1 00:00:05,240 --> 00:00:07,800 Speaker 1: Hey, this is Annie and Samantha. I'm going to Stephane 2 00:00:07,840 --> 00:00:19,439 Speaker 1: never told your production of I Heeart Radio, and today 3 00:00:19,800 --> 00:00:23,880 Speaker 1: we have a how do we in addition of book club. 4 00:00:25,160 --> 00:00:27,440 Speaker 1: I'm very excited about this, but before we get into it, 5 00:00:27,480 --> 00:00:29,760 Speaker 1: I just had a question out curiosity to Samantha. When 6 00:00:29,760 --> 00:00:34,160 Speaker 1: you read books, do you picture like actors are people 7 00:00:34,200 --> 00:00:38,000 Speaker 1: that you know visually when you read or hear like 8 00:00:38,000 --> 00:00:41,360 Speaker 1: a character's description. No, I have a vague ghost like 9 00:00:41,560 --> 00:00:45,120 Speaker 1: picture of them, and does have a generic picture of 10 00:00:45,159 --> 00:00:49,320 Speaker 1: what they look like, but they're never of someone's specific 11 00:00:49,880 --> 00:00:52,639 Speaker 1: Oh that's interesting. I thought about this before because when 12 00:00:52,680 --> 00:00:55,240 Speaker 1: things turned into movies or things turned and I'm like, oh, 13 00:00:55,280 --> 00:00:57,880 Speaker 1: that's not who I pictured. But I can't tell you 14 00:00:57,920 --> 00:01:01,279 Speaker 1: exactly because it's not about what they say. But it's 15 00:01:01,320 --> 00:01:04,880 Speaker 1: not ever of a person that I know. Yeah, you 16 00:01:04,920 --> 00:01:07,120 Speaker 1: know that's really interesting because lately we've seen kind of 17 00:01:07,160 --> 00:01:11,720 Speaker 1: a spate of people creating programs that are like, this 18 00:01:11,800 --> 00:01:14,440 Speaker 1: is what the character would really look like based on 19 00:01:14,520 --> 00:01:19,560 Speaker 1: the description. Um, I always have like an actor or 20 00:01:19,640 --> 00:01:24,960 Speaker 1: somebody I have, I have a clear picture, uh in 21 00:01:25,000 --> 00:01:26,800 Speaker 1: my head, and I just feel like that that this 22 00:01:26,880 --> 00:01:30,240 Speaker 1: book was very descriptive and very easy for me to 23 00:01:30,319 --> 00:01:33,120 Speaker 1: kind of put like, oh, it's the so it's this, 24 00:01:33,280 --> 00:01:35,240 Speaker 1: so it's this, and I just it really painted a 25 00:01:35,240 --> 00:01:39,280 Speaker 1: picture in my head for me. Okay, who did you picture? Well, 26 00:01:40,080 --> 00:01:42,000 Speaker 1: I could tell you, but it would I would have 27 00:01:42,040 --> 00:01:43,800 Speaker 1: to look up all the actor's names, because as you know, 28 00:01:43,880 --> 00:01:47,240 Speaker 1: I'm not good with actor's names. That's fair, But I 29 00:01:47,280 --> 00:01:50,760 Speaker 1: could do it. I could do it, uh, And I 30 00:01:50,800 --> 00:01:52,800 Speaker 1: think it's part of that is also just the cover 31 00:01:52,920 --> 00:01:56,160 Speaker 1: art can influence that. I've seen some stuff from the 32 00:01:56,200 --> 00:01:59,560 Speaker 1: show they're they're shooting a show about this for Hulu. 33 00:02:00,120 --> 00:02:02,480 Speaker 1: Some of that can influence it. I remember like when 34 00:02:03,640 --> 00:02:08,560 Speaker 1: Harry Potter came out, I had such a strong like 35 00:02:08,639 --> 00:02:12,040 Speaker 1: in my brain who everybody looked like? That? When the 36 00:02:12,120 --> 00:02:15,160 Speaker 1: movies came out, I kind of almost had like a 37 00:02:15,200 --> 00:02:17,160 Speaker 1: breakdown is too strong of a word, but my it 38 00:02:17,240 --> 00:02:19,639 Speaker 1: was like a war in my brain of like who 39 00:02:20,040 --> 00:02:22,560 Speaker 1: do they actually look like? And they sort of all 40 00:02:22,639 --> 00:02:28,320 Speaker 1: kind of came together and created a composition of both 41 00:02:28,440 --> 00:02:31,560 Speaker 1: um which is really interesting. But I can still remember, 42 00:02:31,840 --> 00:02:33,840 Speaker 1: at least for a lot of the big characters what 43 00:02:33,919 --> 00:02:37,440 Speaker 1: they looked like in my head versus what who was 44 00:02:37,480 --> 00:02:40,600 Speaker 1: actually cast. So I just always find that interesting when 45 00:02:40,600 --> 00:02:42,560 Speaker 1: people tell me like, oh, I always thought this character 46 00:02:42,600 --> 00:02:44,560 Speaker 1: would like look like this person or this person or 47 00:02:44,560 --> 00:02:49,600 Speaker 1: this person. Listeners, if you have any thoughts or experiences 48 00:02:49,639 --> 00:02:51,760 Speaker 1: about that, please let let us know, because I really 49 00:02:51,760 --> 00:02:54,840 Speaker 1: am interested in it. But today we have to issue 50 00:02:54,840 --> 00:02:58,840 Speaker 1: a spoiler alert because we are going to spoil the 51 00:02:58,960 --> 00:03:04,840 Speaker 1: heck of this recent book. Because we're talking about Sylvia Moreino. 52 00:03:04,880 --> 00:03:09,919 Speaker 1: Gusse is novel Mexican Gothics, so it's pretty recent and 53 00:03:10,160 --> 00:03:12,280 Speaker 1: I I really enjoyed it. If you don't want to 54 00:03:12,280 --> 00:03:15,560 Speaker 1: be spoiled, leave now, go read it. It's a pretty 55 00:03:15,639 --> 00:03:19,080 Speaker 1: quick cread um and then come back and then come back. 56 00:03:19,800 --> 00:03:22,519 Speaker 1: And it was very very successful. It was critically acclaimed, 57 00:03:22,560 --> 00:03:26,400 Speaker 1: and Yes, is now being made into a show for Hulu. 58 00:03:26,680 --> 00:03:34,600 Speaker 1: A content warning. We are discussing a little bit of eugenics, um, suicidality, 59 00:03:35,120 --> 00:03:39,560 Speaker 1: general grossness, death, murder, cannibalism. We're not getting too much 60 00:03:39,560 --> 00:03:43,920 Speaker 1: into any of that. Lucinens, lucinugens. Yes, that is true. 61 00:03:44,560 --> 00:03:47,000 Speaker 1: It's so funny sometimes when we put the like content 62 00:03:47,000 --> 00:03:49,120 Speaker 1: warnings together and like this is making it sound so 63 00:03:49,200 --> 00:03:53,800 Speaker 1: much worth this, But I just don't want to miss anything, right, 64 00:03:54,000 --> 00:03:56,520 Speaker 1: But yeah, all those topics are on the table. If 65 00:03:56,520 --> 00:03:59,400 Speaker 1: that gives you a taste for what this book is about, uh, 66 00:03:59,440 --> 00:04:01,800 Speaker 1: And yeah, it does have influences of Jane Austen and 67 00:04:01,840 --> 00:04:04,760 Speaker 1: Emily Bronte, which I wanted to talk with you about 68 00:04:05,320 --> 00:04:08,000 Speaker 1: because before we recorded this, Samantha, one of the reasons 69 00:04:08,040 --> 00:04:09,520 Speaker 1: I was like, I think we should do this one 70 00:04:09,640 --> 00:04:12,720 Speaker 1: was because I know you like Gothic and I've rented 71 00:04:12,880 --> 00:04:14,840 Speaker 1: it kind of had some stuff to do with like 72 00:04:15,160 --> 00:04:17,000 Speaker 1: Jane Austen Emily Bronte. So I was like, I think 73 00:04:17,080 --> 00:04:19,680 Speaker 1: Samantha will like this one. I'm interested in it. And 74 00:04:19,720 --> 00:04:24,919 Speaker 1: you said before like you got that vibe right immediately, 75 00:04:25,000 --> 00:04:26,480 Speaker 1: Like I was like, oh, is this supposed to be 76 00:04:26,560 --> 00:04:29,440 Speaker 1: a retailing of Weathering Heights because it's kind of that 77 00:04:30,080 --> 00:04:33,160 Speaker 1: ominous bit with and it's true with like the head 78 00:04:33,160 --> 00:04:36,640 Speaker 1: of the household haunting the entire home type of thing. Um. 79 00:04:36,720 --> 00:04:38,760 Speaker 1: So yeah, I was like, Okay, this is definitely that. 80 00:04:38,839 --> 00:04:42,680 Speaker 1: And then they actually make mention of the authors and 81 00:04:42,720 --> 00:04:44,640 Speaker 1: I was like, there, it is perfect. I wouldn't say 82 00:04:44,720 --> 00:04:47,560 Speaker 1: Jane Austen necessarily because Jane Austen was not in Horror 83 00:04:47,600 --> 00:04:50,960 Speaker 1: in any way whatsoever or that, but darkness. So I 84 00:04:50,960 --> 00:04:52,599 Speaker 1: don't think that would be true of it, but the 85 00:04:52,600 --> 00:04:57,360 Speaker 1: Bronte Sisters for sure, Mary Mary Shelley, maybe even which 86 00:04:57,440 --> 00:05:01,880 Speaker 1: sounds like Katerina of those authors as well, but you 87 00:05:01,880 --> 00:05:06,280 Speaker 1: know that's further down the road. Um, But yeah, I 88 00:05:06,360 --> 00:05:09,240 Speaker 1: was immediately the style of it, the way that it 89 00:05:09,520 --> 00:05:12,920 Speaker 1: sets up the characters. Boy, that it sets up the 90 00:05:13,040 --> 00:05:16,720 Speaker 1: romance very ominous. You know, something's going down. You know, 91 00:05:16,839 --> 00:05:18,840 Speaker 1: she's walking and thinking everything's fine, and they're like, oh, 92 00:05:18,920 --> 00:05:22,279 Speaker 1: nothing's okay, and it's a trap. That's the entirety of 93 00:05:22,320 --> 00:05:25,719 Speaker 1: the thing. And much like the Bronte Sisters, the home 94 00:05:26,680 --> 00:05:32,720 Speaker 1: has a huge part in being part of the darkness. Yeah. Yeah, 95 00:05:33,080 --> 00:05:36,839 Speaker 1: it's very like I said, the author does a great 96 00:05:36,920 --> 00:05:39,599 Speaker 1: job of painting a picture because immediately you can see 97 00:05:39,760 --> 00:05:42,240 Speaker 1: like this fog and they're going up this hill and 98 00:05:42,279 --> 00:05:45,360 Speaker 1: there's this old mansion there and there's just something awf 99 00:05:45,480 --> 00:05:50,200 Speaker 1: about it. Like the atmosphere was excellently done. And it 100 00:05:50,320 --> 00:05:53,279 Speaker 1: did remind me of the Bronte Sisters of things I've 101 00:05:53,279 --> 00:05:55,960 Speaker 1: read from the right. And yes, so they enjoyed it. 102 00:05:56,000 --> 00:05:58,240 Speaker 1: I enjoyed it very much. I did too. I really 103 00:05:58,320 --> 00:06:00,440 Speaker 1: enjoyed it. I was telling everybody about it. They're like, 104 00:06:00,480 --> 00:06:02,280 Speaker 1: what are you talking about? Like you've got to read it. 105 00:06:04,440 --> 00:06:07,440 Speaker 1: Uh yeah, and it really draws you in. At least 106 00:06:07,520 --> 00:06:09,720 Speaker 1: that was my experience. It was kind of immediately like who, 107 00:06:09,760 --> 00:06:11,920 Speaker 1: I want to know? What's going on? It painted these 108 00:06:11,960 --> 00:06:16,200 Speaker 1: really vivid and often unsettling or disturbing images, and yeah, 109 00:06:16,320 --> 00:06:19,080 Speaker 1: much of it does take place in this decaying mansion 110 00:06:19,120 --> 00:06:22,200 Speaker 1: that is shrouded by fog, so the environment is a 111 00:06:22,200 --> 00:06:25,400 Speaker 1: big piece of it. It is very atmospheric and very 112 00:06:25,480 --> 00:06:29,000 Speaker 1: excellent building tension because you're like, something's wrong, something's wrong. 113 00:06:29,040 --> 00:06:31,279 Speaker 1: I don't know what it is, and something's off. Just 114 00:06:31,360 --> 00:06:38,719 Speaker 1: all these little things that you're like mm hmmmm. Alright, 115 00:06:38,800 --> 00:06:41,960 Speaker 1: so let's get into the plot. The story takes place 116 00:06:42,000 --> 00:06:45,600 Speaker 1: in nineteen fifties Mexico and follows Nami Tabo ad A, 117 00:06:45,600 --> 00:06:50,159 Speaker 1: a young, beautiful, clever, stubborn, witty social lights who dates 118 00:06:50,160 --> 00:06:53,720 Speaker 1: her fun is studying anthropology. Kind of gives that vibe 119 00:06:53,720 --> 00:06:57,000 Speaker 1: of someone who's like trying a lot of things, but 120 00:06:57,320 --> 00:07:01,680 Speaker 1: it's really into anthropology at this current juncture. After receiving 121 00:07:01,680 --> 00:07:05,040 Speaker 1: a bizarre letter from her cousin Catalina, claiming that her 122 00:07:05,080 --> 00:07:09,039 Speaker 1: English husband, a Virgil Doyle is poisoning her. Naami leaves 123 00:07:09,080 --> 00:07:11,840 Speaker 1: Mexico City for the Doyle Home, which is called High 124 00:07:11,920 --> 00:07:14,560 Speaker 1: Place and it's located in the mountains outside of a 125 00:07:14,560 --> 00:07:20,080 Speaker 1: small town called trian Foe. And Nami does this at 126 00:07:20,080 --> 00:07:22,480 Speaker 1: the behest of her father. Her father is like, you're 127 00:07:22,520 --> 00:07:25,520 Speaker 1: so stubborn, You're so determined. I know you can get 128 00:07:25,520 --> 00:07:28,160 Speaker 1: to the bottom of this. Something is wrong. Uh well, 129 00:07:28,200 --> 00:07:31,560 Speaker 1: you please go and look into this. And I really 130 00:07:31,600 --> 00:07:35,520 Speaker 1: want to read the letter that they received from Catalina 131 00:07:35,560 --> 00:07:37,240 Speaker 1: that starts this whole thing, because I think it gives 132 00:07:37,240 --> 00:07:40,360 Speaker 1: a really good vibe of like the writing and what's 133 00:07:40,400 --> 00:07:44,120 Speaker 1: going on. Okay, he is trying to poison me. The 134 00:07:44,200 --> 00:07:47,440 Speaker 1: house is sick with rot, stinks of decay, brims with 135 00:07:47,560 --> 00:07:50,760 Speaker 1: every single evil and cruel sentiment. I have tried to 136 00:07:50,800 --> 00:07:53,280 Speaker 1: hold onto my wits to keep this foulness away, but 137 00:07:53,360 --> 00:07:56,040 Speaker 1: I cannot, and I find myself losing track of time 138 00:07:56,080 --> 00:08:00,840 Speaker 1: and thoughts. Please please, They are cruel, unkind, and they 139 00:08:00,880 --> 00:08:03,320 Speaker 1: will not let me go. I bar my door, but 140 00:08:03,440 --> 00:08:05,800 Speaker 1: still they come. They whisper at nights, and I am 141 00:08:05,840 --> 00:08:10,000 Speaker 1: so afraid of these restless dead, these ghost, fleshless things. 142 00:08:10,040 --> 00:08:13,560 Speaker 1: The snake eating its tail, the foul ground beneath our feet, 143 00:08:13,840 --> 00:08:17,200 Speaker 1: the false faces and false tongues, the web upon which 144 00:08:17,240 --> 00:08:21,200 Speaker 1: the spider walks, making the strings vibrate. I am Catalina, 145 00:08:21,280 --> 00:08:26,560 Speaker 1: Catalina taboada, Catalina, Kata Kata, come out to play. I 146 00:08:26,640 --> 00:08:29,960 Speaker 1: missn Amy. I pray I'll see you again. You must 147 00:08:30,040 --> 00:08:32,520 Speaker 1: come from me, na Amy. You have to save me. 148 00:08:32,640 --> 00:08:34,680 Speaker 1: I cannot save myself, as much as I wish to. 149 00:08:35,200 --> 00:08:38,000 Speaker 1: I am bound threads like iron through my mind and 150 00:08:38,080 --> 00:08:40,959 Speaker 1: my skin, and it's there in the walls. It does 151 00:08:41,000 --> 00:08:43,640 Speaker 1: not release its hold on me. I must ask you 152 00:08:43,720 --> 00:08:47,079 Speaker 1: to spring me free, cut it from me. Stop them now, 153 00:08:47,440 --> 00:08:54,199 Speaker 1: for God's sake, till and now, knowing the end, I'm like, oh, 154 00:08:54,320 --> 00:09:01,640 Speaker 1: she was saying all of it. So Nyomy is transported 155 00:09:01,679 --> 00:09:04,960 Speaker 1: to the High Place by Francis Doyle, and the road 156 00:09:05,040 --> 00:09:08,440 Speaker 1: is treacherous and misty, and upon arrival she's immediately a 157 00:09:08,480 --> 00:09:10,839 Speaker 1: nerd and annoyed by the strict rules of the house, 158 00:09:10,880 --> 00:09:14,960 Speaker 1: a largely imparted to her by Francis's mother, Florence. She's 159 00:09:15,000 --> 00:09:18,280 Speaker 1: not allowed to visit her cousin without a chaperone. There's 160 00:09:18,280 --> 00:09:21,120 Speaker 1: no speaking at dinner, no smoking, which by the by 161 00:09:21,160 --> 00:09:24,600 Speaker 1: the way, Annoymy smokes. Yes, she's one of those cool 162 00:09:24,600 --> 00:09:27,520 Speaker 1: girls that like the way you picture it, they describe it. 163 00:09:27,559 --> 00:09:30,400 Speaker 1: She's one of those cool girls. Um and things like that. 164 00:09:30,720 --> 00:09:33,480 Speaker 1: Florence clearly does not want her to be there. Um 165 00:09:33,520 --> 00:09:36,200 Speaker 1: And the house itself isn't welcoming either, dark and decaying 166 00:09:36,600 --> 00:09:40,559 Speaker 1: with patches of black mold. Also, they are very behind 167 00:09:40,600 --> 00:09:46,040 Speaker 1: in technology, uses lamps, oils, oil lamps and candles. There's 168 00:09:46,080 --> 00:09:48,800 Speaker 1: no radio, there's no TV. Everything is a little dark 169 00:09:49,160 --> 00:09:51,280 Speaker 1: and they like it that way, just so you know. 170 00:09:51,800 --> 00:09:54,640 Speaker 1: And yes, the cane with patches of black mold everywhere. 171 00:09:54,840 --> 00:09:59,040 Speaker 1: Even the wine is glowing and almost rotten, too sweet 172 00:09:59,080 --> 00:10:01,839 Speaker 1: over the top. The head of the house, Howard Doyle, 173 00:10:02,360 --> 00:10:06,840 Speaker 1: is old and ill and inappropriate. Namie is informed that 174 00:10:06,880 --> 00:10:12,880 Speaker 1: Catalina is suffering from tuberculosis, but she is unconvinced. And yeah, 175 00:10:12,920 --> 00:10:15,600 Speaker 1: by the way, Frances is somewhat important, and they are. 176 00:10:16,280 --> 00:10:18,240 Speaker 1: She tries to flirt with them at the very beginning. 177 00:10:18,320 --> 00:10:21,760 Speaker 1: She does. She does, and you can tell he's like, oh, yeah, 178 00:10:23,559 --> 00:10:30,400 Speaker 1: he's not been around many women. So once no Amy 179 00:10:30,440 --> 00:10:33,360 Speaker 1: is permitted to see Catalina, she begs no Amy to 180 00:10:33,400 --> 00:10:35,440 Speaker 1: get her a tincture from a woman in town named 181 00:10:35,440 --> 00:10:38,320 Speaker 1: Marta duval Um, and by tricking the family because they're 182 00:10:38,320 --> 00:10:40,600 Speaker 1: pretty sure there, like, you can't go it's too high 183 00:10:40,600 --> 00:10:43,160 Speaker 1: to get up here, you can't go down. So Nami 184 00:10:43,200 --> 00:10:45,360 Speaker 1: tricks the family and is able to get a ride 185 00:10:45,360 --> 00:10:48,439 Speaker 1: into town and to walk around unhindered, and she goes 186 00:10:48,480 --> 00:10:51,520 Speaker 1: to talk to Marta, who tells her that the family 187 00:10:51,760 --> 00:10:56,000 Speaker 1: is cursed and that one of the Doyle's ruth killed 188 00:10:56,200 --> 00:10:59,679 Speaker 1: several of the family members, shooting Howard before taking her 189 00:10:59,679 --> 00:11:04,200 Speaker 1: own life. Howard survived. In another instance of Francis's father, 190 00:11:04,320 --> 00:11:06,600 Speaker 1: Richard was found dead in a ditch near the home. 191 00:11:07,240 --> 00:11:11,000 Speaker 1: Naami then goes to visit the local doctor, asking him 192 00:11:11,040 --> 00:11:12,680 Speaker 1: to come to high Place to give a second opinion 193 00:11:12,720 --> 00:11:15,120 Speaker 1: on Catalina, and the doctor is really reluctant because he's like, oh, 194 00:11:15,160 --> 00:11:17,200 Speaker 1: I'm not welcome. They don't want me up there, and 195 00:11:17,200 --> 00:11:20,679 Speaker 1: Howard himself has made recent racist comments about how none 196 00:11:20,720 --> 00:11:24,240 Speaker 1: of the locals are competent um, but he ultimately agrees. 197 00:11:24,600 --> 00:11:27,200 Speaker 1: The local doctor agrees to come and give his opinion, 198 00:11:28,040 --> 00:11:31,000 Speaker 1: and Alista back a bit and talked about Howard and 199 00:11:31,000 --> 00:11:33,840 Speaker 1: the Doyles at large, because al right, so during the 200 00:11:33,840 --> 00:11:37,240 Speaker 1: eighteen hundreds, British companies and families flooded into Mexico in 201 00:11:37,320 --> 00:11:40,560 Speaker 1: order to take advantage of local resources. The Doyles in 202 00:11:40,600 --> 00:11:43,000 Speaker 1: this book are one such family, and the house is 203 00:11:43,080 --> 00:11:48,479 Speaker 1: near a once profitable silver mine that was later flooded. Um. 204 00:11:48,559 --> 00:11:50,480 Speaker 1: There's this cemetery on the property with some of the 205 00:11:50,520 --> 00:11:53,439 Speaker 1: bodies of people who died working in the mine. Um. 206 00:11:53,800 --> 00:11:57,440 Speaker 1: They are looking to reopen the mine, Nami learns, and 207 00:11:57,600 --> 00:12:00,079 Speaker 1: she suspects that they intend to somehow make cattle in 208 00:12:00,120 --> 00:12:05,040 Speaker 1: a docile in order to use her money without her complaints. Um. 209 00:12:05,080 --> 00:12:09,679 Speaker 1: Howard frequently speaks of quote superior and inferior types and 210 00:12:09,880 --> 00:12:13,120 Speaker 1: of survival of the fittest, and keeps books on the 211 00:12:13,160 --> 00:12:17,080 Speaker 1: subject around something that angers Naomi, which in turn seems 212 00:12:17,120 --> 00:12:22,199 Speaker 1: to amuse Howard. So the local doctor confirms that if 213 00:12:22,240 --> 00:12:25,800 Speaker 1: it's tuberculosis, is unlike any he has ever seen. Um. 214 00:12:25,840 --> 00:12:28,560 Speaker 1: And by the way, when Noemi was in a town 215 00:12:29,120 --> 00:12:32,240 Speaker 1: and and means with Martha is too because Catalina sends 216 00:12:32,240 --> 00:12:34,920 Speaker 1: her to her as the healer. She's a healer Um 217 00:12:34,960 --> 00:12:39,080 Speaker 1: and gets a tint or to to Catalina. Finally, but 218 00:12:39,480 --> 00:12:41,719 Speaker 1: oh dear, it caused have a seizure and makes the 219 00:12:41,760 --> 00:12:45,200 Speaker 1: Toyals even stricter about when Naomi can visit her. Of 220 00:12:45,200 --> 00:12:47,480 Speaker 1: course they I'll play the victim kind of guest lighter. 221 00:12:48,440 --> 00:12:51,400 Speaker 1: Nami starts having disturbing dreams and visions of a gold woman, 222 00:12:51,520 --> 00:12:55,040 Speaker 1: a buzzing coming from the walls, the mold moving, pulsating 223 00:12:55,040 --> 00:12:57,240 Speaker 1: and almost calling to her, and her dreams that seem real, 224 00:12:57,840 --> 00:13:00,920 Speaker 1: unpleasant ones that seems to almost Drugger having sex with 225 00:13:01,040 --> 00:13:03,599 Speaker 1: Virgil and wakes up too after she hears place of 226 00:13:03,720 --> 00:13:07,679 Speaker 1: open her eyes. She starts sleepwalking, something something she hasn't 227 00:13:07,720 --> 00:13:10,000 Speaker 1: done since she was a child, and feels that she's 228 00:13:10,040 --> 00:13:13,080 Speaker 1: losing her grip on reality early, similar to what happened 229 00:13:13,080 --> 00:13:15,880 Speaker 1: to her cousin, and she begins to suspect that Catalina 230 00:13:15,960 --> 00:13:19,240 Speaker 1: may not be ill and the house is haunted or 231 00:13:19,240 --> 00:13:25,400 Speaker 1: at least coming for them. Yes. Um. Meanwhile, as all 232 00:13:25,440 --> 00:13:28,720 Speaker 1: of this is happening, uh, Nami and frances do grow 233 00:13:28,760 --> 00:13:32,720 Speaker 1: closer um. Since Naomi has to smoke outside um. They 234 00:13:32,760 --> 00:13:35,160 Speaker 1: walk around the misty grounds together and know Ami learns 235 00:13:35,200 --> 00:13:38,240 Speaker 1: that Francis, who is definitely the black sheep of the family, 236 00:13:39,040 --> 00:13:43,840 Speaker 1: studies mushrooms and insects, is well read and interesting Nami, 237 00:13:44,120 --> 00:13:47,720 Speaker 1: who has enjoyed many relationships in the past and continues 238 00:13:47,760 --> 00:13:49,199 Speaker 1: to enjoy it like it's kind of funny and how 239 00:13:49,200 --> 00:13:53,320 Speaker 1: often she'll be sort of like he's not my usual type. Um, 240 00:13:54,240 --> 00:13:58,800 Speaker 1: but she feels herself growing closer to him. However, he 241 00:13:59,000 --> 00:14:02,640 Speaker 1: is still somewhat distant and warns her that speaking Spanish 242 00:14:02,679 --> 00:14:04,880 Speaker 1: is not allowed in the home and that they can 243 00:14:04,920 --> 00:14:08,400 Speaker 1: hear you that she should leave. He's clearly very on 244 00:14:08,640 --> 00:14:12,679 Speaker 1: edge um and worried about her. This is underscored by 245 00:14:12,800 --> 00:14:17,080 Speaker 1: other comments from the family like smoking, Hurt says just 246 00:14:18,400 --> 00:14:24,119 Speaker 1: things like that it's very sketchy. So growing increasingly frustrated 247 00:14:24,120 --> 00:14:26,400 Speaker 1: and disturbed, too fright to sleep, and feeling cut off. 248 00:14:26,720 --> 00:14:29,840 Speaker 1: After Martha disappears, Naimi decides to send a letter to 249 00:14:29,880 --> 00:14:33,160 Speaker 1: her father requesting he senned help or at least trying 250 00:14:33,200 --> 00:14:35,600 Speaker 1: to go out and get help somehow, trying to leave 251 00:14:35,640 --> 00:14:37,560 Speaker 1: the place. She's done. She's done with this place. She 252 00:14:37,560 --> 00:14:40,240 Speaker 1: needs to get out, But the night before her departure, 253 00:14:40,400 --> 00:14:43,280 Speaker 1: the Doyles informed her they'll have one final dinner together 254 00:14:43,720 --> 00:14:47,000 Speaker 1: and that she must see Howard before she leaves. Ton 255 00:14:47,120 --> 00:14:51,240 Speaker 1: AMI's horror, Howard is covered in boils, one of his 256 00:14:51,320 --> 00:14:53,680 Speaker 1: legs bloated, and he is clearly on desk door, and 257 00:14:53,720 --> 00:14:55,800 Speaker 1: by the way, he's naked, like if she had imagined 258 00:14:55,840 --> 00:14:57,480 Speaker 1: she was going to come into him being tucked in 259 00:14:57,520 --> 00:15:00,160 Speaker 1: and sickly. No, no, he's naked and showing off all 260 00:15:00,160 --> 00:15:04,640 Speaker 1: his bets um, including the boils um, and the smell 261 00:15:04,680 --> 00:15:06,760 Speaker 1: of his body is terrible, and she tries to flee, 262 00:15:06,880 --> 00:15:10,120 Speaker 1: but Virgil of Florence forced her to her knees in 263 00:15:10,200 --> 00:15:12,640 Speaker 1: front of him, and he kisses her, really grows by 264 00:15:12,640 --> 00:15:15,520 Speaker 1: the way, making her swallow the black liquid that from 265 00:15:15,560 --> 00:15:18,200 Speaker 1: his mouth, that stains his teeth, that gets literally oozing 266 00:15:18,200 --> 00:15:20,640 Speaker 1: out of his face, and she feels incredibly ill and 267 00:15:20,680 --> 00:15:28,000 Speaker 1: passes out having visions Yeah. When she wakes, Francis is 268 00:15:28,040 --> 00:15:32,000 Speaker 1: in her room watching over her, and she is understandingly furious. 269 00:15:32,440 --> 00:15:35,560 Speaker 1: Francis explains that ours is actually hundreds of years old. 270 00:15:36,240 --> 00:15:38,600 Speaker 1: Um he at one time he was quite ill and 271 00:15:38,640 --> 00:15:40,680 Speaker 1: determined to find a cure for his illness, so he 272 00:15:40,720 --> 00:15:43,440 Speaker 1: found locals in this area who were using a strain 273 00:15:43,480 --> 00:15:48,560 Speaker 1: of mushroom to heal themselves. Howard exploited this and formed 274 00:15:48,600 --> 00:15:52,760 Speaker 1: a symbiotic relationship with the mushroom and part after eating 275 00:15:52,800 --> 00:15:55,440 Speaker 1: the infant of a local woman who had used the 276 00:15:55,480 --> 00:16:01,440 Speaker 1: mushroom obviously against her will. Many others who partook died, 277 00:16:01,480 --> 00:16:04,400 Speaker 1: but Howard believed his survival meant he could use his 278 00:16:04,440 --> 00:16:10,240 Speaker 1: medicinal knowledge to make himself immortal, and to accomplish this 279 00:16:10,280 --> 00:16:13,160 Speaker 1: requires a number of things. So firstly, the house is 280 00:16:13,200 --> 00:16:17,680 Speaker 1: infused with the mushroom um. The air inside is full 281 00:16:17,720 --> 00:16:22,360 Speaker 1: of spores. It heals the family in there and makes 282 00:16:22,400 --> 00:16:25,880 Speaker 1: their lives last longer. It is what has been calling 283 00:16:25,920 --> 00:16:29,480 Speaker 1: to Nami, dulling her senses, making her want to give 284 00:16:29,520 --> 00:16:33,360 Speaker 1: into Virgil's advances and wants her to become part of 285 00:16:33,400 --> 00:16:38,000 Speaker 1: the family UM. Secondly, the exploitation of the working class 286 00:16:38,120 --> 00:16:41,160 Speaker 1: in order to fund their eternal lives. It's something that 287 00:16:41,200 --> 00:16:45,720 Speaker 1: they have to do to achieve this immortality UM. Thirdly, 288 00:16:46,400 --> 00:16:49,840 Speaker 1: they need children UM. Howard didn't want to quote dirty 289 00:16:49,880 --> 00:16:55,600 Speaker 1: the bloodline, so he decided to have children with his sisters. Lately, though, 290 00:16:55,640 --> 00:16:57,720 Speaker 1: the women of the family have not been producing as 291 00:16:57,720 --> 00:17:01,600 Speaker 1: many children, and Howard, to Florence is chagrin believes introducing 292 00:17:01,640 --> 00:17:05,119 Speaker 1: new blood like Catalina and n Ami, who are combatible 293 00:17:05,160 --> 00:17:08,280 Speaker 1: with the fungus, is the key to their survival. The 294 00:17:08,400 --> 00:17:12,440 Speaker 1: visions Nami has been experiencing are what they call the gloom, 295 00:17:12,440 --> 00:17:14,639 Speaker 1: which is essentially a hive mind or like that kind 296 00:17:14,680 --> 00:17:17,479 Speaker 1: of spiderweb thing that Catalina described in the letter at 297 00:17:17,480 --> 00:17:21,439 Speaker 1: the top. Since the mysilium is connected and bodies can 298 00:17:21,480 --> 00:17:25,959 Speaker 1: serve as mulch for it, it has absorbed the memories 299 00:17:26,000 --> 00:17:28,240 Speaker 1: of those before it, and that means that Howard can 300 00:17:28,359 --> 00:17:31,280 Speaker 1: transfer himself into a younger body. It also kind of 301 00:17:31,320 --> 00:17:34,080 Speaker 1: explains like the haunt thing. It's sort of like these 302 00:17:34,160 --> 00:17:39,280 Speaker 1: memories that you experience in the gloom. Francis tells Nami 303 00:17:39,359 --> 00:17:41,680 Speaker 1: in Spanish that he will help her gather supplies because 304 00:17:41,680 --> 00:17:46,480 Speaker 1: again they don't understand Spanish, uh, and that the tincture 305 00:17:47,000 --> 00:17:50,840 Speaker 1: disrupts the effects of the scores but must be used sparingly. 306 00:17:51,600 --> 00:17:56,160 Speaker 1: Naami is hesitant to trust him also understandable, but agrees 307 00:17:56,480 --> 00:17:59,199 Speaker 1: on the condition that he helped rescue Catalina too, and 308 00:17:59,320 --> 00:18:03,200 Speaker 1: later she also decides he should leave with them. Francis 309 00:18:03,240 --> 00:18:06,560 Speaker 1: informs her that the fungus keeps them from leaving. That 310 00:18:06,560 --> 00:18:09,359 Speaker 1: that is what happened to his father, Richard when he 311 00:18:09,400 --> 00:18:11,000 Speaker 1: tried to escape. That's how he ended up in that 312 00:18:11,040 --> 00:18:13,600 Speaker 1: ditch Um. She may be able to leave, but he 313 00:18:13,720 --> 00:18:17,080 Speaker 1: is part of the family as and much longer exposed 314 00:18:17,200 --> 00:18:20,720 Speaker 1: to this fungus, will not be able to But no 315 00:18:20,840 --> 00:18:23,720 Speaker 1: Amy does not give up and communicates with the women 316 00:18:23,760 --> 00:18:27,239 Speaker 1: before her in the gloom like through her dreams uh 317 00:18:27,440 --> 00:18:30,760 Speaker 1: to try to find a solution to this. Francis gives 318 00:18:30,760 --> 00:18:33,440 Speaker 1: her the tincture and a razor blade after she asked 319 00:18:33,440 --> 00:18:36,840 Speaker 1: for a weapon. Naami attempts an escape, but only makes 320 00:18:36,840 --> 00:18:38,760 Speaker 1: it a few meters outside before the house and the 321 00:18:38,800 --> 00:18:41,919 Speaker 1: fungus makes it feel like she can't breathe. Virgil carries 322 00:18:41,960 --> 00:18:45,680 Speaker 1: her inside and humiliates and harasses her. She is told 323 00:18:45,720 --> 00:18:48,439 Speaker 1: she must marry Francis, who in turn instructs her to 324 00:18:48,440 --> 00:18:51,320 Speaker 1: play along. That their chance of escape will be when 325 00:18:51,359 --> 00:18:57,760 Speaker 1: Howard's body dies and he transfers his consciousness into Virgil. 326 00:18:58,359 --> 00:19:01,760 Speaker 1: Um that Ruth we and all of them when she 327 00:19:02,000 --> 00:19:05,960 Speaker 1: killed some of the family and attempted to kill Howard. Right, Yeah, 328 00:19:06,240 --> 00:19:08,880 Speaker 1: Ruth is one of the daughters who hated the process. 329 00:19:08,880 --> 00:19:10,560 Speaker 1: I guess all the women kind of hated it except 330 00:19:10,560 --> 00:19:14,320 Speaker 1: for Florence correct from what I can gather, Like we 331 00:19:14,400 --> 00:19:18,080 Speaker 1: find out as later on I couldn't get a real 332 00:19:18,160 --> 00:19:21,320 Speaker 1: read on Agnes I couldn't tell if she like willingly 333 00:19:21,400 --> 00:19:27,360 Speaker 1: sacrificed herself or unwillingly. Sacrificers are all important, But yes, 334 00:19:27,480 --> 00:19:29,840 Speaker 1: the women were not happy. Ruth was one of them 335 00:19:29,880 --> 00:19:32,160 Speaker 1: that was very not happy and trying to get out. 336 00:19:32,320 --> 00:19:34,880 Speaker 1: Try to kill everybody did not work. So all these 337 00:19:34,880 --> 00:19:37,359 Speaker 1: things happened. Ruth was the voice, by the way that 338 00:19:37,440 --> 00:19:41,119 Speaker 1: said open your eyes. One of the things that that 339 00:19:41,240 --> 00:19:47,480 Speaker 1: was interesting. UM. The pair Frances and un Ami are 340 00:19:47,600 --> 00:19:51,760 Speaker 1: married and they prepared to escape. However, Frances is detained 341 00:19:52,119 --> 00:19:55,840 Speaker 1: UM and Virgil reveals he drugged them and makes clear 342 00:19:55,920 --> 00:19:59,080 Speaker 1: he desires to make Naami his Naomi fights him off, 343 00:19:59,119 --> 00:20:01,720 Speaker 1: knocks him off Uh, taking a sip of some of 344 00:20:01,760 --> 00:20:04,119 Speaker 1: the at tincture and retrieving the razor. So all this 345 00:20:04,119 --> 00:20:07,600 Speaker 1: has happened UM, while Virgil was pretty much attacking and 346 00:20:07,600 --> 00:20:10,520 Speaker 1: accosting her. Catalina has them too, and they go to 347 00:20:10,560 --> 00:20:13,680 Speaker 1: find Frances, only to discover his mother is co forcing 348 00:20:13,760 --> 00:20:16,080 Speaker 1: him to giving his body to Howard. So it was 349 00:20:16,119 --> 00:20:20,680 Speaker 1: always Francis and not Virgil. Oh dear the plan um. 350 00:20:20,800 --> 00:20:23,840 Speaker 1: No Amy tries to stop him, and Florence attacks her, 351 00:20:23,960 --> 00:20:27,520 Speaker 1: who was really strong at this point, leading to Francis 352 00:20:27,600 --> 00:20:31,960 Speaker 1: killing her row Catalina stabs Howard in the eye because 353 00:20:31,960 --> 00:20:34,320 Speaker 1: she comes awake and alive and starts stabbing the hell 354 00:20:34,359 --> 00:20:36,760 Speaker 1: out of him, and the trio flees into the mines 355 00:20:36,840 --> 00:20:39,840 Speaker 1: and tunnels as the house shutters around them, and they 356 00:20:39,840 --> 00:20:42,280 Speaker 1: feel the pain because Howard's in pain and Francis is 357 00:20:42,320 --> 00:20:47,120 Speaker 1: struggling under the influence of the fungus as well. It's bad. Yeah, 358 00:20:47,200 --> 00:20:51,280 Speaker 1: it's not good. So they find Agnes's grave and Agnes 359 00:20:51,400 --> 00:20:54,560 Speaker 1: is one of the sisters, one of Howard's sisters, um 360 00:20:54,680 --> 00:20:57,800 Speaker 1: that he that he married, Yes, that he married. They 361 00:20:57,840 --> 00:21:01,440 Speaker 1: find her grave and Naami realizes that she was sacrificed, 362 00:21:02,000 --> 00:21:05,639 Speaker 1: buried alive so that the fungus could have a human mind, 363 00:21:06,359 --> 00:21:10,320 Speaker 1: and that's something Howard like determined that it needed, was 364 00:21:10,359 --> 00:21:14,720 Speaker 1: this human mind, and she exists as a living, waking nightmare, 365 00:21:14,880 --> 00:21:17,320 Speaker 1: a body to grow spores out of so Howard can 366 00:21:17,359 --> 00:21:21,879 Speaker 1: control his family and others in their orbit. Namy It 367 00:21:21,920 --> 00:21:25,480 Speaker 1: tells her to open her eyes. She tells Agnes to 368 00:21:25,680 --> 00:21:28,680 Speaker 1: open her eyes, which yea, just as she has heard 369 00:21:28,680 --> 00:21:32,000 Speaker 1: in her visions. Virgil reveals that he always intended for 370 00:21:32,040 --> 00:21:34,359 Speaker 1: Howard to die and now wants to truly take his 371 00:21:34,400 --> 00:21:37,159 Speaker 1: place because he have. Virgil has just appeared and he 372 00:21:37,240 --> 00:21:41,440 Speaker 1: wants to use Catalina and Nami for children. Um, just 373 00:21:41,640 --> 00:21:44,720 Speaker 1: like Howard. Catalina says Virgil in the eye, and n 374 00:21:44,880 --> 00:21:48,080 Speaker 1: Amy sets the body of Agnes on fire. All the 375 00:21:48,160 --> 00:21:50,960 Speaker 1: mushrooms start to burn and the trio escapes down the mountain. 376 00:21:51,480 --> 00:21:53,840 Speaker 1: They are cared for by the local doctor, though Francis 377 00:21:53,920 --> 00:21:56,920 Speaker 1: takes several days to wake. When he does, he reveals 378 00:21:56,920 --> 00:21:59,040 Speaker 1: he has a dream of high Place in better condition 379 00:21:59,080 --> 00:22:02,240 Speaker 1: than ever. He is locked in and unable to escape 380 00:22:02,280 --> 00:22:05,080 Speaker 1: its opulence. They also kind of questioned like if you 381 00:22:05,160 --> 00:22:07,959 Speaker 1: burn mushrooms a lot of times mushrooms grow better out 382 00:22:08,000 --> 00:22:10,800 Speaker 1: of the ashes, which also gave me goose pulps. It's like, 383 00:22:10,800 --> 00:22:14,600 Speaker 1: oh um, but anyway, no Amy tells him it was 384 00:22:14,680 --> 00:22:17,200 Speaker 1: just the dream and promises to take into Mexico City 385 00:22:17,240 --> 00:22:22,320 Speaker 1: where they can be together. The end, it was ominous ending. 386 00:22:22,320 --> 00:22:37,920 Speaker 1: I was like, okay, so I must ask, do you 387 00:22:38,000 --> 00:22:40,720 Speaker 1: know anything about Hulu series? I don't. I think it's 388 00:22:40,720 --> 00:22:43,240 Speaker 1: the ten part series. That's all. Okay, So it's gonna 389 00:22:43,240 --> 00:22:45,639 Speaker 1: be a limited series. Are they gonna try to open 390 00:22:45,720 --> 00:22:47,280 Speaker 1: it up? Like a game of Thrones and we're all 391 00:22:47,320 --> 00:22:51,120 Speaker 1: gonna be disappointed. I don't know about that. I don't 392 00:22:51,119 --> 00:22:53,639 Speaker 1: think so, just checking, but it was, I mean, it 393 00:22:53,680 --> 00:22:56,000 Speaker 1: was definitely to me, it felt like it there was 394 00:22:56,080 --> 00:22:59,760 Speaker 1: room for a sequel. And this is so she did 395 00:22:59,840 --> 00:23:02,399 Speaker 1: leave the open less if they could be haunted by this, 396 00:23:02,480 --> 00:23:04,320 Speaker 1: as if there was going to be a call for them. 397 00:23:04,359 --> 00:23:07,360 Speaker 1: Because it's also like the whole legends that a lot 398 00:23:07,400 --> 00:23:10,560 Speaker 1: of the miners were burned alive on purpose or purposely 399 00:23:10,640 --> 00:23:15,120 Speaker 1: killed lead to die so they could be fertilizer for yeah, 400 00:23:16,720 --> 00:23:23,560 Speaker 1: mulch mult they were called Yeah, okay, uh, well just 401 00:23:23,560 --> 00:23:26,360 Speaker 1: get into the themes. Then, let's get into the themes. 402 00:23:26,920 --> 00:23:29,359 Speaker 1: One of the big themes, yes, is using women and 403 00:23:29,440 --> 00:23:32,680 Speaker 1: using the working class. Um So I wanted to start 404 00:23:32,680 --> 00:23:36,760 Speaker 1: with this quote. No Amy like any good sociality shot 405 00:23:36,840 --> 00:23:40,720 Speaker 1: at the Palacio, painted her lips with Elizabeth Arden lipstick, 406 00:23:40,960 --> 00:23:43,639 Speaker 1: owned a couple of very fine furs, spoke English with 407 00:23:43,640 --> 00:23:47,040 Speaker 1: remarkable ease courtesy of the nuns at the Monteseta, a 408 00:23:47,040 --> 00:23:49,680 Speaker 1: private school, of course, and was expected to devote her 409 00:23:49,720 --> 00:23:53,880 Speaker 1: time to the twin pursuits of leisure and husband hunting. Therefore, 410 00:23:54,000 --> 00:23:57,199 Speaker 1: to her father, any pleasant activity must also involve the 411 00:23:57,200 --> 00:24:00,600 Speaker 1: acquisition of a spouse. That is, she should never have 412 00:24:00,680 --> 00:24:02,879 Speaker 1: fun for the sake of having fun, but only as 413 00:24:02,920 --> 00:24:05,240 Speaker 1: a way to obtain a husband, which would have been 414 00:24:05,280 --> 00:24:08,000 Speaker 1: fine and well if father had actually liked Hugo, But 415 00:24:08,119 --> 00:24:10,960 Speaker 1: Hugo is a mere junior architect, and know Amy was 416 00:24:11,040 --> 00:24:15,720 Speaker 1: expected to aspire higher. So I want to include that 417 00:24:15,760 --> 00:24:18,440 Speaker 1: because this is right in the beginning, Hugoes, this guy 418 00:24:18,600 --> 00:24:21,880 Speaker 1: she's attracted to, she's hanging out with that this costume 419 00:24:21,920 --> 00:24:26,280 Speaker 1: party in the beginning, And I feel like this code 420 00:24:26,359 --> 00:24:28,320 Speaker 1: is a really good example of a lot of things 421 00:24:28,359 --> 00:24:31,840 Speaker 1: we talked about in persuasion. But you know this idea, 422 00:24:31,880 --> 00:24:33,119 Speaker 1: you have to get a husband, that's your whole goal. 423 00:24:33,160 --> 00:24:34,880 Speaker 1: You have to get a good husband of good standing. 424 00:24:35,320 --> 00:24:37,760 Speaker 1: But this was sort of this whole book was sort 425 00:24:37,800 --> 00:24:42,440 Speaker 1: of the like horror of that. This whole book was, Oh, 426 00:24:42,680 --> 00:24:48,040 Speaker 1: Catalina did that, and now she's trapped in this night 427 00:24:48,200 --> 00:24:53,879 Speaker 1: like living nightmare where she's basically just a just a 428 00:24:54,000 --> 00:24:58,439 Speaker 1: shell of her past self and someone to use for 429 00:24:58,520 --> 00:25:01,480 Speaker 1: money so that they can open their mine again. And 430 00:25:01,520 --> 00:25:04,160 Speaker 1: they're trying to do that to know Amy as well. 431 00:25:04,240 --> 00:25:08,120 Speaker 1: And also just somebody used to create progriate to get children. 432 00:25:09,000 --> 00:25:11,679 Speaker 1: This is like this whole statement of like, oh, you've 433 00:25:11,680 --> 00:25:13,280 Speaker 1: got to find a good husband, that's your whole point 434 00:25:13,320 --> 00:25:17,200 Speaker 1: in life. This book was like whoa, Okay, but look 435 00:25:17,280 --> 00:25:21,440 Speaker 1: at the horror right. Well, also, you have to remember 436 00:25:21,800 --> 00:25:24,639 Speaker 1: the reason she came. Yes, you wanted to save Catalina, 437 00:25:24,720 --> 00:25:27,119 Speaker 1: but the bargain was that her father was gonna let 438 00:25:27,119 --> 00:25:31,159 Speaker 1: her go to the university to continue to study anththology, 439 00:25:31,640 --> 00:25:34,160 Speaker 1: and the only way she could do this was by 440 00:25:34,160 --> 00:25:37,960 Speaker 1: doing this favor and her mother was very disappointed. And 441 00:25:38,119 --> 00:25:40,200 Speaker 1: the fact that she wanted to go and set the line, 442 00:25:40,800 --> 00:25:43,160 Speaker 1: uh that is supposed you're supposed to be a debutante 443 00:25:43,160 --> 00:25:47,440 Speaker 1: to wife and anything in between, was a distraction from 444 00:25:47,480 --> 00:25:51,200 Speaker 1: the true purpose. So like, that's the entirety, Like even 445 00:25:51,200 --> 00:25:54,960 Speaker 1: though yes, they're a little more normal, I guess it's 446 00:25:55,000 --> 00:25:58,520 Speaker 1: the word. And but like this at this point that 447 00:25:58,520 --> 00:26:01,080 Speaker 1: that's the whole purpose of when in Mexico and she 448 00:26:01,119 --> 00:26:04,120 Speaker 1: was talking about the fact that the Mexican women were 449 00:26:04,119 --> 00:26:06,960 Speaker 1: not even allowed to vote, so of course this makes sense, 450 00:26:06,960 --> 00:26:09,600 Speaker 1: this is their livelihoods. But yeah, the tragedy of it 451 00:26:09,680 --> 00:26:12,880 Speaker 1: is holy crap. Look at what happens. We become a whole, 452 00:26:12,880 --> 00:26:16,400 Speaker 1: whole trap, and we become a sacrificial to the patriarch, 453 00:26:16,760 --> 00:26:20,840 Speaker 1: which is that conversation. Yeah right, And then this is 454 00:26:20,880 --> 00:26:22,879 Speaker 1: the line girls were supposed to follow a simple life 455 00:26:22,920 --> 00:26:26,400 Speaker 1: cycle from debutante to wife to study. Further would mean 456 00:26:26,440 --> 00:26:30,360 Speaker 1: to delay the cycle to remain a crystalis inside a cocoon. 457 00:26:30,920 --> 00:26:34,840 Speaker 1: And yeah, exactly, that's that line. She was not cool 458 00:26:34,880 --> 00:26:41,479 Speaker 1: either way to being just herself. Yeah yeah, And I 459 00:26:41,520 --> 00:26:45,520 Speaker 1: think there was a part of me that when I 460 00:26:45,560 --> 00:26:49,160 Speaker 1: was reading it, like, you never really get to see 461 00:26:49,200 --> 00:26:53,480 Speaker 1: Catalina before she's induced to this state. But the way 462 00:26:53,600 --> 00:26:57,639 Speaker 1: that Nami describes her is she was a very vibrant woman, 463 00:26:58,400 --> 00:27:05,520 Speaker 1: kind very like she was a very just lively interesting person. 464 00:27:05,600 --> 00:27:07,720 Speaker 1: And now you just see her. She's in bed and 465 00:27:07,960 --> 00:27:11,760 Speaker 1: kind of like a very a very shell of herself. 466 00:27:12,400 --> 00:27:16,800 Speaker 1: And Nami I felt was a very I thought interesting, 467 00:27:17,920 --> 00:27:20,560 Speaker 1: um hero and I thought she was like, oh, she's funny, 468 00:27:20,600 --> 00:27:24,600 Speaker 1: she's witty, she's charming, she's got these uh interests and 469 00:27:24,640 --> 00:27:26,440 Speaker 1: faults and all the stuff. And I liked her a lot. 470 00:27:26,760 --> 00:27:30,000 Speaker 1: And then to see her like, again, I could be 471 00:27:30,000 --> 00:27:31,679 Speaker 1: reading way too deep into this, but to see her 472 00:27:31,760 --> 00:27:35,760 Speaker 1: kind of pulled into this marriage she did not want, 473 00:27:36,240 --> 00:27:37,879 Speaker 1: which is what happened to a lot of women. And 474 00:27:37,920 --> 00:27:40,959 Speaker 1: to hear you're going to be used for children and 475 00:27:41,000 --> 00:27:46,040 Speaker 1: that's it. To see her reduced to that, I was like, oh, 476 00:27:47,240 --> 00:27:51,000 Speaker 1: this is kind of what we were asking of women 477 00:27:51,280 --> 00:27:54,080 Speaker 1: a lot at this time in marriages. Was like, you 478 00:27:54,160 --> 00:27:59,879 Speaker 1: make yourself smaller, you reduce yourself, and you are secondary 479 00:28:00,000 --> 00:28:04,280 Speaker 1: to whatever the man, the head of the household needs. 480 00:28:04,960 --> 00:28:11,880 Speaker 1: Mhmm yeah, mm hmmmm mmm uh. Here's another quote. Mr 481 00:28:11,920 --> 00:28:14,760 Speaker 1: Vasco de Seos makes it very clear that the unattractive 482 00:28:14,800 --> 00:28:18,200 Speaker 1: will not procreate. Beauty attracts beauty, and begets beauty. It 483 00:28:18,320 --> 00:28:20,639 Speaker 1: is a means of selection. You see, I am offering 484 00:28:20,640 --> 00:28:25,240 Speaker 1: you a compliment. So this is by Howard and he's 485 00:28:25,280 --> 00:28:27,879 Speaker 1: being all creepy, which is often all the time, but 486 00:28:27,960 --> 00:28:31,280 Speaker 1: that was throughout the book too. Is kind of really 487 00:28:31,320 --> 00:28:35,159 Speaker 1: reducing people to genetics. Um, that's where this whole idea 488 00:28:35,200 --> 00:28:39,960 Speaker 1: of like superior and inferior and genetics comes in. It's 489 00:28:40,000 --> 00:28:45,040 Speaker 1: just really gross. It's just really gross to hear them 490 00:28:45,120 --> 00:28:47,240 Speaker 1: talk that way and to know that this guy has 491 00:28:47,280 --> 00:28:49,840 Speaker 1: lived a hundred years and is really looking at it 492 00:28:49,880 --> 00:28:54,560 Speaker 1: as just like, how can I prolong my life and 493 00:28:54,600 --> 00:28:57,840 Speaker 1: the life of my family. How can you play a 494 00:28:57,920 --> 00:29:01,640 Speaker 1: role in this? Right? And the thing is like, I 495 00:29:01,640 --> 00:29:03,880 Speaker 1: don't think it's just even his family, He's just his life. 496 00:29:03,920 --> 00:29:07,240 Speaker 1: So he just needs to use the children for him 497 00:29:07,280 --> 00:29:10,320 Speaker 1: to continue to live, which I thought was interesting too, 498 00:29:10,360 --> 00:29:14,920 Speaker 1: because I feel like that's you know, we've talked about 499 00:29:14,920 --> 00:29:18,520 Speaker 1: this before, but that idea of your children being more 500 00:29:19,480 --> 00:29:24,520 Speaker 1: a representative view then actually something like you're you're more 501 00:29:24,600 --> 00:29:27,880 Speaker 1: concerned about how they represent you than themselves. And that 502 00:29:28,000 --> 00:29:33,360 Speaker 1: was definitely shining through in this in this book, because yeah, 503 00:29:33,360 --> 00:29:36,160 Speaker 1: he you know, I just realized I thought Fences couldn't 504 00:29:37,240 --> 00:29:40,600 Speaker 1: be his next in line because that wasn't his kid. Yes, 505 00:29:40,640 --> 00:29:43,800 Speaker 1: it was his grandkid, but not his kid. I thought 506 00:29:43,800 --> 00:29:45,479 Speaker 1: it had to be his kid. I think they thought so, 507 00:29:45,560 --> 00:29:48,080 Speaker 1: but they were so desperate so they because they did. 508 00:29:48,280 --> 00:29:51,600 Speaker 1: Why didn't he use Virgil just for because he liked 509 00:29:51,720 --> 00:29:56,320 Speaker 1: Virgil better? So Vert right, but that was his actual kid, Yes, 510 00:29:56,800 --> 00:30:00,120 Speaker 1: but he wanted Virgil to like, he actually wan at 511 00:30:00,240 --> 00:30:02,560 Speaker 1: him to live and have his own life because he 512 00:30:02,680 --> 00:30:06,120 Speaker 1: was the quote better one. So Francis was more expendable. 513 00:30:06,880 --> 00:30:08,480 Speaker 1: So I'm gonna try it with him and if it 514 00:30:08,520 --> 00:30:10,280 Speaker 1: doesn't work, then I'm sure they would have gone pro Virgil, 515 00:30:10,320 --> 00:30:13,239 Speaker 1: which is why, probably why Virgil was like, no, I'm 516 00:30:13,280 --> 00:30:17,200 Speaker 1: going to kill this guy, because yeah, if I remember correctly, 517 00:30:17,200 --> 00:30:19,360 Speaker 1: it was never like it had to be his kid. 518 00:30:20,160 --> 00:30:23,000 Speaker 1: I think they really tried to keep it very in 519 00:30:23,080 --> 00:30:25,520 Speaker 1: the blood, and this was there like, oh god, it's 520 00:30:25,520 --> 00:30:33,680 Speaker 1: not working. We have to branch out because we're dying off. Yes, yes, 521 00:30:34,080 --> 00:30:38,440 Speaker 1: but here's another quote to underline this point. A woman's 522 00:30:38,480 --> 00:30:41,800 Speaker 1: function is to preserve the family line. And I think 523 00:30:41,840 --> 00:30:46,880 Speaker 1: that that was throughout. Yes, this idea, we need the 524 00:30:46,960 --> 00:30:52,840 Speaker 1: women to have the children, but after that, like that's 525 00:30:52,880 --> 00:30:55,880 Speaker 1: all they're they're all they're good for um. And you 526 00:30:55,920 --> 00:30:59,400 Speaker 1: see the suffering of Agnes especially which again, as I said, 527 00:30:59,440 --> 00:31:02,200 Speaker 1: I wasn't clear, and maybe it could be because I 528 00:31:02,240 --> 00:31:06,160 Speaker 1: read this in one sitting, because I was like, oh, um, 529 00:31:06,200 --> 00:31:10,160 Speaker 1: I wasn't clear. I felt like Agnes did agree to 530 00:31:10,280 --> 00:31:12,640 Speaker 1: sacrifice herself. She was like, Okay, I'll do it. But 531 00:31:12,720 --> 00:31:18,880 Speaker 1: then after because essentially involved bearing her alive and so 532 00:31:18,960 --> 00:31:21,720 Speaker 1: in that she was scraping out in that process, she 533 00:31:21,760 --> 00:31:26,200 Speaker 1: was like, Okay, maybe I didn't want this, or maybe 534 00:31:26,200 --> 00:31:30,200 Speaker 1: I was wrong, But from that the spores grow and 535 00:31:30,200 --> 00:31:33,240 Speaker 1: the mysilium grows, and so it's like her living nightmare. 536 00:31:33,280 --> 00:31:36,640 Speaker 1: But it's the pain of this one woman who's keeping 537 00:31:36,680 --> 00:31:43,120 Speaker 1: this whole thing alive. Um, and she's yeah, she's having 538 00:31:43,160 --> 00:31:47,800 Speaker 1: this nightmare. It's really pretty disturbing and descriptive of when 539 00:31:47,840 --> 00:31:50,960 Speaker 1: you finally realize what's going on and how it describes 540 00:31:51,000 --> 00:31:54,440 Speaker 1: her as just this like trapped woman who was just 541 00:31:55,720 --> 00:31:59,160 Speaker 1: in this nightmare and that's her whole existence, and like 542 00:31:59,240 --> 00:32:02,880 Speaker 1: to have that woman's pain at the suffering of all 543 00:32:02,960 --> 00:32:06,880 Speaker 1: of this at the heart of all of this, I 544 00:32:06,920 --> 00:32:15,040 Speaker 1: think is a pretty telling about how we treat women. 545 00:32:15,480 --> 00:32:18,120 Speaker 1: It's something we've talked about a lot in our horror 546 00:32:18,600 --> 00:32:21,680 Speaker 1: things about how we'll just use women's pain for all 547 00:32:21,760 --> 00:32:26,720 Speaker 1: kinds of things. In this case, Yeah, and then something 548 00:32:26,720 --> 00:32:31,440 Speaker 1: else is definitely the suffering and expendability in the minds 549 00:32:31,480 --> 00:32:34,240 Speaker 1: of this family of the working class. Because the servants 550 00:32:35,080 --> 00:32:38,760 Speaker 1: our scene is kind of like test cases for this 551 00:32:39,360 --> 00:32:43,160 Speaker 1: fungus are either they are husk like they are literally 552 00:32:43,360 --> 00:32:45,360 Speaker 1: servants that are living in the house that are just 553 00:32:46,240 --> 00:32:51,680 Speaker 1: kind of hollowed out and controlled by this fungus, and 554 00:32:51,880 --> 00:32:56,080 Speaker 1: that is what kind of props them up you've got 555 00:32:56,080 --> 00:33:01,160 Speaker 1: the miners, Yeah, who who are buried? So just using 556 00:33:01,200 --> 00:33:04,760 Speaker 1: people in that cool way and throwing them away. And 557 00:33:04,800 --> 00:33:06,880 Speaker 1: then there was a lot of stuff, especially in the beginning, 558 00:33:06,880 --> 00:33:09,200 Speaker 1: because I would say this book took a turn in 559 00:33:09,240 --> 00:33:12,920 Speaker 1: the middle about what you thought where it was going. 560 00:33:13,120 --> 00:33:17,040 Speaker 1: Maybe you knew it was ominous, but you weren't quite sure. 561 00:33:17,640 --> 00:33:19,320 Speaker 1: But there was a whole there's a whole lot of 562 00:33:19,320 --> 00:33:23,560 Speaker 1: stuff I noticed about women navigating men and social situations. 563 00:33:24,320 --> 00:33:28,320 Speaker 1: So here's a quote. I wouldn't stay demanding, exactly concerned, 564 00:33:28,360 --> 00:33:31,160 Speaker 1: more like she replied, taking care to smile, to show 565 00:33:31,240 --> 00:33:33,360 Speaker 1: him this was really a small matter that might be 566 00:33:33,400 --> 00:33:36,400 Speaker 1: easily resolved, and it must have worked for He nodded, 567 00:33:36,760 --> 00:33:38,840 Speaker 1: And I just remember reading that being like, so, yeah, 568 00:33:38,840 --> 00:33:43,080 Speaker 1: this is still we still talk about doing this stuff 569 00:33:43,120 --> 00:33:45,520 Speaker 1: as women of like you gotta put on your smile, 570 00:33:45,520 --> 00:33:48,480 Speaker 1: You've got to manage this man's anger and his expectations 571 00:33:48,480 --> 00:33:51,760 Speaker 1: and whatever. And you know at first when she first 572 00:33:51,760 --> 00:33:53,840 Speaker 1: gets there, like you know, something's off, but she's still 573 00:33:53,880 --> 00:33:56,680 Speaker 1: trying to be polite and still trying to get what 574 00:33:56,720 --> 00:34:01,040 Speaker 1: she wants by managing these people. And you just see 575 00:34:01,080 --> 00:34:04,640 Speaker 1: so many instances of her having to deal with like 576 00:34:05,480 --> 00:34:10,040 Speaker 1: real nonsense and having this fear of what will happen 577 00:34:10,080 --> 00:34:13,560 Speaker 1: if she doesn't play kate them. She definitely has to 578 00:34:14,200 --> 00:34:18,680 Speaker 1: control her temper office. Yeah. Um. And then there's another quote. 579 00:34:18,680 --> 00:34:21,640 Speaker 1: It bothered her to be thought of poorly. She wanted 580 00:34:21,680 --> 00:34:25,480 Speaker 1: to be light. Perhaps this explained the parties, the crystalline laughter, 581 00:34:25,640 --> 00:34:29,440 Speaker 1: the well clothed hair, the rehearsed smile. She thought that 582 00:34:29,480 --> 00:34:31,600 Speaker 1: men such as her father could be stern, and men 583 00:34:31,640 --> 00:34:34,560 Speaker 1: could be cold like Virgil, but women need to be 584 00:34:34,600 --> 00:34:37,960 Speaker 1: liked or they'd be in trouble. A woman who is 585 00:34:38,000 --> 00:34:40,160 Speaker 1: not light is a bitch and a bit can hardly 586 00:34:40,160 --> 00:34:46,080 Speaker 1: do anything. All avenues are close to her. Yeah right, yeah, 587 00:34:46,160 --> 00:34:48,360 Speaker 1: but she she definitely had like an inner war of 588 00:34:48,760 --> 00:34:53,200 Speaker 1: She was very strong willed, so she felt this, tried 589 00:34:53,239 --> 00:34:56,440 Speaker 1: to do this, tried to fit into this, all of 590 00:34:56,480 --> 00:35:00,160 Speaker 1: these customs and expectations around her, but in the was 591 00:35:00,239 --> 00:35:05,600 Speaker 1: ultimately like, no, I need to see my cousin. You're 592 00:35:05,640 --> 00:35:08,799 Speaker 1: not listening to me, Like got fed up. But I 593 00:35:08,840 --> 00:35:12,840 Speaker 1: did think that that was interesting. Um. And here's another quote. 594 00:35:13,040 --> 00:35:15,399 Speaker 1: And then you won't help me. You're afraid of them. Oh, 595 00:35:15,480 --> 00:35:17,120 Speaker 1: and here I am without a friend in the world. 596 00:35:17,160 --> 00:35:19,520 Speaker 1: She said, clutching her person, standing up slowly, her lip 597 00:35:19,600 --> 00:35:23,000 Speaker 1: quivering dramatically. Men always panicked when she did that, afraid 598 00:35:23,000 --> 00:35:25,719 Speaker 1: she cry. Men were always so afraid of tears, of 599 00:35:25,760 --> 00:35:29,799 Speaker 1: having a hysterical woman on their hands. I just thought 600 00:35:29,800 --> 00:35:33,480 Speaker 1: it was funny. She's clearly learned the game right well, 601 00:35:33,480 --> 00:35:37,279 Speaker 1: the woman hysterical women has been had been used again 602 00:35:37,320 --> 00:35:38,600 Speaker 1: when they were trying to when she was trying to 603 00:35:38,640 --> 00:35:41,240 Speaker 1: talk about how do I get my cousin out of here? 604 00:35:41,440 --> 00:35:45,480 Speaker 1: Think we're just too hysterically. Yeah, And I thought that 605 00:35:45,600 --> 00:35:48,120 Speaker 1: was really I liked that twist where she has that 606 00:35:48,200 --> 00:35:53,480 Speaker 1: moment of like, maybe Catalina is perfectly sane and there's 607 00:35:53,520 --> 00:35:57,600 Speaker 1: something wrong in this house. There is something wrong here. Yeah, 608 00:35:57,719 --> 00:36:00,920 Speaker 1: I really really liked that. I just note again I 609 00:36:00,960 --> 00:36:04,320 Speaker 1: thought na Amy was a badass, um if it's not clear, 610 00:36:04,960 --> 00:36:21,319 Speaker 1: I really liked her a lot. There was a lot 611 00:36:21,400 --> 00:36:23,279 Speaker 1: of stuff that we've talked about before, in horror of 612 00:36:23,320 --> 00:36:27,600 Speaker 1: not believing women, dismissing women, gosslighting women. Here's a quote 613 00:36:28,000 --> 00:36:30,200 Speaker 1: I want you to gon Amy. Virgil says, she's been 614 00:36:30,200 --> 00:36:32,920 Speaker 1: asking for you. She here being Catalina. Besides, I think 615 00:36:32,960 --> 00:36:34,920 Speaker 1: this is a matter that may be best handled by 616 00:36:34,960 --> 00:36:37,840 Speaker 1: a woman, it might turn out that this is nothing 617 00:36:38,040 --> 00:36:40,719 Speaker 1: but exaggerations and marital trouble. It's not as if your 618 00:36:40,760 --> 00:36:43,719 Speaker 1: cousin hasn't had a tendency towards the melodramatic. It might 619 00:36:43,760 --> 00:36:47,000 Speaker 1: be employed for attention. In that case, why would Catalina's 620 00:36:47,120 --> 00:36:50,719 Speaker 1: marital troubles or her melodrama concern us? She asked that 621 00:36:50,880 --> 00:36:52,960 Speaker 1: she didn't think it was fair that her father little 622 00:36:53,040 --> 00:36:57,080 Speaker 1: Catalina as melodramatic. She's lost both of her parents at 623 00:36:57,120 --> 00:36:59,640 Speaker 1: a young age. One could expect a certain amount of 624 00:36:59,640 --> 00:37:02,479 Speaker 1: turmoil after that. So this is early in the book 625 00:37:02,800 --> 00:37:05,080 Speaker 1: where noim me and her father are talking about whether 626 00:37:05,160 --> 00:37:08,960 Speaker 1: or not know Ami should go visit Catalina. And I 627 00:37:09,000 --> 00:37:11,600 Speaker 1: thought this was interesting where she's sort of immediately like 628 00:37:12,120 --> 00:37:16,480 Speaker 1: defensive of Catalina, like she's, oh, no, I agree something's 629 00:37:16,520 --> 00:37:19,520 Speaker 1: going on here. I don't think she's being melodramatic, like 630 00:37:19,560 --> 00:37:21,640 Speaker 1: maybe I don't want to deal with it, But she 631 00:37:21,719 --> 00:37:26,239 Speaker 1: does become very protective of Catalina. She's a big defender 632 00:37:26,280 --> 00:37:29,600 Speaker 1: of Catalina. She won't leave her behind. So I did 633 00:37:29,640 --> 00:37:32,319 Speaker 1: like really seeing that where she was not ever like, oh, 634 00:37:32,360 --> 00:37:34,399 Speaker 1: I think she has lost her mind or I think 635 00:37:34,880 --> 00:37:39,759 Speaker 1: she was always always thinking, oh I remember how she was. 636 00:37:39,960 --> 00:37:41,960 Speaker 1: This does not match with how I remember her, and 637 00:37:42,000 --> 00:37:45,359 Speaker 1: I'm not going to just dismiss her. So I really 638 00:37:45,360 --> 00:37:50,800 Speaker 1: liked that. Um, especially like the doctor. So the Doyles 639 00:37:50,840 --> 00:37:54,319 Speaker 1: have a doctor that they use who turns out to 640 00:37:54,360 --> 00:37:59,120 Speaker 1: be kind of like influenced by the fungus as well. Um, 641 00:37:59,200 --> 00:38:04,280 Speaker 1: and he's so dismissive of Catalina and of Nami. He's 642 00:38:04,960 --> 00:38:08,279 Speaker 1: he's a part of the family. Yes he is, but 643 00:38:08,360 --> 00:38:11,080 Speaker 1: I feel like they kind of like don't treat him 644 00:38:11,080 --> 00:38:13,480 Speaker 1: that way. But yes he is. No, yeah, he's a 645 00:38:13,840 --> 00:38:16,080 Speaker 1: like he's a descendant of them, So therefore he cleeps 646 00:38:16,120 --> 00:38:20,720 Speaker 1: close to them. Yes, um, and he's incredibly dismissive and 647 00:38:21,719 --> 00:38:24,920 Speaker 1: us to see Virgil laughing at Nami's suggestion of the psychiatrist, 648 00:38:25,120 --> 00:38:29,120 Speaker 1: which was also racist, because yes, again, this was that 649 00:38:29,200 --> 00:38:31,960 Speaker 1: whole thread through line with the Doyle family of like, oh, 650 00:38:32,000 --> 00:38:35,960 Speaker 1: the Vocals could not possibly have like a therapist, that 651 00:38:36,000 --> 00:38:39,160 Speaker 1: would be ridiculous. And then like when you see the 652 00:38:39,680 --> 00:38:45,240 Speaker 1: blurring of dreams and reality and the gas lighting, because 653 00:38:45,239 --> 00:38:47,480 Speaker 1: they knew what was going on, They knew what was happening. 654 00:38:47,520 --> 00:38:49,880 Speaker 1: To know Amy, Catalina went through the same thing. I 655 00:38:49,880 --> 00:38:51,680 Speaker 1: don't think we said it, but Catalina tried to get 656 00:38:51,680 --> 00:38:57,640 Speaker 1: away too, and just playing on like, oh, you're sleepwalking again, 657 00:38:57,719 --> 00:39:00,800 Speaker 1: or maybe something's wrong with you, Oh, maybe your stressed, 658 00:39:00,960 --> 00:39:04,080 Speaker 1: like turning it on her. They also blamed her for 659 00:39:04,520 --> 00:39:07,840 Speaker 1: Catalina's seizure, which had happened before, and they, you know, 660 00:39:08,640 --> 00:39:10,600 Speaker 1: was did not relate that part at all. They're like, what, 661 00:39:10,760 --> 00:39:12,839 Speaker 1: you knew this and you're trying to pretend like I 662 00:39:12,880 --> 00:39:14,600 Speaker 1: did this on purpose and then you said it was 663 00:39:14,640 --> 00:39:18,200 Speaker 1: opoi opioids and that was none of that. That doesn't 664 00:39:18,280 --> 00:39:21,640 Speaker 1: You are every bit as the gas letter of the 665 00:39:21,800 --> 00:39:24,120 Speaker 1: entirety of the thing, and they bade her feel so 666 00:39:24,160 --> 00:39:27,320 Speaker 1: guilty that she felt guilty and therefore was like I 667 00:39:27,400 --> 00:39:33,120 Speaker 1: almost killed my cousin. Yeah. Yeah. They were very very 668 00:39:33,160 --> 00:39:37,400 Speaker 1: effective at cast slighting, especially with the dreams, because they 669 00:39:37,400 --> 00:39:39,239 Speaker 1: would kind of try to get her to admit to 670 00:39:39,280 --> 00:39:41,000 Speaker 1: the dream and kind of succumbed to the dream, and 671 00:39:41,040 --> 00:39:42,520 Speaker 1: when she wouldn't, they would be like, oh, no, it 672 00:39:42,600 --> 00:39:45,479 Speaker 1: was just a dream, even though she had a real 673 00:39:45,560 --> 00:39:50,040 Speaker 1: sense that it wasn't and she was right, but they 674 00:39:50,040 --> 00:39:53,120 Speaker 1: would just be like, oh, no, you walked into my room. 675 00:39:53,480 --> 00:39:56,480 Speaker 1: What There was also the idea which we talked about before, 676 00:39:57,320 --> 00:40:00,400 Speaker 1: of no amy building off of the word women have 677 00:40:00,480 --> 00:40:02,359 Speaker 1: done the past. So she was able to hear these 678 00:40:02,360 --> 00:40:07,319 Speaker 1: other women like ruth Um and later Agnes and hear 679 00:40:07,480 --> 00:40:09,000 Speaker 1: like what they went through, and they would talk to 680 00:40:09,000 --> 00:40:11,920 Speaker 1: her and try to give her advice as the story progresses, 681 00:40:12,239 --> 00:40:14,480 Speaker 1: and then Naami is sort of able to take that 682 00:40:14,560 --> 00:40:18,879 Speaker 1: advice and use it for them. And yes, as we said, 683 00:40:18,920 --> 00:40:22,000 Speaker 1: feeding off of woman's pain, because that's sort of what 684 00:40:22,080 --> 00:40:28,760 Speaker 1: this whole thing was about, literally, yeah, including eating children. 685 00:40:29,239 --> 00:40:33,640 Speaker 1: Yeah yeah. And then there was a lot of weaponizing 686 00:40:33,680 --> 00:40:37,920 Speaker 1: of sexuality, especially against new Amy from what we see, 687 00:40:38,840 --> 00:40:43,000 Speaker 1: a lot of using her desires against her um because 688 00:40:43,000 --> 00:40:45,279 Speaker 1: she was which may have been planted, yes, very much 689 00:40:45,560 --> 00:40:51,360 Speaker 1: influenced by the fungus, but she was somebody who likes um. 690 00:40:51,480 --> 00:40:54,560 Speaker 1: She likes dating, and she liked being with men. If 691 00:40:54,560 --> 00:40:57,560 Speaker 1: I'm remembering quickly, she had never actually had sex because 692 00:40:57,560 --> 00:41:01,080 Speaker 1: she was too worried about the reputation san what they 693 00:41:01,080 --> 00:41:04,400 Speaker 1: would say about her. But she did like like that aspect. 694 00:41:04,760 --> 00:41:07,040 Speaker 1: She flirted, but then also she would lose interest after 695 00:41:07,120 --> 00:41:11,160 Speaker 1: a couple of days. Yeah, yeah, yeah, yeah, yeah, But um, 696 00:41:11,400 --> 00:41:15,239 Speaker 1: Virgil in particular, you see him manipulating and dehumanizing her, 697 00:41:15,560 --> 00:41:20,160 Speaker 1: harassing her, trying to make her feel certain ways. Uh, 698 00:41:20,360 --> 00:41:24,439 Speaker 1: here's a quote another pretty Girl for his collection, which 699 00:41:24,520 --> 00:41:28,040 Speaker 1: is something that was said about Howard. I believe about 700 00:41:28,239 --> 00:41:30,799 Speaker 1: no Ami, but kind of this idea of like, oh 701 00:41:30,840 --> 00:41:35,440 Speaker 1: she's pretty, let's bring her in, which, yeah, because that's 702 00:41:35,520 --> 00:41:38,680 Speaker 1: the whole Like if Francis had been possessed by Howard, 703 00:41:38,960 --> 00:41:42,640 Speaker 1: that would have made her his, which was that intent, 704 00:41:43,160 --> 00:41:46,239 Speaker 1: And then Virgil soon on talks about how he was 705 00:41:46,280 --> 00:41:48,560 Speaker 1: going to take her for himself essentially, and then when 706 00:41:48,600 --> 00:41:51,719 Speaker 1: Francis came to her rescue essentially or defense, he was 707 00:41:51,719 --> 00:41:54,399 Speaker 1: that we can share her. I was like, oh yeah, 708 00:41:54,520 --> 00:41:58,839 Speaker 1: no angry, no, no, yeah, just talking about her. Yeah, 709 00:41:59,040 --> 00:42:02,360 Speaker 1: she's an object grows asting. There was a lot of 710 00:42:02,400 --> 00:42:04,680 Speaker 1: stuff about family in here. We've already talked about a 711 00:42:04,719 --> 00:42:09,400 Speaker 1: lot of it, but yeah, um, I would recommend reading 712 00:42:09,400 --> 00:42:11,239 Speaker 1: it for more because it's sort of hard to break down. 713 00:42:11,239 --> 00:42:17,200 Speaker 1: But I mean essentially, you've got this fungus family, the 714 00:42:17,200 --> 00:42:21,839 Speaker 1: fungus family, and the drama within and uh, sort of 715 00:42:21,880 --> 00:42:25,920 Speaker 1: the tears within of ideology, and then you've got, as 716 00:42:25,920 --> 00:42:30,200 Speaker 1: I said, Naami and Catalina Anno Ami really not giving 717 00:42:30,280 --> 00:42:33,200 Speaker 1: up on Catalina. And then yes, there's a lot of 718 00:42:33,200 --> 00:42:41,799 Speaker 1: stuff about eugenics and racism, the superior inferior ideas, natural selection, immortality. Um, 719 00:42:41,880 --> 00:42:45,960 Speaker 1: there's incest, good blood versus bad blood. There's wanting to 720 00:42:46,080 --> 00:42:49,480 Speaker 1: use Catalina n Ami for different such harder your blood. 721 00:42:50,560 --> 00:42:55,520 Speaker 1: The whole idea of uh Nami and Francis speaking in 722 00:42:55,560 --> 00:42:59,520 Speaker 1: Spanish because they never bothered to learn Spanish, as in fact, 723 00:42:59,520 --> 00:43:03,280 Speaker 1: it was almost forbidden, that is forbidden in the house. 724 00:43:04,440 --> 00:43:07,400 Speaker 1: That there's a lot of imagery around the snake eating 725 00:43:07,440 --> 00:43:12,040 Speaker 1: its tail, so like it's just a circle of the 726 00:43:12,320 --> 00:43:15,759 Speaker 1: creature eating itself, which is sort of what is going 727 00:43:15,840 --> 00:43:19,560 Speaker 1: on here with trying to keep this bloodline going. And 728 00:43:19,640 --> 00:43:23,720 Speaker 1: it's all all of this is rooted in sexism, misogyny, racism, 729 00:43:23,719 --> 00:43:28,239 Speaker 1: and colonialism, this family and their immortality. Yes, and they 730 00:43:28,280 --> 00:43:31,160 Speaker 1: should be noted that they obviously the villains, and this 731 00:43:31,280 --> 00:43:35,560 Speaker 1: is the Englishman coming to Mexico to take advantage of 732 00:43:35,600 --> 00:43:39,080 Speaker 1: the silver minds which they've always made their money in. Yes, 733 00:43:39,280 --> 00:43:46,560 Speaker 1: that is bigger than a metaphorically more obvious metaphor. I 734 00:43:46,600 --> 00:43:51,360 Speaker 1: think so. And then I wanted to end on the 735 00:43:51,480 --> 00:43:55,960 Speaker 1: horror because this book is really very good, like getting 736 00:43:56,000 --> 00:43:59,640 Speaker 1: under your skin. It's really creepy. I really really enjoyed it, 737 00:43:59,680 --> 00:44:01,520 Speaker 1: so I just want to include this quote to close 738 00:44:01,520 --> 00:44:04,960 Speaker 1: it out, so you kind of get a taste of 739 00:44:04,960 --> 00:44:08,560 Speaker 1: of what's going on here. Next to Nami, the wall 740 00:44:08,600 --> 00:44:11,080 Speaker 1: had started to quiver, beating to the same rhythm as 741 00:44:11,080 --> 00:44:14,759 Speaker 1: the golden woman. Beneath her. The floorboards pulsed to a 742 00:44:14,880 --> 00:44:18,280 Speaker 1: heart alive and knowing, the golden filaments that had emerged 743 00:44:18,320 --> 00:44:20,760 Speaker 1: together with the mushrooms, covered the wall like a netting 744 00:44:20,800 --> 00:44:23,880 Speaker 1: and continued to grow. She noticed then that the woman's 745 00:44:23,960 --> 00:44:26,360 Speaker 1: dress was not made of place, but was instead woven 746 00:44:26,440 --> 00:44:29,399 Speaker 1: with the same filaments. The woman raised a gloved hand 747 00:44:29,480 --> 00:44:32,280 Speaker 1: and pointed at Naamy. She opened her mouth, but having 748 00:44:32,320 --> 00:44:34,840 Speaker 1: no mouth, since her face was a golden blur, no 749 00:44:35,000 --> 00:44:39,360 Speaker 1: words came out. Nami had not felt scared, not until now, 750 00:44:39,600 --> 00:44:42,680 Speaker 1: but this the woman attempting to speak. It made her 751 00:44:42,760 --> 00:44:46,480 Speaker 1: indescribably afraid, a fear that traveled down her spine to 752 00:44:46,520 --> 00:44:49,239 Speaker 1: the soles of her feet, forcing Naami to step back 753 00:44:49,239 --> 00:44:52,320 Speaker 1: and press her hands against her lips. She had no lips, 754 00:44:52,360 --> 00:44:54,200 Speaker 1: and when she tried to take another step back, she 755 00:44:54,280 --> 00:44:56,799 Speaker 1: realized that her feet had fused to the ground. The 756 00:44:56,880 --> 00:45:01,000 Speaker 1: golden woman reached forward, reached toward her, held Naomi's face 757 00:45:01,000 --> 00:45:03,520 Speaker 1: between her hands. The woman made a noise like the 758 00:45:03,560 --> 00:45:06,520 Speaker 1: crunching of leaves, like the dripping of water onto a pond, 759 00:45:06,760 --> 00:45:09,680 Speaker 1: like the buzzing of insects in the pitch black darkness, 760 00:45:09,760 --> 00:45:12,360 Speaker 1: and Naomi wished to press her hands against her ears, 761 00:45:12,640 --> 00:45:15,760 Speaker 1: but she had no hands anymore. Naomi opened her eyes, 762 00:45:15,920 --> 00:45:18,560 Speaker 1: drenched in sweat. For a minute, she didn't remember where 763 00:45:18,560 --> 00:45:21,120 Speaker 1: she was, and then she recalled she had been invited 764 00:45:21,160 --> 00:45:23,439 Speaker 1: to high place. She reached for the glass of water 765 00:45:23,560 --> 00:45:25,919 Speaker 1: she's left it by the bedside, and almost knocked it down. 766 00:45:26,239 --> 00:45:28,839 Speaker 1: She culped down the whole glass and then turned her head. 767 00:45:29,200 --> 00:45:32,680 Speaker 1: The room was in shadows, no light, golden or otherwise 768 00:45:32,840 --> 00:45:36,120 Speaker 1: dotted the wall surface. Nevertheless, she had an impulse to 769 00:45:36,239 --> 00:45:38,319 Speaker 1: rise and run her hands against the wall, as if 770 00:45:38,360 --> 00:45:43,359 Speaker 1: to make sure there was nothing strange lurking behind the wallpaper. Oh, 771 00:45:45,040 --> 00:45:49,040 Speaker 1: I love it, I really really enjoyed it. Um it 772 00:45:49,160 --> 00:45:56,240 Speaker 1: was very good. Yes, highly recommend Great Halloween read great 773 00:45:56,239 --> 00:46:00,719 Speaker 1: all the time, read uh to be honest, and it's 774 00:46:00,760 --> 00:46:02,279 Speaker 1: got a lot of going on that we didn't even 775 00:46:02,280 --> 00:46:06,160 Speaker 1: talk about. So yeah, check it out if you're if 776 00:46:06,160 --> 00:46:09,920 Speaker 1: you're interested and you haven't already. Um and as always 777 00:46:10,120 --> 00:46:13,920 Speaker 1: we're looking for those recommendations for our next book club. 778 00:46:14,320 --> 00:46:16,120 Speaker 1: You can send those to us at our email which 779 00:46:16,120 --> 00:46:17,640 Speaker 1: is stephaniely your mom Stuff at I Hurt me to 780 00:46:17,719 --> 00:46:19,640 Speaker 1: dot com. You can find us on Twitter at mom 781 00:46:19,680 --> 00:46:22,359 Speaker 1: Stuff Podcast or Instagram at Stuff Whenever Told You. Thanks 782 00:46:22,360 --> 00:46:25,560 Speaker 1: as always to our super producer Chris do Know, Thank you, 783 00:46:25,880 --> 00:46:28,080 Speaker 1: and thanks to you for listening Stuff I Never Told You. 784 00:46:28,080 --> 00:46:29,799 Speaker 1: S protection to buy our radio. For more podcast from 785 00:46:29,800 --> 00:46:32,200 Speaker 1: my Heart Radio, check out the Year a Apple podcast 786 00:46:32,239 --> 00:46:33,640 Speaker 1: or have you listen to your favorite shows