1 00:00:04,800 --> 00:00:08,039 Speaker 1: Hey, this is Annie and Samantha and welcome to Stephane. 2 00:00:08,039 --> 00:00:19,759 Speaker 1: Never told your protection of my Heart Radio. I have 3 00:00:19,880 --> 00:00:24,520 Speaker 1: got to say our past couple of episodes, both on 4 00:00:24,640 --> 00:00:28,920 Speaker 1: here and on Savor, they've been a delightful research times 5 00:00:28,960 --> 00:00:32,040 Speaker 1: for me because I got to do Princess Leah and 6 00:00:32,080 --> 00:00:34,600 Speaker 1: the Simpsons Food and now we're talking about one of 7 00:00:34,640 --> 00:00:38,520 Speaker 1: my favorites, The Witch. Yes, wait, you do the Simpsons food? 8 00:00:38,560 --> 00:00:42,800 Speaker 1: Did you do the whole New Orleans trip? Yes? Yes? 9 00:00:43,520 --> 00:00:46,519 Speaker 1: I like that. It was pretty epic. I mean so 10 00:00:46,640 --> 00:00:50,479 Speaker 1: several YouTube people recreated it, we created it. Bening with 11 00:00:50,520 --> 00:00:53,040 Speaker 1: Babish was my favorite. Of course. Yeah, you sent me 12 00:00:53,120 --> 00:00:57,960 Speaker 1: that fifty two restaurants. Impressive, it is even I the 13 00:00:58,040 --> 00:01:03,400 Speaker 1: Maximizer was humbled. Yeah. Um. But going on to the 14 00:01:03,520 --> 00:01:08,240 Speaker 1: new fave, yes, which is the Witch. And I know 15 00:01:08,440 --> 00:01:11,080 Speaker 1: we've mentioned it several times where I've said I can't 16 00:01:11,200 --> 00:01:12,840 Speaker 1: one day, I hope we get to talk about it. 17 00:01:13,240 --> 00:01:17,000 Speaker 1: And we posted a poll for our feminist movie Friday, 18 00:01:17,040 --> 00:01:19,920 Speaker 1: and Samantha had picked all these options since she said, 19 00:01:19,959 --> 00:01:22,640 Speaker 1: are there anything you want? I said, well, you put 20 00:01:22,640 --> 00:01:26,679 Speaker 1: the which on that, you know, and it would I'm 21 00:01:26,800 --> 00:01:32,040 Speaker 1: so glad it would. Um. Also, it seems like we're 22 00:01:32,080 --> 00:01:34,600 Speaker 1: just going to do all which movies all the time, 23 00:01:35,000 --> 00:01:37,240 Speaker 1: which is okay with me because the craft we did 24 00:01:37,959 --> 00:01:42,800 Speaker 1: right before this, now this, we're definitely gonna do hocus focus. Yeah, 25 00:01:42,800 --> 00:01:44,760 Speaker 1: I don't know. I would have to do which is 26 00:01:44,800 --> 00:01:46,800 Speaker 1: of Eastwick. I think we need to do that as well. 27 00:01:47,080 --> 00:01:55,320 Speaker 1: And I haven't seen Witches, so I mean, right, options abound. Yeah, 28 00:01:55,640 --> 00:01:58,760 Speaker 1: so maybe we're going to go in that direction. But well, 29 00:01:58,800 --> 00:02:01,880 Speaker 1: will let all of you listeners way in on feature 30 00:02:02,280 --> 00:02:08,360 Speaker 1: film choices. So I I remember seeing this movie. I 31 00:02:08,400 --> 00:02:11,040 Speaker 1: saw it a few times. One of the things I 32 00:02:11,040 --> 00:02:14,920 Speaker 1: really love about it is I never really truly appreciated 33 00:02:14,960 --> 00:02:17,360 Speaker 1: how terrifying it was to be a woman during the 34 00:02:17,400 --> 00:02:20,000 Speaker 1: time of the Salem witch Trials, when everyone was so 35 00:02:20,120 --> 00:02:24,080 Speaker 1: ready to condemn and kill you for something you couldn't 36 00:02:24,080 --> 00:02:27,360 Speaker 1: prove otherwise, and even proving otherwise sometimes involved your death. 37 00:02:28,000 --> 00:02:30,760 Speaker 1: And I knew it on an intellectual level, I knew 38 00:02:30,800 --> 00:02:34,160 Speaker 1: that's scary and terrifying, that this was a really visceral, 39 00:02:34,720 --> 00:02:40,440 Speaker 1: emotional level of experiencing that, and the parallels between today 40 00:02:40,600 --> 00:02:44,000 Speaker 1: and how we still don't believe women. They were impossible 41 00:02:44,040 --> 00:02:48,320 Speaker 1: to miss, especially in service to structures like religion that 42 00:02:48,400 --> 00:02:51,280 Speaker 1: were and are. They were largely created by men and 43 00:02:51,400 --> 00:02:54,120 Speaker 1: are still largely upheld by men. That is changing, but 44 00:02:54,800 --> 00:02:57,960 Speaker 1: that legacy is still there. And also just smaller things 45 00:02:58,000 --> 00:03:02,000 Speaker 1: like not knowing why things were happening, that oppressive dark 46 00:03:02,000 --> 00:03:05,440 Speaker 1: of this whole movie just weighing on you. Of well, 47 00:03:05,440 --> 00:03:08,280 Speaker 1: all the crops aren't they're all dying? Why we can't 48 00:03:08,280 --> 00:03:12,080 Speaker 1: find any food? Why what is going on here? Um? 49 00:03:12,160 --> 00:03:15,800 Speaker 1: And it's a it's a paranoid and claustrophobic film, and 50 00:03:15,840 --> 00:03:19,840 Speaker 1: it constantly makes you doubt yourself and what is going on? 51 00:03:20,040 --> 00:03:25,160 Speaker 1: Is this something of they are? Essentially? I guess this 52 00:03:25,200 --> 00:03:27,560 Speaker 1: is a really good pick for quarantine essentially going through 53 00:03:28,400 --> 00:03:31,960 Speaker 1: isolation and what that entails or is there really something 54 00:03:32,000 --> 00:03:37,080 Speaker 1: supernatural going on? And if so, to what degree? Um? 55 00:03:37,120 --> 00:03:41,360 Speaker 1: So I love it before we get into it much 56 00:03:41,440 --> 00:03:47,040 Speaker 1: further trigger warning, I guess for violence. We're not going 57 00:03:47,080 --> 00:03:50,280 Speaker 1: to talk about too much of that stuff in depth, 58 00:03:50,360 --> 00:03:54,040 Speaker 1: but the film itself, UM, I can see how it 59 00:03:54,040 --> 00:03:57,080 Speaker 1: would be triggering in in terms of that, um some 60 00:03:57,120 --> 00:04:04,160 Speaker 1: gruesomeness and spoilers. So this came out in UM, but 61 00:04:04,200 --> 00:04:06,440 Speaker 1: that's still I wanted. It's the windows ten years You're 62 00:04:06,440 --> 00:04:08,680 Speaker 1: not supposed to spoil anything. So if you miss the 63 00:04:08,680 --> 00:04:11,320 Speaker 1: watch party, if you do want to see it, stop 64 00:04:11,360 --> 00:04:13,760 Speaker 1: it here and we'll be here when you get back 65 00:04:13,800 --> 00:04:17,160 Speaker 1: and you can hear our thoughts. Yeah, and speaking of 66 00:04:17,240 --> 00:04:20,679 Speaker 1: the watch party, thanks for everyone who joined us. Uh 67 00:04:20,720 --> 00:04:22,359 Speaker 1: and we want to keep trying to do them, but 68 00:04:22,560 --> 00:04:25,320 Speaker 1: just n f y I so we're able to do 69 00:04:25,360 --> 00:04:28,720 Speaker 1: this the Netflix party app um, so if it's not 70 00:04:28,760 --> 00:04:31,440 Speaker 1: on Netflix, we don't. We're not able to do it 71 00:04:31,440 --> 00:04:33,360 Speaker 1: because it was definitely a good suggestion of Now and 72 00:04:33,400 --> 00:04:36,080 Speaker 1: Then and I love that movie. I love, love love 73 00:04:36,160 --> 00:04:39,240 Speaker 1: that movie, but it's not on Netflix and there's so 74 00:04:39,279 --> 00:04:41,520 Speaker 1: many other movies. I was like trying to find Heathers 75 00:04:41,800 --> 00:04:43,520 Speaker 1: so we could do that one. But it's not on 76 00:04:43,560 --> 00:04:46,560 Speaker 1: Netflix either, and we want to keep No I think 77 00:04:46,560 --> 00:04:49,719 Speaker 1: they took it off, but yeah, we want to keep 78 00:04:49,760 --> 00:04:53,160 Speaker 1: trying to do the parties because we know everyone needs 79 00:04:53,160 --> 00:04:55,360 Speaker 1: some entertainment and it was just it's just so much 80 00:04:55,400 --> 00:04:58,520 Speaker 1: fun to do. Yeah. Um so if you know a 81 00:04:58,560 --> 00:05:02,240 Speaker 1: better way, let us know. See. I love Seen Her 82 00:05:03,160 --> 00:05:07,120 Speaker 1: and I love to seven because to seven you can 83 00:05:07,160 --> 00:05:12,080 Speaker 1: do pretty much every streaming service. But um, I feel 84 00:05:12,120 --> 00:05:14,800 Speaker 1: like the benefit of Netflix Party when it comes to 85 00:05:15,520 --> 00:05:17,760 Speaker 1: this sort of thing is you don't have to be friends, 86 00:05:18,279 --> 00:05:22,919 Speaker 1: and it's easier to join, and the technical difficulty level 87 00:05:23,279 --> 00:05:26,360 Speaker 1: is less because those two I mentioned our video chat, 88 00:05:26,400 --> 00:05:28,640 Speaker 1: they don't have to be But I've just found that 89 00:05:28,920 --> 00:05:32,360 Speaker 1: when you're in a small group of people that's really manageable. Um, right. 90 00:05:32,680 --> 00:05:34,480 Speaker 1: But if you get more and more and people join 91 00:05:34,560 --> 00:05:38,359 Speaker 1: at different times, it's just easier to do something like 92 00:05:38,440 --> 00:05:42,040 Speaker 1: Netflix party. But you want everyone to join, Yes, yes, 93 00:05:42,080 --> 00:05:47,719 Speaker 1: and it's uh, whenever you can, however you can. But yeah, absolutely, 94 00:05:47,720 --> 00:05:50,400 Speaker 1: if someone has a suggestion for other ways we could 95 00:05:50,400 --> 00:05:55,040 Speaker 1: do that, we are all ears, um. But yes, today 96 00:05:55,120 --> 00:05:58,760 Speaker 1: we are talking about the film The Bitch, a New 97 00:05:58,839 --> 00:06:02,599 Speaker 1: England folk tale also commonly known as the Witch. It 98 00:06:02,720 --> 00:06:05,640 Speaker 1: was written and directed by Robert Egger's. It stars Anya 99 00:06:05,680 --> 00:06:09,760 Speaker 1: Taylor Joy as Thomason, Ralph Innocent as the father, William 100 00:06:10,040 --> 00:06:13,839 Speaker 1: Kate Dickie as Catherine, the mother, and Harvey Scrimshaw as 101 00:06:13,880 --> 00:06:17,800 Speaker 1: the son Caleb. Those are our primary characters here. Eggers 102 00:06:17,920 --> 00:06:21,479 Speaker 1: arrived at the very accurate, time appropriate dialogue by pouring 103 00:06:21,520 --> 00:06:25,280 Speaker 1: through writings. Some of it's just taken from writings he 104 00:06:25,320 --> 00:06:28,520 Speaker 1: found from that period and so one of my favorites, 105 00:06:28,560 --> 00:06:31,760 Speaker 1: as people know follow us on social media. Wouldst thou 106 00:06:31,880 --> 00:06:35,799 Speaker 1: like to live deliciously? What'st thou like? The taste of butter? 107 00:06:37,279 --> 00:06:41,600 Speaker 1: That's so good? Con Um, I used that quote all 108 00:06:41,640 --> 00:06:44,720 Speaker 1: the time. Lauren, my co host Separate Savers. She has 109 00:06:44,720 --> 00:06:47,800 Speaker 1: a shirt with black Philip that has that quote. I 110 00:06:47,880 --> 00:06:52,520 Speaker 1: love that does um. So the plot, We're gonna go 111 00:06:52,520 --> 00:06:55,640 Speaker 1: ahead and jump in there. Uh. It follows a Puritan family, 112 00:06:55,720 --> 00:06:59,560 Speaker 1: father William, pregnant mother Katherine Thomason, the teenage daughter Caleb 113 00:06:59,600 --> 00:07:02,560 Speaker 1: the pew best and son, young twins Mercy and Jonahs 114 00:07:02,600 --> 00:07:06,440 Speaker 1: and not yet born Samuel. They recently emigrated from England 115 00:07:06,480 --> 00:07:10,120 Speaker 1: to New England in the sixteen thirties. The movie opens 116 00:07:10,120 --> 00:07:12,480 Speaker 1: with them banned from their town because of their father's 117 00:07:12,760 --> 00:07:17,040 Speaker 1: over zealous beliefs his quote sin of prideful conceit, and 118 00:07:17,160 --> 00:07:19,320 Speaker 1: journey out into the wild to build a home of 119 00:07:19,320 --> 00:07:23,280 Speaker 1: their own, isolated from others on the edge of the woods, 120 00:07:23,360 --> 00:07:27,640 Speaker 1: a very ominous woods. Obviously, um Thomason is the only 121 00:07:27,840 --> 00:07:30,520 Speaker 1: one outwardly hesitant, and she looks back at their town 122 00:07:30,560 --> 00:07:34,120 Speaker 1: as they leave. I okay, so I just gotta step 123 00:07:34,160 --> 00:07:37,720 Speaker 1: in here. I love, love, love the building choir when 124 00:07:37,720 --> 00:07:42,480 Speaker 1: they see the tree line, it's like this discordant. I mean, 125 00:07:42,720 --> 00:07:44,960 Speaker 1: as you said, it's like the darkness follows them and 126 00:07:45,000 --> 00:07:48,680 Speaker 1: that is the sound. Yes, and it has there praying 127 00:07:48,760 --> 00:07:53,680 Speaker 1: and there they've arrived and just the ominous fore voting. 128 00:07:53,800 --> 00:07:59,040 Speaker 1: I love it. It is and of course something supernatural 129 00:07:59,160 --> 00:08:03,640 Speaker 1: is going on. Surprise, surprise. The movie does not waste 130 00:08:03,760 --> 00:08:06,960 Speaker 1: any time confirming that, and within the first ten minutes, 131 00:08:07,440 --> 00:08:10,760 Speaker 1: while Thomason is playing peekaboo with infant Samuel and he 132 00:08:10,920 --> 00:08:14,640 Speaker 1: disappears while she has her eyes covered, cut to an old, weathered, 133 00:08:14,760 --> 00:08:17,720 Speaker 1: naked woman who cash phrased the baby, kills him and 134 00:08:17,720 --> 00:08:20,000 Speaker 1: then grinds down the remains to a pace that she 135 00:08:20,080 --> 00:08:24,120 Speaker 1: rubbed on her skin, allowing her to fly. Yes, I 136 00:08:24,200 --> 00:08:26,520 Speaker 1: remember this very vividly because you go into this movie 137 00:08:26,520 --> 00:08:28,320 Speaker 1: and you're thinking maybe there isn't a witch, and then 138 00:08:28,320 --> 00:08:30,960 Speaker 1: in the first ten minutes like, oh, there's a witch 139 00:08:31,000 --> 00:08:36,040 Speaker 1: and she just killed that baby. It was really sad. Yeah. Yeah. 140 00:08:36,160 --> 00:08:40,480 Speaker 1: So Catherine the mother is clearly devastated, believing that Samuel 141 00:08:40,960 --> 00:08:44,480 Speaker 1: is in hell since they hadn't even baptized him yet. 142 00:08:44,800 --> 00:08:47,800 Speaker 1: She spends her time grieving and she blames Thomason for 143 00:08:47,920 --> 00:08:52,160 Speaker 1: the baby's disappearance and presumed death. William tries to maintain 144 00:08:52,200 --> 00:08:56,040 Speaker 1: that wolves were behind the disappearance. So the farm seems 145 00:08:56,080 --> 00:08:59,640 Speaker 1: to be cursed. Nothing will grow, and what does is bad. 146 00:09:00,040 --> 00:09:02,800 Speaker 1: They can't seem to forage any food or find any 147 00:09:02,880 --> 00:09:06,760 Speaker 1: game to hunt. Blood instead of milk comes from their livestock. 148 00:09:07,640 --> 00:09:10,680 Speaker 1: While out on a hunt, Caleb voices to William his 149 00:09:10,720 --> 00:09:12,800 Speaker 1: fear that Samuel is in hell and that's same may 150 00:09:12,840 --> 00:09:16,440 Speaker 1: happen to him. Their hunts, like a majority of their hunts, 151 00:09:16,520 --> 00:09:20,000 Speaker 1: was unsuccessful. William sustains a minor injury when attempting to 152 00:09:20,040 --> 00:09:23,000 Speaker 1: shoot a hair, one of the first animals they've seen 153 00:09:23,000 --> 00:09:25,200 Speaker 1: in the woods since they arrived, and the way it's shot, 154 00:09:25,280 --> 00:09:30,440 Speaker 1: there's something sort of off about this hair. Um He 155 00:09:30,480 --> 00:09:34,760 Speaker 1: confesses to Caleb that he traded Katherine's cup for supplies. 156 00:09:35,000 --> 00:09:39,239 Speaker 1: William does not the hair doesn't speak. Katherine blames Thomason 157 00:09:39,440 --> 00:09:43,000 Speaker 1: for her missing cup. Caleb tries to step in and 158 00:09:43,360 --> 00:09:46,320 Speaker 1: de escalate the situation, saying that his father and he 159 00:09:46,400 --> 00:09:49,120 Speaker 1: went into the forest to find apples, but that there 160 00:09:49,120 --> 00:09:52,800 Speaker 1: were none. That night, the children overhear their parents planning 161 00:09:52,800 --> 00:09:56,319 Speaker 1: to send Thompson away to serve another family. They also 162 00:09:56,360 --> 00:09:59,880 Speaker 1: hear their fears that the whole family will starve right, 163 00:10:00,320 --> 00:10:03,240 Speaker 1: and then Caleb wakes early in the morning determined to 164 00:10:03,280 --> 00:10:06,360 Speaker 1: prevent this, to go check some traps, and in an 165 00:10:06,360 --> 00:10:08,880 Speaker 1: earlier scene, we learned that Caleb is struggling with feelings 166 00:10:08,880 --> 00:10:12,200 Speaker 1: of sexual attraction to his sister's body. This is also 167 00:10:12,240 --> 00:10:14,960 Speaker 1: when the twins accused Thomason of being a witch, which, 168 00:10:14,960 --> 00:10:20,480 Speaker 1: by the way, those twins so creepy um that they're 169 00:10:20,520 --> 00:10:23,440 Speaker 1: black goat. Philip talks to them and told them this, which, 170 00:10:23,440 --> 00:10:27,520 Speaker 1: by the way, hello, big huge sign. I know, but 171 00:10:27,600 --> 00:10:30,040 Speaker 1: I thought they were just being annoying. I never thought 172 00:10:30,120 --> 00:10:34,439 Speaker 1: well and all my thought was their witches um. Thompson, 173 00:10:34,559 --> 00:10:37,959 Speaker 1: annoyed with the adamantly annoying twins, scares them, claiming that 174 00:10:38,200 --> 00:10:40,800 Speaker 1: is claiming that she is that which and they better 175 00:10:40,880 --> 00:10:43,120 Speaker 1: mind her and keep quiet about this or else. And 176 00:10:43,200 --> 00:10:45,480 Speaker 1: at first it is sort of a joke, but as 177 00:10:45,520 --> 00:10:48,080 Speaker 1: the scene progressed, we see that Thomason feels power in 178 00:10:48,160 --> 00:10:53,360 Speaker 1: scaring them. Yeah, and she does definitely scare him. Thomason 179 00:10:53,520 --> 00:10:57,640 Speaker 1: coherss Caleb into allowing her to accompany him into the wood. 180 00:10:58,160 --> 00:11:01,000 Speaker 1: They once again see the hair and they're doging. Caleb 181 00:11:01,080 --> 00:11:04,640 Speaker 1: chase after it while Thomason is rendered unconscious. After she's 182 00:11:04,679 --> 00:11:07,640 Speaker 1: bucked from the horse, Caleb finds that their dog has 183 00:11:07,679 --> 00:11:11,520 Speaker 1: been ripped open near the home of a beautiful woman 184 00:11:11,559 --> 00:11:13,560 Speaker 1: in red Or. It's sort of like a I don't 185 00:11:13,559 --> 00:11:20,439 Speaker 1: know hut entrance. He kisses her and as they're kissing, 186 00:11:20,480 --> 00:11:23,920 Speaker 1: her arm transforms into something gnarled and old, and she 187 00:11:24,040 --> 00:11:27,160 Speaker 1: yanks him away out of frame. Always reminds me of 188 00:11:27,200 --> 00:11:32,040 Speaker 1: a Game of Thrones, right, Also, why the dog just 189 00:11:32,120 --> 00:11:36,120 Speaker 1: leave the dog alone? Just a dog alone? So unable 190 00:11:36,160 --> 00:11:40,800 Speaker 1: to find Caleb, Thomason returns home and Catherine's rage explodes. Which, 191 00:11:40,800 --> 00:11:43,280 Speaker 1: by the way, Katie, the woman who plays his character, 192 00:11:44,000 --> 00:11:48,680 Speaker 1: is always seemingly this character. He's noticed this. She's really 193 00:11:48,720 --> 00:11:52,120 Speaker 1: good at this severe look for sure, she's really good 194 00:11:52,160 --> 00:11:56,640 Speaker 1: at it. She's got talent. Blaming Thomason for Caleb's disappearance, 195 00:11:56,720 --> 00:11:59,360 Speaker 1: and Samuel so William confesses he was the one that 196 00:11:59,400 --> 00:12:04,760 Speaker 1: took Catherine cup so one thing unfolds to another, and 197 00:12:04,800 --> 00:12:08,000 Speaker 1: speaking of Caleb returns home that night in the rain, 198 00:12:08,280 --> 00:12:12,320 Speaker 1: naked and ill. Thomason is the one that finds him outside. 199 00:12:12,800 --> 00:12:16,439 Speaker 1: He says quote her nether parts. She sends them upon me, 200 00:12:16,960 --> 00:12:22,199 Speaker 1: blaming Thomason for his state, and a sort of exorcism follows, 201 00:12:22,480 --> 00:12:26,040 Speaker 1: and it doesn't go well. A bloody red apple emerges 202 00:12:26,080 --> 00:12:31,080 Speaker 1: from his lips, and he orgasmically and feverishly declares his 203 00:12:31,160 --> 00:12:36,160 Speaker 1: love for Christ. The family prays together for Caleb, except 204 00:12:36,360 --> 00:12:38,760 Speaker 1: for Mercy and Jonas, who claimed that they can't say 205 00:12:38,760 --> 00:12:42,040 Speaker 1: their prayers they can't remember them. Caleb raises off the ground, 206 00:12:42,160 --> 00:12:47,560 Speaker 1: his body positioned like Jesus's crucifixion, and he dies. Catherine 207 00:12:47,559 --> 00:12:51,920 Speaker 1: becomes convinced that witchcraft is behind his death and the 208 00:12:51,960 --> 00:12:54,960 Speaker 1: fact that the twins can't remember their prayers. The twins 209 00:12:55,160 --> 00:12:58,880 Speaker 1: blame Thomason, were claiming her to be the witch, and 210 00:12:58,960 --> 00:13:02,360 Speaker 1: again that early Seene she very much scared them into 211 00:13:02,360 --> 00:13:05,480 Speaker 1: thinking that she might be, but also they were annoying 212 00:13:05,520 --> 00:13:08,680 Speaker 1: and might have thrown her under the bus anyway. Hurt 213 00:13:08,760 --> 00:13:12,319 Speaker 1: and angry, Thomason accuses the twins, telling her parents that 214 00:13:12,400 --> 00:13:16,400 Speaker 1: they talk to their goat black Philips, so they are 215 00:13:16,400 --> 00:13:19,720 Speaker 1: the witches. William boards all three of the children up 216 00:13:19,760 --> 00:13:23,520 Speaker 1: into into their goat house. Despite Thomason's desperate please, She 217 00:13:23,679 --> 00:13:26,520 Speaker 1: overhears her father that night, have a breakdown, apologizing to 218 00:13:26,559 --> 00:13:29,360 Speaker 1: God for his pride that led him astray from his 219 00:13:29,440 --> 00:13:36,760 Speaker 1: true religious service, and surprise, things get worse. Later that night, 220 00:13:36,840 --> 00:13:39,319 Speaker 1: strange noises awakened the children and they see an old 221 00:13:39,400 --> 00:13:42,880 Speaker 1: woman drinking milk from the goats. Katherine sees Caleb holding 222 00:13:42,880 --> 00:13:45,959 Speaker 1: a baby Samuel, and she takes the baby to breastfeed him, 223 00:13:46,040 --> 00:13:49,160 Speaker 1: but in reality a crow pecks at her chest and 224 00:13:49,240 --> 00:13:54,440 Speaker 1: her breast is bleeding. Is a very disturbing scene. When 225 00:13:54,520 --> 00:13:56,600 Speaker 1: William goes out to check on the children in the morning, 226 00:13:56,600 --> 00:14:00,160 Speaker 1: he finds the goat house is destroyed, the animals are dismembered, 227 00:14:00,400 --> 00:14:03,840 Speaker 1: the twins are absent, and Thomason is unconscious at the 228 00:14:03,920 --> 00:14:07,720 Speaker 1: center of this destroyed structure with literal blood on her hands. 229 00:14:08,679 --> 00:14:11,400 Speaker 1: It's clear he thinks Thomason is behind it, but before 230 00:14:11,400 --> 00:14:15,720 Speaker 1: he can do anything, the goat black Philip, brutally kills 231 00:14:15,800 --> 00:14:20,360 Speaker 1: him as Thomason screams. Catherine arrives, infuriated it and blames 232 00:14:20,360 --> 00:14:22,160 Speaker 1: Thomason for all of the bad things that have happened, 233 00:14:22,160 --> 00:14:26,760 Speaker 1: accusing her of seducing William and Caleb. She attacks Thomason, 234 00:14:26,840 --> 00:14:30,560 Speaker 1: strangling her, and out of self defense, Thomason kills her 235 00:14:30,680 --> 00:14:33,440 Speaker 1: with the blade, stopping the entire time, saying that she 236 00:14:33,480 --> 00:14:38,000 Speaker 1: loves her, that she's sorry. So her entire family now 237 00:14:38,080 --> 00:14:42,880 Speaker 1: dead and prospects are grim. No horse, no food, nothing 238 00:14:42,880 --> 00:14:45,280 Speaker 1: to trade. She numbly waits in the stable and calls 239 00:14:45,320 --> 00:14:48,680 Speaker 1: on Black Philip to speak with her. Ah. He appears 240 00:14:48,800 --> 00:14:52,600 Speaker 1: and asks if she wants to live deliciously yes, and 241 00:14:52,680 --> 00:14:55,600 Speaker 1: transforms into the figure of a tall man dressed all 242 00:14:55,720 --> 00:15:00,200 Speaker 1: in black. Ak satan you Ah. He probably so as 243 00:15:00,240 --> 00:15:02,240 Speaker 1: hard that she can, and that she can taste butter 244 00:15:02,400 --> 00:15:04,640 Speaker 1: if she removes her shift and signs her name in 245 00:15:04,680 --> 00:15:07,600 Speaker 1: this book. So she does and follows him. They get 246 00:15:07,640 --> 00:15:10,240 Speaker 1: into the woods to a coven of witches around a fire, 247 00:15:10,800 --> 00:15:14,800 Speaker 1: levitating against the backdrop of a full moon. Thomason begins 248 00:15:14,800 --> 00:15:18,000 Speaker 1: to levitate herself and begins to laugh uncontrollably as she 249 00:15:18,040 --> 00:15:22,640 Speaker 1: goes higher and higher. In the movie, I can only 250 00:15:22,680 --> 00:15:25,600 Speaker 1: imagine if you had no idea. If you're a listener 251 00:15:25,640 --> 00:15:27,360 Speaker 1: and you've never heard of this movie, didn't watch it, 252 00:15:27,400 --> 00:15:28,680 Speaker 1: We're like, I don't really care to watch it. I'll 253 00:15:28,680 --> 00:15:33,840 Speaker 1: just listen to them. That's quite the plot. That's a 254 00:15:34,520 --> 00:15:37,480 Speaker 1: I can see how it would be strange to just 255 00:15:37,560 --> 00:15:43,440 Speaker 1: hear it. Yeah, but that's pretty much what happens. We 256 00:15:43,520 --> 00:15:47,280 Speaker 1: do want to unpack some themes, but first we're gonna 257 00:15:47,280 --> 00:15:49,160 Speaker 1: pause for a quick break for a word from our sponsor, 258 00:16:03,200 --> 00:16:07,920 Speaker 1: and we're back, Thank you sponsor. So there are a lot, 259 00:16:08,080 --> 00:16:09,560 Speaker 1: a lot, a lot, a lot of themes when it 260 00:16:09,600 --> 00:16:12,800 Speaker 1: comes to women, feminism we could talk about in this movie. 261 00:16:12,840 --> 00:16:15,640 Speaker 1: That's one of the reasons I kept bringing it up, um, 262 00:16:15,680 --> 00:16:20,360 Speaker 1: And perhaps one of the big ones is sexuality. There's 263 00:16:20,440 --> 00:16:25,120 Speaker 1: this theme of Thomason coming into her womanhood throughout and 264 00:16:25,200 --> 00:16:29,320 Speaker 1: how other people view that as threatening and even dangerous. 265 00:16:29,360 --> 00:16:31,640 Speaker 1: So you, like we said, you have the mom who 266 00:16:31,920 --> 00:16:37,520 Speaker 1: is jealous of Thomason's youth and desirability, who blames her 267 00:16:38,360 --> 00:16:42,520 Speaker 1: for what she perceives as their attraction to Thomason. You 268 00:16:42,560 --> 00:16:46,960 Speaker 1: have Caleb feeling ashamed of his feelings of attraction. Um, 269 00:16:47,000 --> 00:16:51,440 Speaker 1: You've got some moments of weirdness between Thomason and her father. 270 00:16:52,480 --> 00:16:55,720 Speaker 1: And that theme of how dangerous we see the sexuality 271 00:16:55,760 --> 00:16:59,760 Speaker 1: of young women is present throughout. We we talked about 272 00:16:59,760 --> 00:17:01,640 Speaker 1: that all the time. We see that in our media 273 00:17:01,720 --> 00:17:05,679 Speaker 1: all the time, and it's something we're going to come 274 00:17:05,720 --> 00:17:09,280 Speaker 1: back to this in a minute, but she is constantly 275 00:17:09,320 --> 00:17:12,680 Speaker 1: blamed for and it's one of the reasons that people 276 00:17:12,720 --> 00:17:15,320 Speaker 1: were so her family was so ready to think, oh, 277 00:17:15,440 --> 00:17:18,560 Speaker 1: she is the witch. It is her faults that I 278 00:17:18,600 --> 00:17:21,960 Speaker 1: feel this way, right, And of course, with it being 279 00:17:22,040 --> 00:17:26,280 Speaker 1: a period peace, a religion is very much part of 280 00:17:26,320 --> 00:17:29,720 Speaker 1: the story, and the motivations of the character's stem from 281 00:17:29,840 --> 00:17:33,080 Speaker 1: the religion as well as their fear of it. Williams 282 00:17:33,119 --> 00:17:36,040 Speaker 1: actions in pride around religion gets some banish from their town. 283 00:17:36,560 --> 00:17:39,880 Speaker 1: Catherine's feared leads her to distrust her daughter Thomason, which 284 00:17:39,880 --> 00:17:42,560 Speaker 1: we talked about Caleb, so you're about going to hell 285 00:17:42,600 --> 00:17:45,879 Speaker 1: and his giving into his sexual desire leads to his death. 286 00:17:46,280 --> 00:17:49,200 Speaker 1: And then Thomason, struggling against the constraints of a religion, 287 00:17:49,400 --> 00:17:53,840 Speaker 1: so ready to punish and obviously blame her. Yeah, and 288 00:17:53,920 --> 00:17:58,440 Speaker 1: I read a really interesting article that delved into what 289 00:17:58,920 --> 00:18:03,320 Speaker 1: their religionsically would have meant at this time for women. 290 00:18:03,400 --> 00:18:05,119 Speaker 1: And you know, you already have the constraints if you 291 00:18:05,160 --> 00:18:08,880 Speaker 1: can't own property, and really you don't have that much agency, 292 00:18:08,920 --> 00:18:15,400 Speaker 1: but the religion amplified that and specifically like this religion here, 293 00:18:15,720 --> 00:18:19,240 Speaker 1: um and I tried to I'm a big this won't 294 00:18:19,280 --> 00:18:22,879 Speaker 1: surprise anyone, I bet, but I love like reading into 295 00:18:22,920 --> 00:18:25,800 Speaker 1: symbols and what does this mean? And I noticed that 296 00:18:25,800 --> 00:18:27,640 Speaker 1: there's seven people in their families, so I was trying 297 00:18:27,640 --> 00:18:30,439 Speaker 1: to go through which of the seven deadly sins are 298 00:18:30,520 --> 00:18:32,560 Speaker 1: each of them. I don't really think that's there. I 299 00:18:32,600 --> 00:18:38,199 Speaker 1: think I was stretching. But you definitely see pride and 300 00:18:38,440 --> 00:18:43,680 Speaker 1: lust and shame, just boatloads of shame at play. And 301 00:18:43,920 --> 00:18:47,720 Speaker 1: if you, if you go back to you Thomason's confession 302 00:18:48,520 --> 00:18:51,600 Speaker 1: near the beginning, when she's praying and she's saying, I've 303 00:18:51,600 --> 00:18:54,119 Speaker 1: broken all the commandments and thought that she's played on 304 00:18:54,160 --> 00:18:57,560 Speaker 1: the sabbath of disobedience, that she's been neglectful of her prayer. 305 00:18:58,119 --> 00:19:01,199 Speaker 1: She's followed her own desires. That know, she deserves to 306 00:19:01,280 --> 00:19:04,760 Speaker 1: burn in hell, but asked for mercy. She she seems 307 00:19:04,800 --> 00:19:09,160 Speaker 1: to be the only one that realizes her sins. She's 308 00:19:09,200 --> 00:19:13,880 Speaker 1: self aware of these things, but she longs for something more. 309 00:19:14,440 --> 00:19:18,720 Speaker 1: She does not see drudgery as a moral good, which 310 00:19:18,800 --> 00:19:22,080 Speaker 1: was something that was a common belief at the time. 311 00:19:22,880 --> 00:19:26,640 Speaker 1: And of course, throughout most of the movie, Thomason attempts 312 00:19:26,640 --> 00:19:30,320 Speaker 1: to prove she's not a witch, because yes, witchcraft, that 313 00:19:30,560 --> 00:19:33,520 Speaker 1: is the main point of this, right, and whether or 314 00:19:33,560 --> 00:19:38,760 Speaker 1: not they're controlling the bad things that are happening to them. Um. 315 00:19:38,760 --> 00:19:41,040 Speaker 1: And though she does see the potential power in it 316 00:19:41,080 --> 00:19:44,400 Speaker 1: when trying to scare the twins, she is suspected because 317 00:19:44,440 --> 00:19:48,480 Speaker 1: of her sexuality surprise, surprise, and transition into a womanhood, 318 00:19:48,520 --> 00:19:50,960 Speaker 1: and once her family is gone, she accepts the label. 319 00:19:51,040 --> 00:19:53,879 Speaker 1: So it's kind of that same idea of the Salem 320 00:19:53,880 --> 00:19:57,080 Speaker 1: witch child somebody talking about earlier. Um, A lot of 321 00:19:57,119 --> 00:20:00,280 Speaker 1: the fear of women in their sexuality and or power. 322 00:20:01,760 --> 00:20:04,919 Speaker 1: And then the which manifest is both the madonna and 323 00:20:04,960 --> 00:20:09,840 Speaker 1: the whore, the crone and the sexy young woman again. Yeah, yeah, 324 00:20:10,080 --> 00:20:13,119 Speaker 1: And as I said at the top, I think our 325 00:20:13,200 --> 00:20:19,000 Speaker 1: pop culture as definitely normalized, which is and as I said, 326 00:20:19,040 --> 00:20:22,879 Speaker 1: we're probably gonna just do all which content for this forever. Um. 327 00:20:22,920 --> 00:20:25,119 Speaker 1: So it's easy, or at least it was easy for 328 00:20:25,160 --> 00:20:30,119 Speaker 1: me to forget people were legitimately afraid of wishes, like 329 00:20:30,280 --> 00:20:34,439 Speaker 1: they really did think that this was a thing. And 330 00:20:35,720 --> 00:20:38,760 Speaker 1: that's terrifying, And it's terrifying to be on the other end, 331 00:20:38,800 --> 00:20:42,879 Speaker 1: to be accused and not be able to do just 332 00:20:42,920 --> 00:20:45,720 Speaker 1: because you're you're a young woman. Who's coming into her sexuality. 333 00:20:46,200 --> 00:20:49,320 Speaker 1: So I love, I really did appreciate that this movie 334 00:20:50,520 --> 00:20:52,359 Speaker 1: was able to do that in a way that I 335 00:20:52,400 --> 00:20:57,000 Speaker 1: could connect to you, even in their old timey puritan dialogue. 336 00:20:57,920 --> 00:21:01,520 Speaker 1: And yeah, during the Salem which trials any woman on 337 00:21:01,560 --> 00:21:05,000 Speaker 1: the fringes of society, and even those that weren't, uh, 338 00:21:05,119 --> 00:21:07,280 Speaker 1: we're being able to witch. And there was a danger 339 00:21:07,320 --> 00:21:12,400 Speaker 1: around that, obviously, but we can draw parallels from that 340 00:21:12,880 --> 00:21:17,240 Speaker 1: to feminism, which we will in a little bit. But 341 00:21:17,480 --> 00:21:19,679 Speaker 1: we wanted to also touch on this whole idea of 342 00:21:19,760 --> 00:21:23,639 Speaker 1: not believing women because that is so so big in 343 00:21:23,640 --> 00:21:27,439 Speaker 1: this movie, is so prominent. Thomason is doubted throughout the 344 00:21:27,480 --> 00:21:30,240 Speaker 1: film no matter what she says or does. They are 345 00:21:30,320 --> 00:21:33,159 Speaker 1: all so ready to blame her for things out of 346 00:21:33,160 --> 00:21:37,160 Speaker 1: her control, including her sexuality. And because we have seen 347 00:21:37,240 --> 00:21:39,679 Speaker 1: this in our world, this is a fear that a 348 00:21:39,720 --> 00:21:43,720 Speaker 1: lot of us can connect to, especially women. It makes 349 00:21:43,760 --> 00:21:46,560 Speaker 1: it easier for us to be unsure whether something is 350 00:21:46,600 --> 00:21:49,439 Speaker 1: actually supernatural. And in terms of this movie or if 351 00:21:49,440 --> 00:21:53,199 Speaker 1: it's madness or both, not being believed is terrifying, so 352 00:21:53,400 --> 00:21:56,880 Speaker 1: is admitting the devil is reel both they're scary, right, 353 00:21:57,240 --> 00:22:01,000 Speaker 1: very theory um there's also the layer of there are witches, 354 00:22:01,640 --> 00:22:04,880 Speaker 1: but they became witches because they had no other choice. 355 00:22:05,040 --> 00:22:06,800 Speaker 1: They were pushed into that and they were told that 356 00:22:06,840 --> 00:22:09,000 Speaker 1: we're going to be So yeah, let's lean into this 357 00:22:09,480 --> 00:22:11,879 Speaker 1: um if they wanted to live to take his freedom 358 00:22:12,000 --> 00:22:15,040 Speaker 1: or not die from accusations that were untrue at the time, 359 00:22:15,080 --> 00:22:18,040 Speaker 1: So yeah, why not go too for the power? Well, 360 00:22:18,040 --> 00:22:20,159 Speaker 1: it's one of those things where everyone kept telling her 361 00:22:20,400 --> 00:22:22,160 Speaker 1: she was a witch, and she was trying so hard 362 00:22:22,680 --> 00:22:26,200 Speaker 1: to prove that she wasn't, even though like in her confession, 363 00:22:26,280 --> 00:22:28,760 Speaker 1: it's clear that she wants something more than the very 364 00:22:28,840 --> 00:22:34,439 Speaker 1: narrow existence she's been told is moral. So yeah, eventually, 365 00:22:34,480 --> 00:22:38,680 Speaker 1: at what point do you say, okay, yeah, right, I mean, 366 00:22:38,880 --> 00:22:41,879 Speaker 1: and we already know if Black Philip is the goat 367 00:22:41,920 --> 00:22:46,600 Speaker 1: slash Satan who has kind of started this dialogue and 368 00:22:46,640 --> 00:22:49,800 Speaker 1: thought process of your witch, and he implanted that into 369 00:22:49,800 --> 00:22:53,680 Speaker 1: the Little Twins, creepy little Twins almost as to breathe 370 00:22:53,720 --> 00:22:59,280 Speaker 1: it to life. Yeah, well worked. Uh. Thompson is the 371 00:22:59,359 --> 00:23:01,959 Speaker 1: only one to be directly targeted by the which are 372 00:23:02,000 --> 00:23:04,960 Speaker 1: Satan in one form or another. She instead is targeted 373 00:23:04,960 --> 00:23:08,800 Speaker 1: by the mistrust of her family. She is blamed for 374 00:23:08,920 --> 00:23:13,840 Speaker 1: Caleb paying her sexual attention. The movie also is about 375 00:23:13,840 --> 00:23:17,400 Speaker 1: a father's pride and failing more accurately that I think 376 00:23:17,440 --> 00:23:21,240 Speaker 1: they should be blaming him, who could be read as 377 00:23:21,240 --> 00:23:23,439 Speaker 1: a stand in for the patriarchy, because he was the 378 00:23:23,440 --> 00:23:25,119 Speaker 1: one that got them kicked out of their village. He 379 00:23:25,200 --> 00:23:27,359 Speaker 1: sold the cup, he chose where to put their new home. 380 00:23:27,840 --> 00:23:33,960 Speaker 1: He couldn't secure them food. He was too proud. Eventually 381 00:23:34,000 --> 00:23:36,800 Speaker 1: he came to the realization, oh, we need we need help. 382 00:23:37,119 --> 00:23:38,920 Speaker 1: But for a long time he resistant. He was too 383 00:23:38,920 --> 00:23:40,760 Speaker 1: proud to go back to the village or admit he 384 00:23:40,800 --> 00:23:44,119 Speaker 1: was wrong. Um. All he does is chop wood and black. 385 00:23:44,119 --> 00:23:46,480 Speaker 1: Philip gores him with that in the backdrop, as if 386 00:23:46,520 --> 00:23:51,520 Speaker 1: to say, what they are these powers? You weak, weak, mortal. 387 00:23:51,720 --> 00:23:57,040 Speaker 1: You thought you were doing something but nope. Um and yeah, 388 00:23:57,160 --> 00:23:59,600 Speaker 1: as we said, Thomasin wanted to stay in their town, 389 00:24:00,080 --> 00:24:02,399 Speaker 1: but she had no agency. She was treated like property. 390 00:24:02,480 --> 00:24:05,400 Speaker 1: She she's even kind of framed that way as they leave, 391 00:24:05,560 --> 00:24:08,200 Speaker 1: for she's in the back of the wagon with all 392 00:24:08,280 --> 00:24:17,240 Speaker 1: the their luggage. She watches their town and speaking of 393 00:24:17,320 --> 00:24:20,920 Speaker 1: the patriarchy and feminism as a theme, the creator Robert 394 00:24:20,920 --> 00:24:24,840 Speaker 1: Eggers told USA Today quote and all of my trying 395 00:24:24,880 --> 00:24:28,160 Speaker 1: to stand back and be objective about themes, feminism rises 396 00:24:28,160 --> 00:24:30,320 Speaker 1: to the top and the suppost question for the Satanic 397 00:24:30,359 --> 00:24:33,280 Speaker 1: Temple specifically called it a tale of female rebellion and 398 00:24:33,320 --> 00:24:36,560 Speaker 1: embracing being an outsider. So the Temple partnered with A 399 00:24:36,680 --> 00:24:39,600 Speaker 1: twenty four, the distributing company for this movie when it 400 00:24:39,680 --> 00:24:44,000 Speaker 1: was released, for some screening and talks, which is interesting um. 401 00:24:44,119 --> 00:24:46,679 Speaker 1: And also there are less aligned with Satan and more 402 00:24:46,720 --> 00:24:50,520 Speaker 1: aligned with things like gay and reproductive rights, which is cool. Um. 403 00:24:50,560 --> 00:24:53,560 Speaker 1: The leader of the Temple, Jack Blackmore, said, as Satanists, 404 00:24:53,560 --> 00:24:55,520 Speaker 1: we are ever mindful of the plight of women and 405 00:24:55,560 --> 00:24:58,720 Speaker 1: outsiders throughout the history who suffered under the hammer of 406 00:24:58,760 --> 00:25:02,000 Speaker 1: the theocracy and yet fought to empower themselves. And while 407 00:25:02,000 --> 00:25:04,320 Speaker 1: the patriarchy makes which is of only the most social 408 00:25:04,480 --> 00:25:08,560 Speaker 1: vulnerable members of society, Egger's film refuses to construct a 409 00:25:08,640 --> 00:25:14,480 Speaker 1: victim narrative. Instead, it features a declaration of feminine independence. Yeah, 410 00:25:14,520 --> 00:25:16,240 Speaker 1: there are a lot of good quotes about this movie, 411 00:25:16,400 --> 00:25:18,600 Speaker 1: and we're gonna end on to spectacular one. I've got 412 00:25:18,600 --> 00:25:21,920 Speaker 1: to say before we get into more of the patriarchy 413 00:25:22,280 --> 00:25:24,840 Speaker 1: and feminism, We're gonna get into one more quick break 414 00:25:24,880 --> 00:25:40,840 Speaker 1: for a word. Fim our sponsor and we're back, thank 415 00:25:40,840 --> 00:25:44,720 Speaker 1: you sponsor. So another quote we want to include is 416 00:25:44,760 --> 00:25:48,040 Speaker 1: from Diane Cohen at Marie Claire The Real Horror and 417 00:25:48,160 --> 00:25:50,880 Speaker 1: Robert Egger's new film The Which a New England folk 418 00:25:50,960 --> 00:25:54,240 Speaker 1: tale isn't Satanic goats, baby abduction or even Defarius which 419 00:25:54,280 --> 00:25:57,879 Speaker 1: is in the woods is limited and punishing road to womanhood. 420 00:25:58,840 --> 00:26:00,680 Speaker 1: And yeah, at the time, you're path as a woman 421 00:26:00,880 --> 00:26:05,240 Speaker 1: was wife and mother, no job, probably often a marriage 422 00:26:05,240 --> 00:26:09,480 Speaker 1: of convenience, as Thomason's parents were discussing for her. According 423 00:26:09,480 --> 00:26:11,680 Speaker 1: to the religion that they followed, even your fate in 424 00:26:11,720 --> 00:26:13,800 Speaker 1: the afterlife was out of your hands. So for a 425 00:26:13,840 --> 00:26:17,959 Speaker 1: woman not following the rules, pursuing autonomy meant literally going 426 00:26:18,400 --> 00:26:22,880 Speaker 1: to hell. In the Puritanical interpretation, women were weaker than 427 00:26:22,920 --> 00:26:27,000 Speaker 1: men inherently and easier to corrupt. They were dependent on 428 00:26:27,080 --> 00:26:29,840 Speaker 1: men to receive God's directives. It kind of goes back 429 00:26:29,840 --> 00:26:33,360 Speaker 1: to that whole Adam and Eve thing. Um, so they 430 00:26:33,359 --> 00:26:41,080 Speaker 1: were easier to fall to sin. I mean definitely, I 431 00:26:41,080 --> 00:26:47,520 Speaker 1: mean Eve he started at all, she she did. We're 432 00:26:47,520 --> 00:26:49,359 Speaker 1: actually going to talk about that in our book club one, 433 00:26:49,440 --> 00:26:51,040 Speaker 1: or we already did talk about that in a book club. 434 00:26:51,600 --> 00:26:55,639 Speaker 1: So I'm excited for for everyone to hear that, But 435 00:26:55,680 --> 00:26:57,879 Speaker 1: I didn't want to talk about Black Philip because for 436 00:26:57,920 --> 00:27:01,359 Speaker 1: me this was such a great reveal. I honestly, I 437 00:27:01,400 --> 00:27:03,000 Speaker 1: think the first time I saw it, I thought they 438 00:27:03,000 --> 00:27:05,399 Speaker 1: were just being annoying, or that it was another weird 439 00:27:05,440 --> 00:27:08,680 Speaker 1: thing the Which was doing to mess with their heads. Uh. 440 00:27:08,720 --> 00:27:11,760 Speaker 1: This was like, not only are there Which is messing 441 00:27:11,800 --> 00:27:14,600 Speaker 1: with you, but the devil himself is messing with you. 442 00:27:15,720 --> 00:27:17,960 Speaker 1: And the fact that he's a man. And Thomason hasked 443 00:27:18,000 --> 00:27:20,800 Speaker 1: to sign his book not only to quote Live deliciously, 444 00:27:21,080 --> 00:27:24,080 Speaker 1: but also as a last resort to me says that 445 00:27:24,160 --> 00:27:27,200 Speaker 1: even a taste of freedom for women still functions within 446 00:27:27,880 --> 00:27:32,639 Speaker 1: this patriarchal structure. It is the first choice she gets 447 00:27:32,720 --> 00:27:34,320 Speaker 1: to make on her own, but it really it's not 448 00:27:34,400 --> 00:27:37,520 Speaker 1: that much of a choice, right, She's cornered and do 449 00:27:37,640 --> 00:27:41,760 Speaker 1: it um and some interpret a Satan corrupting Thomason. If 450 00:27:41,760 --> 00:27:43,840 Speaker 1: you look at the color palette in the final scene 451 00:27:43,960 --> 00:27:46,840 Speaker 1: is very different from the rest of the film, which 452 00:27:46,880 --> 00:27:49,600 Speaker 1: for the most part had been drab and neutral. Yeah, 453 00:27:49,680 --> 00:27:52,600 Speaker 1: you definitely have that ominous feel to it. And then 454 00:27:52,840 --> 00:27:56,760 Speaker 1: in the end Thomas and his bathed in flames like hell, 455 00:27:56,800 --> 00:27:59,879 Speaker 1: and her hair wild and down and naked and just 456 00:28:00,320 --> 00:28:03,520 Speaker 1: floating and covered and not covered with blood. There's spatters 457 00:28:03,520 --> 00:28:08,240 Speaker 1: of blood. I wonder, you know, my horror movie theory 458 00:28:08,320 --> 00:28:12,440 Speaker 1: Samantha all comes back to the male fear of manistruation. 459 00:28:12,480 --> 00:28:16,840 Speaker 1: So I wonder if that's supposed to evoke her womanhood. Um. 460 00:28:17,880 --> 00:28:19,600 Speaker 1: But also, yeah, if you compare the first time you 461 00:28:19,600 --> 00:28:22,000 Speaker 1: see Thomason to the last time you do, she's like 462 00:28:22,040 --> 00:28:26,560 Speaker 1: completely covered. She she's sort of all drab and dreary, 463 00:28:26,640 --> 00:28:30,440 Speaker 1: and you know, her face is almost angelic, and then 464 00:28:30,480 --> 00:28:34,240 Speaker 1: the last time you see here very much the opposite, 465 00:28:34,440 --> 00:28:38,400 Speaker 1: very very different. So here's the quote we promised. I 466 00:28:38,480 --> 00:28:41,960 Speaker 1: love this. Founder and writer of the mis Squatonic Institute 467 00:28:41,960 --> 00:28:44,840 Speaker 1: of Horror Studies cure La Genis called the ending a 468 00:28:44,960 --> 00:28:49,600 Speaker 1: huge feminist kick in the balls. Love it, love it, 469 00:28:50,040 --> 00:28:53,200 Speaker 1: and I do really appreciate um that there is a 470 00:28:53,240 --> 00:28:55,880 Speaker 1: lot of feminist discussion and disagreement about how feminist it 471 00:28:55,920 --> 00:28:59,840 Speaker 1: actually is. I love those kinds of things, and I'm 472 00:29:00,120 --> 00:29:02,920 Speaker 1: so glad because, as you probably know, Samantha, someone who 473 00:29:02,920 --> 00:29:05,720 Speaker 1: works on a show like this, sometimes I think am 474 00:29:05,760 --> 00:29:09,280 Speaker 1: I reading too much into this, but I'm I'm glad 475 00:29:09,320 --> 00:29:12,600 Speaker 1: a lot of people had some some thoughts about feminism 476 00:29:12,640 --> 00:29:21,120 Speaker 1: and this movie rights. I think so, I definitely think so. So. Yeah, 477 00:29:21,120 --> 00:29:23,720 Speaker 1: that's what we have to say about the Witch for today. 478 00:29:23,800 --> 00:29:27,560 Speaker 1: We do have some listener mail for you for this one. Yes, 479 00:29:28,040 --> 00:29:30,840 Speaker 1: um So Grace wrote, I'm a longtime fan of the 480 00:29:30,880 --> 00:29:33,479 Speaker 1: Sminty podcast and just finished listening to your recent episode 481 00:29:33,480 --> 00:29:36,160 Speaker 1: on hearing and hearing loss. In the fall, I'll hopefully 482 00:29:36,160 --> 00:29:39,440 Speaker 1: be starting my senior year of college studying audio engineering. 483 00:29:39,800 --> 00:29:42,400 Speaker 1: The prevalent gender gap in the audio and music industries 484 00:29:42,440 --> 00:29:45,680 Speaker 1: has been constantly seeking out new ways to start constructive conversations, 485 00:29:45,720 --> 00:29:48,360 Speaker 1: including media to suggest to friends to get the ball rolling. 486 00:29:48,840 --> 00:29:51,680 Speaker 1: Looking forward to sharing this episode and to the conversations 487 00:29:51,720 --> 00:29:54,880 Speaker 1: that follow. Inspired by the call to share media that 488 00:29:54,960 --> 00:29:57,520 Speaker 1: might appeal to the Smanty audience, I wanted to share 489 00:29:57,560 --> 00:30:00,440 Speaker 1: an album that my band, Grace Kelly, released in February, 490 00:30:00,440 --> 00:30:04,120 Speaker 1: and that's g r A c E k E l 491 00:30:04,320 --> 00:30:07,280 Speaker 1: l i E with No Space in Between. Grace Kelly, 492 00:30:07,360 --> 00:30:09,720 Speaker 1: made up of two female audio engineers, is all about 493 00:30:09,720 --> 00:30:12,280 Speaker 1: girl powered sound and music through a feminist lens. Our 494 00:30:12,320 --> 00:30:15,560 Speaker 1: debut album, like the Princess is available for streaming everywhere, 495 00:30:15,560 --> 00:30:17,320 Speaker 1: and I think the spenty audience that would be most 496 00:30:17,320 --> 00:30:20,400 Speaker 1: into Tsha Drink your Coffee Black and not Scared of You, 497 00:30:20,720 --> 00:30:23,040 Speaker 1: both of which are songs that expose and attempt to 498 00:30:23,120 --> 00:30:28,240 Speaker 1: dismantle patriarchal expectations of women. Yay, I loved it. I 499 00:30:28,280 --> 00:30:32,200 Speaker 1: listened to that. Uh it was great, great word grace. 500 00:30:32,720 --> 00:30:36,680 Speaker 1: Um go check it out listeners. Uh. It is available 501 00:30:37,280 --> 00:30:40,240 Speaker 1: pretty much wherever music is streaming. If you wanted to 502 00:30:40,280 --> 00:30:43,120 Speaker 1: find a new playlist, ah, that's right, we should. Oh 503 00:30:43,160 --> 00:30:45,360 Speaker 1: my gosh, I would be great if listeners sent in 504 00:30:45,440 --> 00:30:47,800 Speaker 1: the music or something stuff they created, we can make 505 00:30:47,800 --> 00:30:52,000 Speaker 1: a playlist. I love it, So please keep those things 506 00:30:52,040 --> 00:30:55,720 Speaker 1: coming in. We we really do appreciate it. Keep those 507 00:30:55,760 --> 00:30:58,960 Speaker 1: suggestions for what our next movie should be, our next 508 00:30:59,000 --> 00:31:01,720 Speaker 1: watch party or next to book club, and you can 509 00:31:01,760 --> 00:31:04,640 Speaker 1: send those to our email, which is Stuff Media, mom 510 00:31:04,680 --> 00:31:07,280 Speaker 1: Stuff at I heart media dot com. You can also 511 00:31:07,320 --> 00:31:09,360 Speaker 1: find us on Twitter at mom Stuff Podcast or on 512 00:31:09,400 --> 00:31:12,040 Speaker 1: Instagram at Stuff I've Never Told You. Thanks as always 513 00:31:12,040 --> 00:31:15,680 Speaker 1: to our super producer Andrew Howard. Thanks Andrew, and thanks 514 00:31:15,680 --> 00:31:18,320 Speaker 1: to you for listening Stuff I Never told you to 515 00:31:18,360 --> 00:31:20,840 Speaker 1: protection of I Heart radio. For more podcasts from my 516 00:31:20,920 --> 00:31:23,440 Speaker 1: heart Radio, visit the iHeart Radio app, Apple podcast, or 517 00:31:23,440 --> 00:31:25,080 Speaker 1: wherever you listen to your favorite shows.