34,239 --> 00:44:37,280
Speaker 1: they like bump fist with the fair yeah and spud

744
00:44:37,280 --> 00:44:42,200
Speaker 1: bounce Yeah. But what if? What if it's not he's

745
00:44:42,280 --> 00:44:45,120
Speaker 1: trying to play cool to this guy that he wants

746
00:44:45,120 --> 00:44:46,680
Speaker 1: to be cool with. But it's like he wants to

747
00:44:46,719 --> 00:44:49,440
Speaker 1: find common ground with his boy that he has a crush.

748
00:44:49,560 --> 00:45:00,000
Speaker 1: I hope, So where is that fan? Paddington's three um

749
00:45:00,040 --> 00:45:05,480
Speaker 1: Uddington's is voiced by Queer Icon Ben Wishaw of Cloud,

750
00:45:06,000 --> 00:45:16,120
Speaker 1: Oh God remember him, Big Cloud Atlas Room Ben Wishaw

751
00:45:16,239 --> 00:45:19,320
Speaker 1: isn't a movie. I think it's called Perfume or something

752
00:45:19,400 --> 00:45:23,400
Speaker 1: portrait of a killer in which the final scene is

753
00:45:23,520 --> 00:45:26,759
Speaker 1: an enormous orgy, and then up until that point he

754
00:45:26,840 --> 00:45:32,800
Speaker 1: has been murdering women and stealing their scent to make perfume.

755
00:45:32,840 --> 00:45:37,480
Speaker 1: Out of icon queer Icon Ben Wishaw makes sense, like, yeah,

756
00:45:37,520 --> 00:45:44,480
Speaker 1: he's the bear. It's a straight pipeline between those two kids.

757
00:45:51,040 --> 00:45:53,600
Speaker 1: I wanted to talk a little bit about the men

758
00:45:53,760 --> 00:45:58,640
Speaker 1: dressing in drag, which happens in both movies. Hilarious bit anyway,

759
00:45:58,640 --> 00:46:05,000
Speaker 1: A flawless nothing like such a staple in UK comedy too,

760
00:46:05,160 --> 00:46:08,040
Speaker 1: and has been for like a b jillion year like

761
00:46:08,080 --> 00:46:10,760
Speaker 1: I was. Unfortunately, I wasn't surprised at all that that happened,

762
00:46:10,760 --> 00:46:13,520
Speaker 1: because you're like, if there's more than fifty British people

763
00:46:13,560 --> 00:46:16,160
Speaker 1: in the cast, this will happen and you will feel

764
00:46:16,160 --> 00:46:18,600
Speaker 1: weird about it. It feels like there's always a moment

765
00:46:18,640 --> 00:46:20,759
Speaker 1: where someone goes over to the wreck and she's like,

766
00:46:20,920 --> 00:46:22,840
Speaker 1: I was thinking, what if I were a dressed for

767
00:46:22,880 --> 00:46:26,520
Speaker 1: this one? Right? And they was like, yeah, okay, like

768
00:46:26,520 --> 00:46:29,680
Speaker 1: what we did that happens in of movies made in

769
00:46:29,680 --> 00:46:32,560
Speaker 1: this country, so we can do it different. It'll be great, like, no,

770
00:46:32,640 --> 00:46:36,279
Speaker 1: we're going to do very tastefully. Well they sort of

771
00:46:36,320 --> 00:46:39,680
Speaker 1: didn't in this movie, unfortunately. So um In the first movie,

772
00:46:39,840 --> 00:46:43,759
Speaker 1: Mr Brown dresses as a like cleaning lady to get

773
00:46:43,760 --> 00:46:47,440
Speaker 1: into the geographer's guild, and then when he and Paddington

774
00:46:47,640 --> 00:46:50,759
Speaker 1: are telling this story doing the recap if you will,

775
00:46:51,680 --> 00:46:54,719
Speaker 1: to the rest of the family, Mrs Brown is all like, oh,

776
00:46:54,800 --> 00:46:58,360
Speaker 1: that sounds so brave, Henry, you're such a man. And

777
00:46:58,680 --> 00:47:01,200
Speaker 1: Mr Brown is like, you know, there's a time for

778
00:47:01,239 --> 00:47:03,279
Speaker 1: being boring and annoying and there's a time for being

779
00:47:03,320 --> 00:47:06,440
Speaker 1: a man. And Paddington says Mr Brown dressed up as

780
00:47:06,480 --> 00:47:09,120
Speaker 1: a lady and someone stuck pins in him, and then

781
00:47:09,320 --> 00:47:12,120
Speaker 1: the family is like what in address? What? What? What?

782
00:47:12,239 --> 00:47:15,160
Speaker 1: And then Mr Brown's like no, and then Paddington is

783
00:47:15,200 --> 00:47:17,120
Speaker 1: like it did look like a dress, and then Mr

784
00:47:17,160 --> 00:47:19,840
Speaker 1: Brown is like, well if a housecoat, it was quite

785
00:47:19,880 --> 00:47:23,200
Speaker 1: liberating actually, right, So it ends on you're like, well

786
00:47:25,360 --> 00:47:28,000
Speaker 1: it didn't. Yeah, I love I will say I love

787
00:47:28,000 --> 00:47:30,440
Speaker 1: how even in this bad taste joke they find a

788
00:47:30,480 --> 00:47:33,640
Speaker 1: way to paint Paddington is like naive in a way

789
00:47:33,680 --> 00:47:36,160
Speaker 1: where he's clearly not in on the offensive part of

790
00:47:36,200 --> 00:47:39,640
Speaker 1: the joke, like he contributes to this, but we still

791
00:47:39,680 --> 00:47:43,480
Speaker 1: love him for right, He's just like stated, yeah, he's

792
00:47:43,520 --> 00:47:47,799
Speaker 1: prettin brilliant. It's it's what every all right guy thinks

793
00:47:47,840 --> 00:47:53,359
Speaker 1: they're saying, Like, I'm just saying facts. Facts. Sometimes that's

794
00:47:53,400 --> 00:47:57,920
Speaker 1: bad what he's like, Actually, I didn't actually say anything

795
00:47:57,960 --> 00:48:02,600
Speaker 1: that was offensive. I just said what happened? Proof? Proof? Proof?

796
00:48:02,719 --> 00:48:06,920
Speaker 1: What if Paddington? All right? Oh no he's not don't

797
00:48:06,920 --> 00:48:10,839
Speaker 1: work Okay? No, seriously, Like what did Paddington vote for

798
00:48:11,040 --> 00:48:14,360
Speaker 1: on Brexit? Obviously he's against Brexit? I know, but I

799
00:48:14,400 --> 00:48:17,959
Speaker 1: think Mr Brown is like, oh couldus waiting the way Brown,

800
00:48:18,000 --> 00:48:22,360
Speaker 1: I'm against voting at all. No, Paddington is very political.

801
00:48:22,880 --> 00:48:26,320
Speaker 1: I think that only natural born citizens should be allowed

802
00:48:26,360 --> 00:48:30,400
Speaker 1: to vote. What if Paddington got radicalized on YouTube? Oh

803
00:48:30,480 --> 00:48:38,560
Speaker 1: my god, don't say three Paddington logs in anyway, I'm

804
00:48:38,560 --> 00:48:40,600
Speaker 1: a nice guy and the women don't seem to be

805
00:48:40,640 --> 00:48:45,000
Speaker 1: interested in me. No, don't make Paddington an in. So No,

806
00:48:45,160 --> 00:48:48,600
Speaker 1: I hope this Paddington is a sexual. Actually, there's a

807
00:48:48,680 --> 00:48:55,439
Speaker 1: thing called chats and Becky's it's the school. You're killing me.

808
00:48:55,920 --> 00:48:59,279
Speaker 1: I'm dying, Okay, hope if I if I told you that,

809
00:48:59,320 --> 00:49:08,120
Speaker 1: I can absolutely here patting saying like all cops are bastards. Okay. Anyway,

810
00:49:08,360 --> 00:49:11,640
Speaker 1: So this scene that we just described, it's like it's

811
00:49:11,719 --> 00:49:15,360
Speaker 1: another example of like a man presenting as feminine in

812
00:49:15,719 --> 00:49:20,000
Speaker 1: some way and then like that being for him. It's

813
00:49:20,000 --> 00:49:22,439
Speaker 1: not the worst example we've seen. I'm thinking of like

814
00:49:22,880 --> 00:49:25,399
Speaker 1: what women want to where like mel Gibson comes out

815
00:49:25,440 --> 00:49:27,720
Speaker 1: and all the stuff, and then his daughter is like god,

816
00:49:28,040 --> 00:49:31,279
Speaker 1: and there's literally some that are you know, followed by

817
00:49:31,719 --> 00:49:35,520
Speaker 1: dry heaving from the fragile milking right right, Like it

818
00:49:35,600 --> 00:49:38,719
Speaker 1: gets really bad. This isn't as bad, but it's still important.

819
00:49:38,760 --> 00:49:40,960
Speaker 1: This isn't a side. But did you know What Women

820
00:49:41,000 --> 00:49:43,920
Speaker 1: Want cost seventy million dollars to make? Yes, but there

821
00:49:44,000 --> 00:49:46,800
Speaker 1: was no scene in that movie that looks expensive. Yeah,

822
00:49:46,960 --> 00:49:50,200
Speaker 1: well the cruise that they cut away to for no reason.

823
00:49:50,480 --> 00:49:55,800
Speaker 1: Prom that they cut away changed and it's addressed. Really,

824
00:49:56,040 --> 00:49:59,400
Speaker 1: there's a scene where sorry, I'm on a totally different

825
00:49:59,400 --> 00:50:01,800
Speaker 1: thing now is the scene where is walking by to

826
00:50:01,840 --> 00:50:03,720
Speaker 1: talk to Helen Hunt and they stopped in the hallway

827
00:50:03,920 --> 00:50:06,000
Speaker 1: and there's like a person there who's waiting to talk

828
00:50:06,080 --> 00:50:09,879
Speaker 1: to someone, and it's James Cameron. They don't talk to him.

829
00:50:10,120 --> 00:50:12,520
Speaker 1: You don't know he's there unless you are looking for him.

830
00:50:12,719 --> 00:50:15,520
Speaker 1: But it's James Cameron. Honestly, I'm always looking for him

831
00:50:15,520 --> 00:50:18,000
Speaker 1: and I'm so embarrassed. I know it's usually under the scene.

832
00:50:18,040 --> 00:50:20,480
Speaker 1: So I don't blame you for not an eyesore like

833
00:50:20,640 --> 00:50:26,440
Speaker 1: I should have noticed him. Director isn't taking it back

834
00:50:26,440 --> 00:50:30,439
Speaker 1: to Paddington. Doesn't the guy who was like into Mr

835
00:50:30,440 --> 00:50:34,120
Speaker 1: Brown in Address really look like Christopher Nolan? Oh? He does,

836
00:50:34,360 --> 00:50:37,120
Speaker 1: and he co wrote the second movie. That's his name

837
00:50:37,160 --> 00:50:41,279
Speaker 1: is like Simon Farnaby or something like course. So in

838
00:50:41,360 --> 00:50:45,200
Speaker 1: that scene where Mr Brown is uh. In Drag there

839
00:50:45,480 --> 00:50:51,000
Speaker 1: is a man who pretty aggressively hits on Mr Brown

840
00:50:51,360 --> 00:50:53,480
Speaker 1: dressed as a woman. I'm interested in, like what our

841
00:50:53,719 --> 00:50:57,439
Speaker 1: queer listeners think about this, because the same character comes

842
00:50:57,440 --> 00:50:59,759
Speaker 1: back in Paddington two and he is very attracted to

843
00:51:00,239 --> 00:51:03,920
Speaker 1: Hugh Grant dressed is a nun. I have chosen to

844
00:51:04,080 --> 00:51:09,640
Speaker 1: think that it's either that this character is either just

845
00:51:09,719 --> 00:51:14,799
Speaker 1: like very attracted to kind of mask women, or that

846
00:51:14,840 --> 00:51:17,680
Speaker 1: he's queer and he doesn't really know it yet. We've

847
00:51:17,719 --> 00:51:20,480
Speaker 1: got to get a music sting to play under. I

848
00:51:20,600 --> 00:51:24,440
Speaker 1: have chosen to think of like do do do do do?

849
00:51:26,280 --> 00:51:29,719
Speaker 1: But both times like it's played as a joke and

850
00:51:30,080 --> 00:51:33,040
Speaker 1: the movie I to me, the joke isn't so much

851
00:51:33,120 --> 00:51:35,360
Speaker 1: that it's like, oh look how weird and wrong it

852
00:51:35,480 --> 00:51:37,919
Speaker 1: is that this guy is attracted to like a man

853
00:51:37,920 --> 00:51:40,960
Speaker 1: in Drag. It's more that he just simply is attracted

854
00:51:41,040 --> 00:51:42,759
Speaker 1: to a man. But I feel like it's written I mean,

855
00:51:42,760 --> 00:51:46,400
Speaker 1: it's like written for laughs, it's written to and I

856
00:51:46,440 --> 00:51:49,720
Speaker 1: am coming from a place of being you know, cis head.

857
00:51:49,960 --> 00:51:52,799
Speaker 1: So we're interested in what our listening think. For sure,

858
00:51:53,480 --> 00:51:56,359
Speaker 1: I keep feeling like I I I'm just kinda like, hm, well,

859
00:51:56,400 --> 00:52:00,239
Speaker 1: in defense of the more offensive position. But what I

860
00:52:00,280 --> 00:52:02,640
Speaker 1: will say about this is it feels like, at least

861
00:52:02,640 --> 00:52:05,200
Speaker 1: in the second one, they played the joke more as

862
00:52:05,680 --> 00:52:07,680
Speaker 1: the fact that he well, I guess it's still like

863
00:52:07,760 --> 00:52:10,040
Speaker 1: that's not great, but they play the joke more as

864
00:52:10,080 --> 00:52:12,160
Speaker 1: like it's not oh, he's a woman as much as

865
00:52:12,200 --> 00:52:14,239
Speaker 1: it is that like this man is like you are

866
00:52:14,280 --> 00:52:17,080
Speaker 1: a gorgeous woman. Like even the moment where he runs

867
00:52:17,080 --> 00:52:20,120
Speaker 1: away and it's just like a stop, that incredibly gorgeous woman.

868
00:52:20,400 --> 00:52:22,920
Speaker 1: It feels like that becomes the joke of like, incredibly

869
00:52:22,920 --> 00:52:24,759
Speaker 1: gorgeous is the part that you're supposed to laugh at.

870
00:52:25,160 --> 00:52:28,399
Speaker 1: And I'm like, is it worse that they're like, oh,

871
00:52:28,600 --> 00:52:31,359
Speaker 1: this person that he thinks is a woman and that

872
00:52:31,400 --> 00:52:34,080
Speaker 1: we are supposed to believe is not beautiful is beautiful

873
00:52:34,120 --> 00:52:35,680
Speaker 1: as the joke, in which case I'm like, well, that's

874
00:52:35,680 --> 00:52:38,520
Speaker 1: also not great, right. I don't know, I mean, yeah,

875
00:52:38,640 --> 00:52:40,719
Speaker 1: I'm not I don't know. I'm not qualified to make

876
00:52:40,760 --> 00:52:43,120
Speaker 1: the call. I don't know. Yeah. So if we've got

877
00:52:43,160 --> 00:52:49,960
Speaker 1: any people Paddington too complex on it, God damn it.

878
00:52:51,840 --> 00:52:54,840
Speaker 1: I wanted to talk a little bit about Aunt Lucy

879
00:52:55,560 --> 00:53:00,279
Speaker 1: because she mostly exists off screen. Paddington talks about her,

880
00:53:00,800 --> 00:53:03,160
Speaker 1: you know, very lovingly all the time. She seems to

881
00:53:03,160 --> 00:53:05,640
Speaker 1: have taught him everything that he knows about being like

882
00:53:06,000 --> 00:53:09,360
Speaker 1: a polite consider a little bear. In Paddington two, we

883
00:53:09,440 --> 00:53:12,640
Speaker 1: learned that it's Lucy who like spots baby Paddington and

884
00:53:12,680 --> 00:53:16,759
Speaker 1: then like jumpson rescues him. That maybe could be argued, Oh,

885
00:53:16,800 --> 00:53:22,360
Speaker 1: it's another like very maternal instinct international move. Yeah, she's like,

886
00:53:22,400 --> 00:53:24,920
Speaker 1: we're not going to London anymore. We have to raise

887
00:53:25,040 --> 00:53:30,880
Speaker 1: a baby again in defense of you. That move is

888
00:53:30,920 --> 00:53:33,799
Speaker 1: sort of back ended by that moment where she is

889
00:53:33,880 --> 00:53:36,879
Speaker 1: like risking her life to go like to scale down

890
00:53:36,880 --> 00:53:39,440
Speaker 1: into the rapids to save a person. I feel like

891
00:53:39,440 --> 00:53:41,920
Speaker 1: it doesn't become oh, I must take care of this

892
00:53:42,000 --> 00:53:44,080
Speaker 1: child until she realizes it's a child. It's just like

893
00:53:44,120 --> 00:53:47,200
Speaker 1: a purely a move of generosity or like out of

894
00:53:47,200 --> 00:53:52,480
Speaker 1: empathy for fellow bear. Right, Yeah, it's compassion and not

895
00:53:52,640 --> 00:53:58,200
Speaker 1: maternal instinct. But what I choose to think, Okay, And

896
00:53:58,239 --> 00:54:00,160
Speaker 1: then the other thing I wanted to say about her

897
00:54:00,400 --> 00:54:03,359
Speaker 1: was that I think it's it tends to be more

898
00:54:03,400 --> 00:54:06,120
Speaker 1: common for us to see if there's like a male

899
00:54:06,239 --> 00:54:08,920
Speaker 1: character who has a relationship with a family member in

900
00:54:08,960 --> 00:54:13,440
Speaker 1: a movie, it's often with another male character. Um you know,

901
00:54:13,480 --> 00:54:17,520
Speaker 1: it's like father and son or uncle and nephew something

902
00:54:17,560 --> 00:54:19,799
Speaker 1: like that. So I like that you see such a

903
00:54:19,800 --> 00:54:24,680
Speaker 1: positive relationship between a male and then a female. Relatively,

904
00:54:24,719 --> 00:54:26,680
Speaker 1: I feel like we don't see that quite enough. I

905
00:54:26,719 --> 00:54:29,080
Speaker 1: think that's true. There are a few, Yeah, I mean

906
00:54:29,160 --> 00:54:31,640
Speaker 1: I still I still am sort of like on the

907
00:54:31,680 --> 00:54:34,120
Speaker 1: maternal trope wave here, but I do think I mean,

908
00:54:34,520 --> 00:54:37,240
Speaker 1: it's interesting because in the first movie, especially, like there's

909
00:54:37,280 --> 00:54:41,320
Speaker 1: a lot of attention paid to Paddington and Mr Brown

910
00:54:41,480 --> 00:54:44,439
Speaker 1: trying to find their common ground, whereas for Mrs Brown

911
00:54:44,480 --> 00:54:46,879
Speaker 1: the common ground is never questioned, so there's really not

912
00:54:46,920 --> 00:54:49,640
Speaker 1: as much of a journey for that relationship to take

913
00:54:49,680 --> 00:54:52,200
Speaker 1: because they're always on the same page. That's not really

914
00:54:52,239 --> 00:54:54,040
Speaker 1: as present in the bare Thing. I feel like Aunt

915
00:54:54,120 --> 00:55:01,120
Speaker 1: Lucy and uncles are, see, they seem more grounded in

916
00:55:01,160 --> 00:55:04,520
Speaker 1: the allegory than the Browns are a lot of the time,

917
00:55:04,560 --> 00:55:06,760
Speaker 1: because they're just like in it less and they're connected

918
00:55:06,800 --> 00:55:10,600
Speaker 1: to his life in Peru and a lot of it. Like,

919
00:55:10,680 --> 00:55:12,919
Speaker 1: I don't know that Aunt Lucy seems make me cry

920
00:55:12,960 --> 00:55:17,240
Speaker 1: so much because she's like she is a prominent maternal

921
00:55:17,280 --> 00:55:20,400
Speaker 1: figure in his life, but she also represents his whole

922
00:55:20,800 --> 00:55:24,200
Speaker 1: past life in Peru, and like she seems to like

923
00:55:24,440 --> 00:55:27,480
Speaker 1: represent a lot of things to him and represent homesickness

924
00:55:28,080 --> 00:55:30,840
Speaker 1: and also he can't write his uncle his uncle died

925
00:55:31,040 --> 00:55:34,760
Speaker 1: and so yeah, the aunt Lucy thing that that doesn't

926
00:55:35,040 --> 00:55:38,799
Speaker 1: really I mean she she just symbolizes his whole childhood

927
00:55:38,840 --> 00:55:41,280
Speaker 1: to him and like everything that is familiar and good.

928
00:55:41,440 --> 00:55:43,799
Speaker 1: So yeah, I don't know, I gott no, I got

929
00:55:43,840 --> 00:55:47,480
Speaker 1: I don't know how any problem without Lucy. She's so nice. Yeah, yeah,

930
00:55:47,680 --> 00:55:51,760
Speaker 1: what do you think Paddington three would like? Allegory wise,

931
00:55:51,760 --> 00:55:54,360
Speaker 1: where do you see it extending to? Okay, so we

932
00:55:54,360 --> 00:55:56,560
Speaker 1: didn't really talk about I mean like prison reform for

933
00:55:56,600 --> 00:55:59,799
Speaker 1: Paddington too. We didn't go into a huge detail about

934
00:55:59,800 --> 00:56:05,319
Speaker 1: their simply not time. But Pattington three, oh gosh, I

935
00:56:05,360 --> 00:56:09,600
Speaker 1: mean marriage equality. What are the issues that can tackle

936
00:56:09,880 --> 00:56:12,279
Speaker 1: I want patting to to stop Brexit? Like do we

937
00:56:12,360 --> 00:56:15,560
Speaker 1: have time or is it like the wage gap? I

938
00:56:15,600 --> 00:56:21,960
Speaker 1: mean there's so much. Is it an abortion thing? Like

939
00:56:22,480 --> 00:56:27,200
Speaker 1: patting gets someone pregnant and then it's like it's your

940
00:56:27,320 --> 00:56:29,920
Speaker 1: right to choose and Mr Curry is like, Nope, it

941
00:56:29,920 --> 00:56:32,719
Speaker 1: shouldn't be a right to choose. It is her right

942
00:56:32,760 --> 00:56:34,839
Speaker 1: to choose. And at the end he's like, all right,

943
00:56:35,080 --> 00:56:38,640
Speaker 1: she can choose. An hour and a half later, Brown

944
00:56:38,800 --> 00:56:40,560
Speaker 1: is like she should have the right to choose, and

945
00:56:40,560 --> 00:56:46,040
Speaker 1: we all collap. Set up, you know how they keep

946
00:56:46,239 --> 00:56:48,279
Speaker 1: they set up like what they're good at, and how

947
00:56:48,320 --> 00:56:51,080
Speaker 1: it comes back in at the end. In the beginning,

948
00:56:51,200 --> 00:56:53,640
Speaker 1: for some reason, they set up that Mr Brown is

949
00:56:53,680 --> 00:56:58,680
Speaker 1: a terrific abortion doctor because I don't know, I don't

950
00:56:58,719 --> 00:57:01,520
Speaker 1: know if I'm just like weird weird set up. And

951
00:57:01,520 --> 00:57:05,680
Speaker 1: then by the animal like, oh, he's like the house

952
00:57:05,760 --> 00:57:08,960
Speaker 1: opening section this round is taken to giving a bulstions

953
00:57:08,960 --> 00:57:15,760
Speaker 1: to him out of this house because it's no longer legal.

954
00:57:15,840 --> 00:57:22,040
Speaker 1: A house has become a bit of an abultion. W

955
00:57:22,240 --> 00:57:24,280
Speaker 1: also slip in like, by the way in this world

956
00:57:24,280 --> 00:57:27,600
Speaker 1: it's illegal now. Yeah, we got to raise the stakes

957
00:57:27,720 --> 00:57:32,480
Speaker 1: in Paddington and also the world. Uh, And I mean

958
00:57:32,480 --> 00:57:34,600
Speaker 1: we didn't fully go into it just really quick with

959
00:57:34,640 --> 00:57:38,480
Speaker 1: the Milicent Nicole kidman, I think this is like a

960
00:57:38,600 --> 00:57:41,080
Speaker 1: villainous trope that we've come up against a bunch at

961
00:57:41,120 --> 00:57:44,960
Speaker 1: this point. But it's like in the same lane as

962
00:57:45,000 --> 00:57:50,560
Speaker 1: like Ursula the Sea Witch is science adjacent woman who

963
00:57:50,720 --> 00:57:54,560
Speaker 1: is a little older. Uh it does not seem to

964
00:57:54,600 --> 00:57:59,160
Speaker 1: be in a romantic relationship, has extreme daddy issues and

965
00:57:59,280 --> 00:58:03,120
Speaker 1: all this it's up to being a fucking murderer. Yeah,

966
00:58:03,320 --> 00:58:06,280
Speaker 1: like that whole it sucks because I mean that performance

967
00:58:06,320 --> 00:58:09,520
Speaker 1: is so good and the way the character plays out,

968
00:58:09,560 --> 00:58:13,640
Speaker 1: like I like watching that character, but there's so I

969
00:58:13,720 --> 00:58:16,360
Speaker 1: like that we get the context for her of like

970
00:58:16,680 --> 00:58:19,080
Speaker 1: this is why I feel that way. At least she's motivated,

971
00:58:19,160 --> 00:58:23,520
Speaker 1: but it's motivated by daddy issues, So it kind of

972
00:58:23,600 --> 00:58:25,680
Speaker 1: ends up just kind of being a wash for me.

973
00:58:25,840 --> 00:58:29,760
Speaker 1: The wig really should have gotten an oscar. Now. That said, though,

974
00:58:29,760 --> 00:58:34,720
Speaker 1: her performance is if a woman had helped write this movie,

975
00:58:34,800 --> 00:58:36,760
Speaker 1: that would have been a better character, right, because we

976
00:58:36,840 --> 00:58:38,640
Speaker 1: I mean we've talked about this a little bit before,

977
00:58:38,680 --> 00:58:41,560
Speaker 1: but we especially in children's movies it seems or like

978
00:58:41,880 --> 00:58:45,720
Speaker 1: family targeted movies because we see this in Incredibles two,

979
00:58:45,880 --> 00:58:47,880
Speaker 1: we see it and like you said, like a little

980
00:58:47,920 --> 00:58:54,760
Speaker 1: Mermaid and any other like kind of like who are

981
00:58:54,840 --> 00:59:01,320
Speaker 1: like stem adjacent and that being villainized often that I

982
00:59:01,360 --> 00:59:05,520
Speaker 1: wanted to briefly talk about Mrs Bird Also, she's mostly

983
00:59:05,560 --> 00:59:10,440
Speaker 1: seen vacuuming in the movie, but she often will like

984
00:59:10,520 --> 00:59:13,680
Speaker 1: swoop in at the end and like do something significant.

985
00:59:14,040 --> 00:59:17,040
Speaker 1: I do like that she kind of uses people's biases

986
00:59:17,080 --> 00:59:20,680
Speaker 1: against old people against them, because like she shows up

987
00:59:20,720 --> 00:59:23,200
Speaker 1: in the at the end of the first movie and

988
00:59:23,560 --> 00:59:26,840
Speaker 1: like goes to the security guard and it's like, oh,

989
00:59:26,920 --> 00:59:29,880
Speaker 1: will you help a frail old woman out of the cold,

990
00:59:30,080 --> 00:59:33,200
Speaker 1: and like she's like, I'm not frail, but he doesn't

991
00:59:33,280 --> 00:59:37,800
Speaker 1: know that. And then she gets plastered and it's great.

992
00:59:38,120 --> 00:59:40,360
Speaker 1: It's very brave. There's one moment where she pulls a

993
00:59:40,360 --> 00:59:43,120
Speaker 1: gun and then at the side gig because it's just foam.

994
00:59:43,200 --> 00:59:47,840
Speaker 1: She was going to shoot Hugh Grant in the head.

995
00:59:48,280 --> 00:59:50,880
Speaker 1: She didn't know it was a fake gun, and she

996
00:59:51,920 --> 00:59:58,920
Speaker 1: was ready to murder him because it was like a

997
00:59:59,040 --> 01:00:01,200
Speaker 1: set up. She was like, human is going to walk

998
01:00:01,240 --> 01:00:03,040
Speaker 1: in and then I will shoot him. She had a

999
01:00:03,080 --> 01:00:06,280
Speaker 1: lot of time to think about, like I'm about to

1000
01:00:06,320 --> 01:00:09,880
Speaker 1: see a dead fucking fan. It's like I'm still doing this.

1001
01:00:10,000 --> 01:00:13,960
Speaker 1: Yeahs like she's done it before. She's yeah, it was

1002
01:00:14,120 --> 01:00:17,920
Speaker 1: very premeditated. I thought she walked like a old friend.

1003
01:00:20,280 --> 01:00:22,560
Speaker 1: I think in the third Paddington movie, they should learn

1004
01:00:22,600 --> 01:00:26,800
Speaker 1: how to say Paddington's bear name. Oh there's such a

1005
01:00:27,080 --> 01:00:30,080
Speaker 1: weird whatever. Well, it's like if we're going with the

1006
01:00:30,120 --> 01:00:34,760
Speaker 1: allegory of he's he's immigrated to this country, there immediately like, yeah,

1007
01:00:34,800 --> 01:00:36,880
Speaker 1: I don't know how to say that your name is

1008
01:00:36,920 --> 01:00:41,320
Speaker 1: where we fucking are right now? I think the third

1009
01:00:41,320 --> 01:00:43,600
Speaker 1: movie they should learn how to say his goddamn name.

1010
01:00:44,040 --> 01:00:47,560
Speaker 1: Mr Brown tries, but he says something very rude apparently,

1011
01:00:48,080 --> 01:00:50,920
Speaker 1: so I want like the third movie to open with

1012
01:00:51,000 --> 01:00:53,520
Speaker 1: Mr Brown just like very casually, like looking over like

1013
01:00:53,560 --> 01:00:56,960
Speaker 1: a Rosetta stone of how to do bear, and then

1014
01:00:56,960 --> 01:00:58,480
Speaker 1: by the end it's like, okay, he says it in

1015
01:00:58,520 --> 01:01:01,120
Speaker 1: a way that like Paddington has helped, right, Yeah, I

1016
01:01:01,120 --> 01:01:02,800
Speaker 1: don't know. That's like if you were born and then

1017
01:01:02,800 --> 01:01:07,240
Speaker 1: they're like, what's up Brocton Samaritan Loft is you know?

1018
01:01:09,480 --> 01:01:11,920
Speaker 1: I see your point. I see your point. I choose

1019
01:01:11,960 --> 01:01:16,960
Speaker 1: to think. I choose I think we shouldn't Like, does

1020
01:01:17,000 --> 01:01:20,560
Speaker 1: anyone have any other final thoughts about either Paddington movie?

1021
01:01:21,120 --> 01:01:23,120
Speaker 1: Since I asked it, I now I'm like, what would

1022
01:01:23,160 --> 01:01:26,080
Speaker 1: I want to happen in Paddington three? And this is

1023
01:01:26,120 --> 01:01:29,760
Speaker 1: just a earnest pitch for Paddington three I think it

1024
01:01:29,800 --> 01:01:32,720
Speaker 1: would be great if something happens with Mr Curry, like

1025
01:01:32,720 --> 01:01:35,320
Speaker 1: a minor offense that gets him brought into court and

1026
01:01:35,360 --> 01:01:37,440
Speaker 1: they find out that he's from a different country and

1027
01:01:37,440 --> 01:01:40,480
Speaker 1: he's going to get deported. Paddington is the one who's like,

1028
01:01:40,520 --> 01:01:42,400
Speaker 1: but Mr Curry is a part of our neighborhood. We

1029
01:01:42,440 --> 01:01:44,440
Speaker 1: have to save him. And everyone's like, he sucks, he's

1030
01:01:44,440 --> 01:01:47,320
Speaker 1: a fucking asshole, he's racist as ship. Why would you

1031
01:01:47,320 --> 01:01:49,560
Speaker 1: do this? And he's like, well, because that's what we do,

1032
01:01:49,600 --> 01:01:52,200
Speaker 1: and we're part of a community. We look after even

1033
01:01:52,240 --> 01:01:54,440
Speaker 1: the worst parts because then how are we how are

1034
01:01:54,440 --> 01:01:56,959
Speaker 1: we any better than them? And basically he goes around

1035
01:01:57,000 --> 01:01:59,840
Speaker 1: and gets like a petition signed for Mr Curry to

1036
01:01:59,880 --> 01:02:02,400
Speaker 1: be saved, and the entire time Mr Cray still hang

1037
01:02:02,400 --> 01:02:03,919
Speaker 1: on him. At the end, he's just kind of like,

1038
01:02:04,400 --> 01:02:11,280
Speaker 1: this is my friend. People like it? That nice? Yeah?

1039
01:02:11,360 --> 01:02:14,640
Speaker 1: I love it. Did anyone notice what appears to be

1040
01:02:15,120 --> 01:02:19,640
Speaker 1: the black lesbian couple who live nearby? Yeah, I mean

1041
01:02:19,680 --> 01:02:21,920
Speaker 1: they don't hardly say anything or do anything, but I

1042
01:02:22,000 --> 01:02:26,120
Speaker 1: was like, that's sweet. It was it would have been

1043
01:02:26,160 --> 01:02:28,760
Speaker 1: so easy for them to pass the Bechdel test. Yeah,

1044
01:02:29,200 --> 01:02:31,480
Speaker 1: they've been allowed to speak have them go like, hey,

1045
01:02:31,560 --> 01:02:42,760
Speaker 1: deb hello Jennifer, we're lesbians, right, Yes, a true passing trailblazing, plazing. Well,

1046
01:02:42,760 --> 01:02:46,439
Speaker 1: speaking of the Bechdel tests, yes, starting with Paddington One,

1047
01:02:46,680 --> 01:02:50,560
Speaker 1: does that pass? That one does? Yeah, that one passes,

1048
01:02:50,920 --> 01:02:53,680
Speaker 1: I think better than the second one. Yes. In Paddington One,

1049
01:02:54,040 --> 01:02:57,360
Speaker 1: Mrs Brown and Judy talk about a Victorian bathing pond.

1050
01:02:57,720 --> 01:03:00,800
Speaker 1: They talk about the sewers. The sewer exchange is so

1051
01:03:00,840 --> 01:03:02,800
Speaker 1: fun because I'm like, oh, this scene is passing, but

1052
01:03:02,840 --> 01:03:06,320
Speaker 1: they're just talking about the sewers in more detail every

1053
01:03:06,320 --> 01:03:08,720
Speaker 1: time she's like, you know, the sewers, She's like, what

1054
01:03:08,880 --> 01:03:12,200
Speaker 1: the sewers under the ground? What the sewers under the ground?

1055
01:03:12,280 --> 01:03:17,040
Speaker 1: We could walk in them? Oh yeah, yeah, you know.

1056
01:03:18,280 --> 01:03:20,840
Speaker 1: And then their their third interaction that passes is about

1057
01:03:20,880 --> 01:03:26,280
Speaker 1: like toiletries. So it's a lot of like bathroom based discussions,

1058
01:03:26,320 --> 01:03:29,680
Speaker 1: which is like, yeah, I think women should talk more

1059
01:03:29,680 --> 01:03:32,520
Speaker 1: about bathroom stuff. We talk about it a lot. You

1060
01:03:32,520 --> 01:03:38,240
Speaker 1: and I often exchange sludge. Yeah, I refuse to get

1061
01:03:38,240 --> 01:03:44,720
Speaker 1: more content and I also do too, okay um. And

1062
01:03:44,760 --> 01:03:47,320
Speaker 1: then Mrs Brown and Mrs Bird talk about the weather

1063
01:03:47,680 --> 01:03:53,040
Speaker 1: at some point, and Paddington to however, Paddington two is trickier,

1064
01:03:53,360 --> 01:03:57,200
Speaker 1: I think from a number of perspective, mainly because Paddington

1065
01:03:57,360 --> 01:03:59,680
Speaker 1: is not with women for most of this movie. He

1066
01:03:59,800 --> 01:04:03,920
Speaker 1: is in an all male prison uh and is solving

1067
01:04:03,920 --> 01:04:14,280
Speaker 1: the prison industrials. It's like four women were incarcerated in

1068
01:04:15,040 --> 01:04:17,920
Speaker 1: the UK. This really wouldn't have been an issue, but

1069
01:04:17,920 --> 01:04:20,000
Speaker 1: but he like that. That is, like, I think one

1070
01:04:20,040 --> 01:04:25,360
Speaker 1: of the major things that prevents Paddington too from passing more. Yes,

1071
01:04:25,480 --> 01:04:29,160
Speaker 1: I agree, Um, there's I think only one conversation that

1072
01:04:29,320 --> 01:04:32,640
Speaker 1: I found that passed, which was Mrs Brown and um

1073
01:04:32,720 --> 01:04:36,760
Speaker 1: Madam Coslova talking about the pop up book and then

1074
01:04:37,400 --> 01:04:41,720
Speaker 1: about her great name. We only know the last name Coslova,

1075
01:04:42,360 --> 01:04:46,320
Speaker 1: so that's a name, okay, um, But still the context

1076
01:04:46,400 --> 01:04:49,680
Speaker 1: of that conversation station is still like, oh, there's a

1077
01:04:49,680 --> 01:04:55,440
Speaker 1: bear who's been wrongfully incarcerated. Yeah. I don't think the

1078
01:04:55,440 --> 01:04:57,960
Speaker 1: second one, but I was saying that second one didn't

1079
01:04:58,080 --> 01:05:01,120
Speaker 1: pass because he only The other conversation of note was

1080
01:05:01,280 --> 01:05:04,200
Speaker 1: Mrs Brown and Mrs Bird talking about actors being the

1081
01:05:04,240 --> 01:05:07,200
Speaker 1: most evil and vile people on the planet, which true,

1082
01:05:07,280 --> 01:05:10,640
Speaker 1: but that conversation, yeah, that conversation has about Yeah, Phoenix

1083
01:05:10,720 --> 01:05:13,480
Speaker 1: Pachan well, but it's also about it's a meta joke

1084
01:05:13,520 --> 01:05:16,200
Speaker 1: about the profession of acting, and in that sense is

1085
01:05:16,240 --> 01:05:19,080
Speaker 1: it It's actually brilliant and it could pass the test

1086
01:05:20,720 --> 01:05:26,520
Speaker 1: they're talking about Hugh Grant. They're I'm ruining Paddington. I'm sorry.

1087
01:05:27,320 --> 01:05:30,520
Speaker 1: The first one passes, yeah a lot, Yes, the second one.

1088
01:05:30,520 --> 01:05:33,040
Speaker 1: Paddington's not around women for most of the movie, right,

1089
01:05:33,120 --> 01:05:35,200
Speaker 1: and a good way. Women are around each other though,

1090
01:05:35,240 --> 01:05:38,200
Speaker 1: and they don't. They're so focused on helping Paddington that

1091
01:05:38,160 --> 01:05:40,200
Speaker 1: that's the only thing that's like they're doing. It's weird

1092
01:05:40,200 --> 01:05:42,520
Speaker 1: because it's like the women in the movie are mostly

1093
01:05:42,520 --> 01:05:46,920
Speaker 1: doing investigative journalism the whole movie, but the subject of

1094
01:05:46,960 --> 01:05:49,560
Speaker 1: their story is a male bear, So like, what can

1095
01:05:49,560 --> 01:05:53,040
Speaker 1: you do? Here's my question. When I describe a movie

1096
01:05:53,080 --> 01:05:58,120
Speaker 1: as a motherly figure mostly doing investigative work to release

1097
01:05:58,240 --> 01:06:02,440
Speaker 1: an improperly incarcerated family member, am I talking about Paddington too?

1098
01:06:02,920 --> 01:06:07,520
Speaker 1: Or if Real Street could talk the Question of the

1099
01:06:07,600 --> 01:06:14,640
Speaker 1: Century or Green Book? The first one the second one

1100
01:06:15,720 --> 01:06:18,560
Speaker 1: better for it? Yeah, that's just proof that it improved

1101
01:06:18,600 --> 01:06:23,959
Speaker 1: over time. Yeah. I love when franchises slowly learned piece

1102
01:06:24,000 --> 01:06:26,360
Speaker 1: by piece. But the one will have like a light

1103
01:06:26,480 --> 01:06:31,280
Speaker 1: drag scene. Let's write the movie on our nipple scale

1104
01:06:31,840 --> 01:06:35,080
Speaker 1: zero to five nipples based on its representations women. This

1105
01:06:35,200 --> 01:06:39,000
Speaker 1: is tricky. This is tricky because it is the best

1106
01:06:39,080 --> 01:06:44,280
Speaker 1: franchise ever made. That's exactly what I have people. I

1107
01:06:44,400 --> 01:06:46,360
Speaker 1: can't tell you how often people I say that and

1108
01:06:46,400 --> 01:06:49,320
Speaker 1: people still think I'm joking. It happens all the time.

1109
01:06:49,680 --> 01:06:52,880
Speaker 1: I know. But it's got like better hit rates than

1110
01:06:52,920 --> 01:06:56,800
Speaker 1: the Godfather. Like I don't know what, sixties percent of

1111
01:06:56,800 --> 01:06:58,560
Speaker 1: the Godfather movies are good. A hundred percent of the

1112
01:06:58,560 --> 01:07:04,000
Speaker 1: Paddington movies are good. That's true. So yeah, um yeah,

1113
01:07:04,120 --> 01:07:07,200
Speaker 1: I love I love these movies. I'll give it a three.

1114
01:07:07,880 --> 01:07:11,800
Speaker 1: I mean, they are like allegories for important topics, and

1115
01:07:11,880 --> 01:07:15,760
Speaker 1: I suppose a way that is more digestible to most

1116
01:07:15,800 --> 01:07:19,560
Speaker 1: audiences just because it's like there's a cute bear. But um,

1117
01:07:19,640 --> 01:07:22,240
Speaker 1: the female characters, like we said, they're they're playing an

1118
01:07:22,240 --> 01:07:24,560
Speaker 1: active role in the story from start to finish. They

1119
01:07:24,600 --> 01:07:28,080
Speaker 1: are equipped with like skills and interests that are important

1120
01:07:28,080 --> 01:07:30,640
Speaker 1: to the story. But you know, there's those kind of

1121
01:07:30,680 --> 01:07:34,880
Speaker 1: weird moments where the men in drag and how that's

1122
01:07:34,960 --> 01:07:38,800
Speaker 1: kind of mishandled. Uh. There is the villainization of a

1123
01:07:38,840 --> 01:07:45,000
Speaker 1: woman in stem so um three nipples and I whoa,

1124
01:07:45,360 --> 01:07:50,000
Speaker 1: how many nipples does a bear have? Three? I'm going

1125
01:07:50,040 --> 01:07:54,240
Speaker 1: to give off all three of my nipples will go

1126
01:07:54,280 --> 01:07:58,600
Speaker 1: to Paddington's. I'm also gonna go, uh three nipples. I mean,

1127
01:07:58,640 --> 01:08:00,920
Speaker 1: it's so much of the movie, Is it really Paddington

1128
01:08:01,560 --> 01:08:04,440
Speaker 1: that every female character is by nature going to be

1129
01:08:04,480 --> 01:08:07,080
Speaker 1: a supporting role? Uh? There are. There were those little

1130
01:08:07,080 --> 01:08:09,320
Speaker 1: things you were talking about that kind of bugged me.

1131
01:08:09,400 --> 01:08:12,080
Speaker 1: There was like making sure that the teen girl had

1132
01:08:12,120 --> 01:08:15,040
Speaker 1: a romantic narrative thing that I was like whatever, Like

1133
01:08:15,400 --> 01:08:18,719
Speaker 1: that didn't impact the story literally at all. But in general,

1134
01:08:18,760 --> 01:08:20,720
Speaker 1: I mean, it's like it's a lovely franchise and I

1135
01:08:20,720 --> 01:08:24,639
Speaker 1: feel like the messages that it has are so there's

1136
01:08:24,680 --> 01:08:29,479
Speaker 1: not a social justice franchise for children that is active

1137
01:08:29,560 --> 01:08:32,240
Speaker 1: besides this one. Yeah, and you know, it's like it's

1138
01:08:32,640 --> 01:08:36,080
Speaker 1: I mean, the movies are great. I'll give three nippies.

1139
01:08:36,479 --> 01:08:42,120
Speaker 1: I'm gonna give one to Sally Hawkins, one to Paddington,

1140
01:08:42,240 --> 01:08:43,960
Speaker 1: and one to the fish from the Shape of Water.

1141
01:08:44,240 --> 01:08:48,840
Speaker 1: All right, you can yeah, yeah, I didn't realize that. Okay, yes,

1142
01:08:48,880 --> 01:08:51,880
Speaker 1: all right, I'm gonna gonna give it the total recall

1143
01:08:52,000 --> 01:08:57,200
Speaker 1: three nips. I think that I think that, like again,

1144
01:08:57,240 --> 01:09:00,400
Speaker 1: like you said, centering this movie around a male character

1145
01:09:00,600 --> 01:09:02,559
Speaker 1: does sort of mean that a lot of it's gonna

1146
01:09:02,560 --> 01:09:04,240
Speaker 1: skew mail. But I also think that they are like

1147
01:09:04,360 --> 01:09:07,320
Speaker 1: smaller parts of the dynamics that I'm kind of impressed by,

1148
01:09:07,400 --> 01:09:10,559
Speaker 1: Like how the family Unit it feels like a lot

1149
01:09:10,560 --> 01:09:13,240
Speaker 1: of movies earlier, just a lot of things won't put

1150
01:09:13,360 --> 01:09:16,160
Speaker 1: like a group together where the balance is upset by

1151
01:09:16,160 --> 01:09:17,720
Speaker 1: the number of women being more than the number of

1152
01:09:17,800 --> 01:09:19,559
Speaker 1: men because it feels like like, oh, that's that's a

1153
01:09:19,600 --> 01:09:22,000
Speaker 1: feminine group then, And for it to be like that

1154
01:09:22,040 --> 01:09:26,120
Speaker 1: with the family before they adopt Paddington into the circle

1155
01:09:26,200 --> 01:09:28,400
Speaker 1: does feel like a thing that it's like, Oh, that

1156
01:09:28,439 --> 01:09:31,600
Speaker 1: means they're gonna focus more on women characters when this

1157
01:09:31,680 --> 01:09:34,840
Speaker 1: family becomes a part of the movie, and I think

1158
01:09:34,880 --> 01:09:37,559
Speaker 1: that's very cool. But I also think that it's like

1159
01:09:37,920 --> 01:09:40,519
Speaker 1: when they started this, it felt like they definitely like, yeah,

1160
01:09:40,520 --> 01:09:42,559
Speaker 1: we're gonna make this a franchise. So for them to

1161
01:09:42,600 --> 01:09:44,479
Speaker 1: be like, well, the first run out, we are still

1162
01:09:44,479 --> 01:09:47,920
Speaker 1: gonna make the villain a woman does feel like the

1163
01:09:48,040 --> 01:09:51,639
Speaker 1: kind of like quote unquote risk that Hollywood people would

1164
01:09:51,680 --> 01:09:53,559
Speaker 1: be like, oh, yeah, yeah, we'll get the diversity in

1165
01:09:53,560 --> 01:09:55,280
Speaker 1: there if we if we get another one, but this

1166
01:09:55,320 --> 01:09:56,560
Speaker 1: first one's got to be a man, and like for

1167
01:09:56,600 --> 01:09:57,920
Speaker 1: them to be like, no, no, no no, we're just gonna

1168
01:09:58,080 --> 01:10:01,240
Speaker 1: We're gonna have like Nicole Kidman play uh, Like Wacky

1169
01:10:01,280 --> 01:10:05,320
Speaker 1: Woman feels like something I would be surprised to see

1170
01:10:05,320 --> 01:10:08,280
Speaker 1: in any other franchise because often, I mean we've talked

1171
01:10:08,280 --> 01:10:10,400
Speaker 1: about this too, that if there's a movie with a

1172
01:10:10,439 --> 01:10:13,720
Speaker 1: female villain, it's usually in a movie that also has

1173
01:10:13,760 --> 01:10:16,920
Speaker 1: a female protagonist. It's rare to see a movie where

1174
01:10:16,960 --> 01:10:20,240
Speaker 1: like could a woman pose a threat to a male character?

1175
01:10:20,320 --> 01:10:23,840
Speaker 1: Could a woman pose a threat to a tiny bear?

1176
01:10:24,880 --> 01:10:28,840
Speaker 1: Brave questions being asked. You, I agree, it does feel

1177
01:10:28,880 --> 01:10:32,040
Speaker 1: like yeah, and seeing that dynamic and not in like

1178
01:10:32,080 --> 01:10:34,599
Speaker 1: a sort of like fem fatale sort of way where

1179
01:10:34,600 --> 01:10:38,080
Speaker 1: it's like she's gonna fuck the protagonist and that's that's

1180
01:10:38,080 --> 01:10:44,240
Speaker 1: why she's the villain. Like I think there was a draft,

1181
01:10:45,880 --> 01:10:48,560
Speaker 1: um no, but yeah, I don't know. I think it.

1182
01:10:49,000 --> 01:10:51,800
Speaker 1: It still has a ways to go, and they do

1183
01:10:51,840 --> 01:10:54,040
Speaker 1: give a lot of the focus to the male characters

1184
01:10:54,040 --> 01:10:56,680
Speaker 1: of the franchise, but they also I want It's like,

1185
01:10:56,720 --> 01:10:59,880
Speaker 1: are we rating this against the average movie or we

1186
01:11:00,080 --> 01:11:03,040
Speaker 1: rating it against like the idea of a perfect film.

1187
01:11:03,400 --> 01:11:09,000
Speaker 1: Oh man, I think like five is like our perfect Yeah,

1188
01:11:09,000 --> 01:11:10,400
Speaker 1: then I think of three. It's like it does a

1189
01:11:10,400 --> 01:11:12,800
Speaker 1: little bit better than the average film does. But I

1190
01:11:12,840 --> 01:11:15,719
Speaker 1: also think it has some glaring things where like still

1191
01:11:16,080 --> 01:11:20,639
Speaker 1: the drag stuff, you're like two times okay? Yeah, well, DENNI,

1192
01:11:20,960 --> 01:11:23,599
Speaker 1: thank you so much for joining us. Thank you for

1193
01:11:26,840 --> 01:11:30,439
Speaker 1: where can people follow you online? Would you like to plug? Oh?

1194
01:11:30,479 --> 01:11:34,679
Speaker 1: I would love to plug this marmale She's been sitting

1195
01:11:34,680 --> 01:11:39,360
Speaker 1: in my pocket for the entire show. I uh, it

1196
01:11:39,479 --> 01:11:42,200
Speaker 1: is getting a little warm, but it's you know, Marmalide's

1197
01:11:42,200 --> 01:11:45,080
Speaker 1: good in any in any sense. This is smuckers gorgeous.

1198
01:11:45,160 --> 01:11:48,479
Speaker 1: I gotta shout out the brand. Um. You can follow

1199
01:11:48,479 --> 01:11:51,040
Speaker 1: me at Electra Lemon pretty much anywhere. Listen to punch

1200
01:11:51,120 --> 01:11:54,160
Speaker 1: Up the jam My podcast. Yeah, you've both been on

1201
01:11:54,200 --> 01:11:57,880
Speaker 1: it within wonderful guests. Thank you for doing that. And

1202
01:11:58,280 --> 01:12:01,960
Speaker 1: you know, go for a walk sometimes, joy treat yourself nice, yeah,

1203
01:12:02,640 --> 01:12:05,719
Speaker 1: self care. Thank you so much for coming to the show.

1204
01:12:06,320 --> 01:12:12,479
Speaker 1: Happy birthday, Caitlyn. That was our show. Yes, that was

1205
01:12:12,560 --> 01:12:14,920
Speaker 1: the Paddington Show. Thank you again to our wonderful guest

1206
01:12:15,240 --> 01:12:19,040
Speaker 1: Demi A. Did you eBay so great? Please listen to

1207
01:12:19,320 --> 01:12:22,559
Speaker 1: his podcast Punch Up the Jam and truly just anything

1208
01:12:22,760 --> 01:12:25,760
Speaker 1: that he does, he's wonderful, so good. Um, thank you

1209
01:12:26,120 --> 01:12:29,800
Speaker 1: so much to Sandy Junio for recording the show Friend

1210
01:12:29,840 --> 01:12:32,719
Speaker 1: of the Pod for us, Friend of the Podcast. Thanks

1211
01:12:32,720 --> 01:12:35,679
Speaker 1: to everyone who came out to see the show, and

1212
01:12:35,680 --> 01:12:38,880
Speaker 1: in a special thanks to anyone who brought a donation

1213
01:12:39,000 --> 01:12:43,200
Speaker 1: for Project Caged Birds. Yes, we absolutely you guys are

1214
01:12:43,240 --> 01:12:45,759
Speaker 1: the best. And thank you to The Ruby as always,

1215
01:12:45,760 --> 01:12:49,880
Speaker 1: the Ruby for having us saying us And now for

1216
01:12:50,000 --> 01:12:54,519
Speaker 1: the regular business. You can find us online on Twitter, Instagram, Facebook.

1217
01:12:54,520 --> 01:12:56,799
Speaker 1: If you're still on Facebook, why are you still on Facebook?

1218
01:12:56,840 --> 01:13:00,400
Speaker 1: What's going on? Uh? You can find us at Bactel

1219
01:13:00,479 --> 01:13:05,160
Speaker 1: Cast on all of those platforms. Yes, you can subscribe

1220
01:13:05,200 --> 01:13:10,759
Speaker 1: to our Patreon a k A Matreon, our padding Chin Treon.

1221
01:13:11,760 --> 01:13:15,559
Speaker 1: That one didn't really work nope, um, but I tried

1222
01:13:15,680 --> 01:13:18,160
Speaker 1: and that's all that matters. I did the Bear Maximum.

1223
01:13:18,479 --> 01:13:22,160
Speaker 1: There are new design I like the Bear Maximum. I

1224
01:13:22,240 --> 01:13:25,479
Speaker 1: just I'll make the Bear Maximum. Okay, okay, yeah, okay, good,

1225
01:13:25,640 --> 01:13:28,840
Speaker 1: thank you so much. So you can buy that that

1226
01:13:29,000 --> 01:13:33,120
Speaker 1: shirt someday soon on our t public store t public

1227
01:13:33,160 --> 01:13:36,160
Speaker 1: dot com slash the Bectel Cast, and then back to

1228
01:13:36,439 --> 01:13:39,760
Speaker 1: the Matreon plug. You can go to patreon dot com

1229
01:13:39,800 --> 01:13:43,000
Speaker 1: slash bactel Cast and sign up for our Matren which

1230
01:13:43,080 --> 01:13:48,000
Speaker 1: is too bonus episodes every single month, plus our backlog

1231
01:13:48,080 --> 01:13:51,200
Speaker 1: of all of our existing Matron episode, so nearly fifty

1232
01:13:51,280 --> 01:13:54,840
Speaker 1: bonus episodes. If you burn through the main feed, there's more.

1233
01:13:55,240 --> 01:13:57,880
Speaker 1: This month we did into the spider Verse, and we

1234
01:13:57,960 --> 01:14:00,960
Speaker 1: are also even upcoming matre an episode about who frame

1235
01:14:01,040 --> 01:14:03,760
Speaker 1: Rat a Rabbit? Yes, because it was my birthday month

1236
01:14:04,000 --> 01:14:09,400
Speaker 1: selection and that's what I picked. We did cartoons. I'm

1237
01:14:09,439 --> 01:14:11,880
Speaker 1: going to do a quick pluggy if you're an international

1238
01:14:11,960 --> 01:14:16,000
Speaker 1: listener living in just like Paddington. Yes, it listens to

1239
01:14:16,040 --> 01:14:20,960
Speaker 1: the podcast and all residents of the UK are cordially invited.

1240
01:14:21,000 --> 01:14:24,000
Speaker 1: I'll be at the Edinburgh Fringe Festival all of August

1241
01:14:24,000 --> 01:14:25,960
Speaker 1: doing my show Boss Whome Is Girl, So if you're

1242
01:14:26,439 --> 01:14:29,599
Speaker 1: around there, perhaps there'll be some Bite tal cashas as well.

1243
01:14:29,640 --> 01:14:32,120
Speaker 1: We don't know. Oh yeah, we're working on it. That's

1244
01:14:32,120 --> 01:14:36,360
Speaker 1: a tease. I'm gonna go to Paddington Station while I'm there.

1245
01:14:37,080 --> 01:14:39,240
Speaker 1: I'm just gonna roll around on the ground. So I'm

1246
01:14:39,280 --> 01:14:41,559
Speaker 1: just gonna soak it up here, and then someone's going

1247
01:14:41,600 --> 01:14:43,360
Speaker 1: to show up and be like, we've got to adopt

1248
01:14:43,439 --> 01:14:47,840
Speaker 1: this Adora woman. I'm like, please look after this woman,

1249
01:14:48,960 --> 01:14:52,639
Speaker 1: and then someone will take me home. So yeah, look

1250
01:14:52,640 --> 01:14:56,080
Speaker 1: out for all of that. And thanks for listening everyone.

1251
01:14:56,120 --> 01:14:58,599
Speaker 1: Thank you for indulging me and letting me do this

1252
01:14:58,640 --> 01:15:01,880
Speaker 1: Paddington episode. It was a gift. I had such a

1253
01:15:01,920 --> 01:15:05,719
Speaker 1: great time and I love these movies so much. Okay, bye,