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

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

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Speaker 1: or do they have end individualism the patriarchy? Zef in

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Speaker 1: best start changing it with the Bell Cast. Once upon

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Speaker 1: a time there were two podcasters. But the story you

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Speaker 1: think you know about them is not right. It is

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Speaker 1: not accurate. You have some fantastical notion of this story.

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Speaker 1: But they're really just two ordinary women hosting a podcast

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Speaker 1: and there and they're living, laughing and loving. The end.

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Speaker 1: The end, the end. Okay, fine, you know what, there's

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Speaker 1: no conflict. That was a great story. I okay, well,

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Speaker 1: welcome to the back Cast. I didn't have anything that

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Speaker 1: was the best I could come up with on short notice. Honestly, listeners,

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Speaker 1: I think it's because we have covered We're having a

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Speaker 1: really Cinderella e month, and I feel like we've kind

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Speaker 1: of burned out our Cinderella themed intros because over on

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Speaker 1: the Matreon we did Ella Enchanted and a Cinderella Story

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Speaker 1: for Cinderelluary, and now we're observing Cinderelluary in February with

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Speaker 1: an amazing guest. All I had to say, we've been

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Speaker 1: introducing Cinderella episodes quite a bit lately. What's your podcasts again?

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Speaker 1: So we are the Bechtel Cast. My name is Caitlin Darante.

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Speaker 1: My name is Jamie Loftus. And again we're so we're

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Speaker 1: just ordinary women, were commoners. In fact, we're just yeah yeah,

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Speaker 1: which some people don't care about, right, And we examine

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Speaker 1: movies through an intersectional feminist lens, using the Bectel test

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Speaker 1: as a jumping off point. Jamie, ye tell me what

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Speaker 1: that is, please. While it's an ordinary media metric in

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Speaker 1: which uh um we uh it was invented by Holy

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Speaker 1: sh it is invented by queer cartoonist Alison Bechdel, sometimes

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Speaker 1: called the Bechdel Wallace Test, lots of different permutations of

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Speaker 1: the test. The one that we use requires that there

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Speaker 1: be two characters of a marginalized gender with names who

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Speaker 1: speak to each other about something other than a man

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Speaker 1: for two lines of dialogue. You're in Luck today, baby.

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Speaker 1: It's a movie that I think we were talking about

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Speaker 1: this as we were watching, Caitlin or you mentioned this.

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Speaker 1: I think barely passes the reverse Bechtel test. Yeah, there's

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Speaker 1: not a lot of men talking to each other in

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Speaker 1: this movie. And we love that love so and we

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Speaker 1: have Okay, So we have a very not just a

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Speaker 1: very popular request, but an extremely popular guest returning to

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Speaker 1: continue her mission of covering the best Cinderella adaptations on offer,

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Speaker 1: which happened to come out one year apart. Right, Yes,

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Speaker 1: and these episodes are coming out almost exactly one year apart.

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Speaker 1: Because it's true. Right around a year ago, our guest

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Speaker 1: was on for Cinderella, The Brandy and Whitney Houston one.

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Speaker 1: She's back for this episode. She is a journalist, actor,

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Speaker 1: author of the book The Pretty One on life, pop culture, disability,

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Speaker 1: and other Reasons to Fall in Love with Me, and

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Speaker 1: she's got a forthcoming children's book called Sam's Super Seats.

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Speaker 1: It's Keia Brown. Oh god, Hi, thank you for having

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Speaker 1: me back. I'm pretty much you know, force your hand,

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Speaker 1: but it was necessary. You manifested it. I did. I

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Speaker 1: quote all the YouTubers I watch. I had it on

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Speaker 1: my metaphorical vision board. I'm so thrilled that you brought

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Speaker 1: us this Cinderella adaptation in particular. We I know how

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Speaker 1: passionate you are about it, and it's um when I've

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Speaker 1: never seen before. Recovering ever after Today, Ever After parentheses.

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Speaker 1: A Cinderella Story, not to be confused with a Cinderella

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Speaker 1: Story starring Hillary Duff and Chad Michael Murray. Chad Michael Murray,

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Speaker 1: Uh sorry, yeah, I know that this is Like have

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Speaker 1: you seen the Hillary Duff Cinderella Story And if so,

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Speaker 1: how recently? Oh? I own it? Like I have the DVD.

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Speaker 1: I watched it, I'd say at the beginning of no

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Speaker 1: at the end of December. I think I watched it

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Speaker 1: on Oh my god, so very recently. I didn't seen

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Speaker 1: it in over a decade. And I like, what a messy,

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Speaker 1: interesting film. So what is your relationship with ever After? Kia? Oh?

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Speaker 1: I mean it's a masterpiece. I think it deserved oscars.

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Speaker 1: I feel like people need to see the movie, like

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Speaker 1: it's one of those movies where it's like, I don't

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Speaker 1: care how you feel about anybody in it, you still

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Speaker 1: need to watch it. Like it's It's one of those

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Speaker 1: films that I think is like the perfect intro for

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Speaker 1: people who don't know how they feel about a ram

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Speaker 1: com but I want to try them out. I think

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Speaker 1: ever After is that movie to give you you know,

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Speaker 1: your way in because it's just it's a masterpiece. It's

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Speaker 1: a Gateway drug. Yeah, like everybody has a different accent,

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Speaker 1: Like everybody in the film has the same accent. Like

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Speaker 1: it's just correct, and I think it's like beautifully casted.

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Speaker 1: And I just feel like some parts made no sense,

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Speaker 1: but it makes all the sense together, like you know

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Speaker 1: what I mean. Like ideally you'd be like, why why

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Speaker 1: do they all sound so different if they're from the

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Speaker 1: same place, But yeah, it's just beautiful. I'm obsessed with it.

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Speaker 1: It's spiritually it makes sense. I know, I was. I

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Speaker 1: was getting some I wrote down. I was like getting

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Speaker 1: some House of Gucci vibes with the accent work, because

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Speaker 1: everyone allegedly is from the same place. But but I

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Speaker 1: also like how it's like they're in France there in

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Speaker 1: Renaissance era France. The only character with the French accent

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Speaker 1: is her father, a goost, who's only on screen for

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Speaker 1: the first like five minutes, and then everyone else has

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Speaker 1: a British accent, which is five that happens in movies

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Speaker 1: all the time. I feel like movies that are specifically

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Speaker 1: catered to like Western audiences, is like everyone's British, but

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Speaker 1: they could be from anywhere in Eastern Europe. But I

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Speaker 1: feel like it keeps coming to your attention because they

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Speaker 1: keep making fun of England and America while speaking in

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Speaker 1: British accents, but they're from France and you're like, huh,

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Speaker 1: they also Spain. It's a whole thing. Look. I was confused,

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Speaker 1: but also he I totally agree with. It's like, well,

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Speaker 1: everything happening is emotionally true, and so you're just like

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Speaker 1: on board with the ride, right, You're like, you know what,

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Speaker 1: I'll just I'll do this. It's it's fine, whatever is happening,

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Speaker 1: I'm gonna let it do it, and it's just we'll

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Speaker 1: figure it out at the end. There's enough good stuff

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Speaker 1: going on. Yeah. Yeah, So like you know, you get

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Speaker 1: past the fact that it's literally nobody talks the same.

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Speaker 1: Everybody's just kind of like trying to make it work

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Speaker 1: using their like listen, I'm just gonna be charming and

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Speaker 1: lovable and you're gonna deal with it. It's fine, we'll

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Speaker 1: figure it out and make it happen. I love it

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Speaker 1: and it works and it works. Jamie, you said you

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Speaker 1: had never seen this before, correct, I hadn't. I was

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Speaker 1: kind of surprised that I hadn't. I don't know why

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Speaker 1: I hadn't. But I guess that there's just so many

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Speaker 1: Cinderella adaptations from this era that you gotta miss one

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Speaker 1: of them, and I guess this is this is the

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Speaker 1: one that I missed, and I'm bummed out because it's

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Speaker 1: so so much better than a lot of the ones

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Speaker 1: that I did get very attached to. So I'm I'm

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Speaker 1: really thrilled to have seen it now. I think it

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Speaker 1: holds up like extremely well. I had a great time

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Speaker 1: watching it. And sorry, but Flee is going off today,

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Speaker 1: so he's just going to be present in the recording. Um,

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Speaker 1: and yeah, I really enjoyed it. Caitlin, had you seen

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Speaker 1: this movie before? I forget I had, but I didn't

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Speaker 1: grow up with it. I only saw it for the

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Speaker 1: first time during the pandemic and it was after Kia

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Speaker 1: we recorded Cinderella with you. So I saw it for

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Speaker 1: the first time within the past like probably nine months,

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Speaker 1: and I can safely say it's my favorite Cinderella adaptation.

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Speaker 1: And I watched it like three times to prep for

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Speaker 1: this episode, partially because it's a very dense movie in

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Speaker 1: a good way, like it just there's a lot happening,

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Speaker 1: there's a lot to digest, there's a lot to process,

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Speaker 1: but in a way that it's just covering a lot

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Speaker 1: of ground, and like there's all this class commentary that

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Speaker 1: you're not expecting from a Cinderella movie, even though the

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Speaker 1: source material is ripe to make that kind of commentary.

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Speaker 1: But most of them don't bother with it. So it's

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Speaker 1: just like really cool. And I like the movie a lot.

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Speaker 1: I think it's well written. And oh my gosh, Angelica

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Speaker 1: Houston's eyebrows and all the work that they're doing, the costumes,

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Speaker 1: everything her eyebrowser put to work in this movie. She

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Speaker 1: really is like she's using her powers for good and

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Speaker 1: this one she and Angelica He's I'm trying to think

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Speaker 1: of who belongs in the Eyebrows Hall of Fame. I'm

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Speaker 1: going to work on this eyebrows Hall of Fame. Angelica

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Speaker 1: Houston's in there, of course, Will Poulter's in there. That's

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Speaker 1: as far as I've gotten. Well, it's a good start. Listeners,

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Speaker 1: If there's anyone that you're like, oh, this is an

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Speaker 1: obvious addition to Eyebrows Hall of Fame, please let me know.

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Speaker 1: And by that I mean I think just people who

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Speaker 1: really we lead with their eyebrows. It's an unusual acting decision.

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Speaker 1: I'll throw um. Well, I don't know if she leads

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Speaker 1: with her eyebrows, but Rachel Weiss has very prominent eyebrows.

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Speaker 1: Put her in. She's then I'm renting a space it.

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Speaker 1: This is an installation of doing um, I love it.

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Speaker 1: All right, we'll get there. Let's talk about ever after. Yes,

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Speaker 1: here's the recap. We open on an old woman telling

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Speaker 1: the brothers grim that their version of Cinderella is inaccurate

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Speaker 1: and too fantastical, but she has the real story, which

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Speaker 1: is once upon a time again. In Renaissance era France,

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Speaker 1: there was a young girl named Danielle de Barberak. She

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Speaker 1: and her father, August are very close. He has just

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Speaker 1: married a woman, a stepmother to Danielle. She's a baroness

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Speaker 1: named Rodmilla de Gent and she is Angelica Houston. She

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Speaker 1: has two daughters, Marguerite and Jacqueline. And not long after

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Speaker 1: Danielle's new step family moves into their manner, Danielle's father

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Speaker 1: dies and she is, of course devastated. Ten years pass

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Speaker 1: we then meet the King and Queen of France and

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Speaker 1: their son, Prince Henry played by do Gray Scott. Is

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Speaker 1: that his name? Who is that not? Sure, okay, I

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Speaker 1: don't think so is it what is it? Is it

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Speaker 1: doug Ray? Is it doug Ray? Doug Ray would be fun.

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Speaker 1: That's like the Margharita vill reed of that of that name.

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Speaker 1: How do you say his first name? I assumed it

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Speaker 1: was do Gray. Yeah, I don't know why I said Doury.

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Speaker 1: Let's just go with is terrible, but hey, it can

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Speaker 1: be anything we want. So Prince Henry is leaving his

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Speaker 1: tower to escape the pressures of palace life, to quote

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Speaker 1: Disney's Aladdin, because he is about to be forced into

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Speaker 1: an arranged marriage with the Princess of Spain, which he

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Speaker 1: does not want to be in. Meanwhile, Danielle is now

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Speaker 1: Drew Barrymore. And then you know, as the Cinderella story goes,

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Speaker 1: her stepmother has made her a servant in her own home.

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Speaker 1: She's cruel to Danielle. And then one day, as Danielle

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Speaker 1: is outside doing her chores, she sees a man stealing

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Speaker 1: her father's horse, so she pelts him with apples, but

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Speaker 1: then realizes that he's the Prince. He pays her to

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Speaker 1: keep quiet about having seen him, and with this money,

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Speaker 1: Danielle can buy back quote unquote Maurice one of the

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Speaker 1: servants of the house who the baroness had sold to

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Speaker 1: pay her taxes. I really enjoyed that. I don't know.

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Speaker 1: I was like, oh, this, here's a fantasy I didn't

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Speaker 1: know that I had where a man looks ridiculous in

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Speaker 1: front of you and then he throws you a bag

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Speaker 1: of money and then disappears forever. I was like, that

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Speaker 1: actually should be more of a common practice. Right, he's

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Speaker 1: doing something bad, you're punishing him. He looks like a fool,

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Speaker 1: and then he's like, please don't tell anyone you saw this.

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Speaker 1: Here's a bunch of money. I really think that that

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Speaker 1: would be a good thing. I mean, and then we

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Speaker 1: would we would all own houses, you know. Yeah, we

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Speaker 1: would be rich exactly, no debt. We can dream. So

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Speaker 1: that morning, as Danielle is serving breakfast, the Baroness is

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Speaker 1: especially cruel to Danielle, as is her daughter Marguerite played

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Speaker 1: by Megan Dodds, though the other step sister, Acculean, played

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Speaker 1: by Melanie Lynsky, seems much more sweet. I love Melanie.

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Speaker 1: I didn't know she was in this movie. She's there,

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Speaker 1: and her character is similarly bullied by the Baroness and

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Speaker 1: Marguerite then we cut back to Prince Henry, who on

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Speaker 1: his journey runs into Leonardo da Vinci as one does,

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Speaker 1: who is on his way to the castle because he

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Speaker 1: was invited to be the artists in residence. Is so wild, right,

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Speaker 1: I did not. Okay, if you, like me, hadn't seen

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Speaker 1: ever after, are you shocked to hear in this recap

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Speaker 1: that Leonardo da Vinci is And then I was like, oh,

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Speaker 1: that's an interesting But then he's there for the rest

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Speaker 1: of the movie. He's a main character. He's in many

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Speaker 1: ways the grandpa that Henry right right, like he's and

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Speaker 1: then in some ways, like there's a read of it

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Speaker 1: where it's like he's also the fairy Leonardo Nci. Other Yeah,

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Speaker 1: he is a fascinating choice. I loved it, And tell

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Speaker 1: me your thoughts on this. So we see the scene

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Speaker 1: where Danielle is throwing apples at the Prince Leonardo Davincius

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Speaker 1: in the movie the da Vinci Code is apple. Uh huh?

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Speaker 1: Is the movie trying to tell us something? It is

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Speaker 1: trying to tell us don't watch The Da Vinci Code

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Speaker 1: when it comes out, like in eight years, absolutely ridiculous

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Speaker 1: dogship movies gonna come out and everyone's gonna say it's good,

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Speaker 1: and then you're gonna watched three years later and be like,

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Speaker 1: the da Vinci code was Apple. I still can't. We

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Speaker 1: We covered that on the Matreon like a year ago,

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Speaker 1: and I'm still furious about it, like we were all

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Speaker 1: the power we gave that man, Dan Brown when the

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Speaker 1: da Vinci code was Apple is so absurd. Alfred Molina

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Speaker 1: is in it, though, and that's it's one redeeming quality,

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Speaker 1: and so we can't write it off entirely. There is

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Speaker 1: cultural significance understandable, Yes, okay, So Leonardo da Vinci is

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Speaker 1: on his way to the castle, but he is being

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Speaker 1: robbed by a band of thieves. Henry recovers the Mona

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Speaker 1: Lisa that one of the thieves was trying to steal Prince.

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Speaker 1: Henry also goes to return the horse that he had

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Speaker 1: stolen from the Baroness to the baroness, and Marguerite then

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Speaker 1: tries to dazzle the Prince. She hopes that he will

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Speaker 1: fall in love with her and marry her. Meanwhile, Danielle,

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Speaker 1: with the help of her friend Gustav, secretly borrows a

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Speaker 1: fancy dress so she can impersonate a noblewoman and go

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Speaker 1: to the castle to negotiate the buying back of Maurice,

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Speaker 1: which she successfully does, something that Prince Henry witnesses, and

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Speaker 1: he is very impressed by her passionate speech about class

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Speaker 1: and he's like, wow, who are you. What's your name?

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Speaker 1: To quote Ella Enchant, You're not like other girls, like

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Speaker 1: this movie doesn't like directly say it to you, but

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Speaker 1: there but you know, same vibe. He's like, but there's

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Speaker 1: more nuance too, because there is. There is. I don't

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Speaker 1: want to keep interrupting you, but my one of my

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Speaker 1: favorite lines of the entire movie is when he comes

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Speaker 1: to return the horse and she says, oh, she's mute,

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Speaker 1: and he's like, but she was talking to me. Just

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Speaker 1: ride and she was like, oh it comes and girls

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Speaker 1: just a pleasant perfect The movie's got jokes, yes, So

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Speaker 1: Danielle is trying to brush off Prince Henry and she

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Speaker 1: finally tells him that she's a comtesse by the name

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Speaker 1: of Nicole de Lancre, which we learned was her mother's name,

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Speaker 1: and then Danielle runs off. Danielle and Maurice returned to

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Speaker 1: the manor. There is a very nice reunion with them

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Speaker 1: and the two servant women that Danielle is very close

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Speaker 1: with Paulette and Louise. Then the King, after arguing with

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Speaker 1: Henry about this arranged marriage, decides to throw a ball

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Speaker 1: in honor of da Vinci, who again is in the

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Speaker 1: movie as a character. Um, if Henry can find love

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Speaker 1: before the ball, he can marry whoever he falls in

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Speaker 1: love with, rather than the Spanish princess. But the ball

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Speaker 1: is only five days away. Done right. The Baroness and

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Speaker 1: all the ladies of the house get invited to the ball.

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Speaker 1: So so now the Baroness is like, okay, this is

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Speaker 1: our chance to like get the prince to fall in

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Speaker 1: love with Marguerite. She bribes Toby Jones, who is making

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Speaker 1: his American film debut in this movie. Yes, he had

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Speaker 1: been in a number of like British productions, but this

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Speaker 1: is his first role in an American production. I would

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Speaker 1: say that Toby Jones is actually doing a lot of

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Speaker 1: eyebrow acting and this role also okay, so he's going

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Speaker 1: into consideration for my gallery. Amazing. So Toby Jones's character

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Speaker 1: works at the castle in some capacity. It's a page okay,

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Speaker 1: got it. The Baroness bribes him to feed her information

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Speaker 1: about what Prince Henry is doing so that Marguerite can

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Speaker 1: basically stalk Prince Henry. Then Danielle finds out about the

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Speaker 1: ball when she walks in on Marguerite about to steal

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Speaker 1: Danielle's mother's dress and shoes, and the Baroness plays it

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Speaker 1: off like, oh, Danielle, you can come to the ball too,

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Speaker 1: I guess if you're on your best behavior. Then Danielle

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Speaker 1: bumps into Prince Henry again when she's having a little swim.

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Speaker 1: I love this something about like, I feel like we've

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Speaker 1: discussed the trope. This is not the trope, though, I

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Speaker 1: would say this is an inversion of the troupe, which

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Speaker 1: didn't exist at the time. So I don't know what

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Speaker 1: I'm talking about. But there's been a recent wave of

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Speaker 1: coming of age stories where at the peak of the action,

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Speaker 1: the peak of her uncertainty, the girl dives into a

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Speaker 1: pool and it's like like it happens in Ladybird, it

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Speaker 1: happens in eighth Grade, it happens all the recent coming

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Speaker 1: of age movies. A girl's jumping into an in ground

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Speaker 1: pool and having a moment. This is the opposite. Drew

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Speaker 1: Barrymore is having a moment, but she's like floating. She's

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Speaker 1: looking at this guy. She's having a nice time, and

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Speaker 1: she's like, I don't know. I really liked that moment.

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Speaker 1: I was like, oh, I want, I want to do that.

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Speaker 1: It seems very relaxing. Here was my thought. Leonardo DiCaprio

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Speaker 1: watched this movie and he's like, Wow, someone in water

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Speaker 1: swimming around, but they're still wearing their clothes. But he's

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Speaker 1: already been at it for years at that point, he'd

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Speaker 1: been in clothes in water. That's I mean. Titanic probably

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Speaker 1: sued her and Romeo all we call this lawyer before

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Speaker 1: they left the movie theater, and was like, can I

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Speaker 1: sue for this is my intellectual property? Can you copyright

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Speaker 1: wet clothes? But it's so great though, because she was

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Speaker 1: just like they're minding her business, you know, like relaxing.

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Speaker 1: And then you're coming out of the virgie and he's

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Speaker 1: just like, hey, looks like rain. He's walking on water

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Speaker 1: because he's invented boat shoes or something. Who knows. I

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Speaker 1: love every time he's on screen. I'm like, I'm interested.

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Speaker 1: Whatever is happening. I'm interested. So Danielle bumps into Prince Henry.

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Speaker 1: They have another discussion about class. It becomes kind of flirty.

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Speaker 1: They're giggling, but then she has to run off and

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Speaker 1: get back home again. Then we meet this wealthy, creepy

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Speaker 1: guy Monsieur Le Pew literally love p you like we

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Speaker 1: get it pay l Pew Yeah, played by Richard O'Brien

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Speaker 1: of Rocky Horror Picture Show Fame. This guy has a

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Speaker 1: fixation with Danielle and he wants to marry her, slash

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Speaker 1: and trap her basically. Meanwhile, Prince Henry is kind of

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Speaker 1: going through the motions of courting Marguerite, but you can

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Speaker 1: tell he's not really interested in her because he like

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Speaker 1: someone else, surprised it's Danielle. Um. There are a couple

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Speaker 1: of instances where Prince Henry almost runs into Danielle when

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Speaker 1: she's in her commoner clothes, including when Danielle and Gustav

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Speaker 1: are in a field and she's trying to fly one

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Speaker 1: of da Vinci's kites, so she has to run back

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Speaker 1: to the manner get into a fancy dress just in

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Speaker 1: time for Henry to arrive and pay her a visit.

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Speaker 1: He then takes her to this huge library. She's dazzled

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Speaker 1: by all of the books Fairy Beauty and the Beast.

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Speaker 1: He has like a really I don't know why I

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Speaker 1: always focus on this in the scene, but like his

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Speaker 1: pants is very pronounced or whatever they had, it's very

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Speaker 1: pronounced in that scene. That is true of a lot

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Speaker 1: of this movie where whatever, like cod pieces they wore

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Speaker 1: back in the day. It's very distracting because I'm just

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Speaker 1: looking at the the giant bulge in these guys pants.

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Speaker 1: But that's yeah, it's like that said, let's not be

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Speaker 1: pointing fingers at the movie. Maybe you're just horny. Could

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Speaker 1: be sounds like me, okay. So on their way back,

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Speaker 1: the carriage breaks down and Danielle and Henry are bombarded

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Speaker 1: by the same band of thieves. Then we get that

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Speaker 1: moment where the main thief is like, you can take

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Speaker 1: anything you can carry, and then Danielle picks up Henry

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Speaker 1: and starts to carry him away, and the thieves are

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Speaker 1: like feminism alert. I liked it though. Yeah. Then the

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Speaker 1: thieves are like, all you goofs, let's be friends, and

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Speaker 1: then they all hang out and Danielle and Prince Henry

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Speaker 1: finally kiss. Meanwhile, Marguerite and the Baroness are trying to

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Speaker 1: get into the Queen's good graces, mostly by using deceit.

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Speaker 1: The Baroness uninvites Danielle from the ball after she stays

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Speaker 1: out all night, although the Baroness does not know that

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Speaker 1: daniel was with the Prince. Then Marguerite says something really

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Speaker 1: rude about Danielle's mother, so Danielle punches Marguerite in the face.

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Speaker 1: So but then Marguerite retaliates by destroying a beloved book

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Speaker 1: of Danielle's that her father gave her. Margite she he

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Speaker 1: is sorry extremely. Then the Baroness figures out that the

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Speaker 1: contests that the Prince has been spending so much time

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Speaker 1: with that all of the courtiers at the castle are

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Speaker 1: gossiping about, is in fact Danielle. And then Danielle meets

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Speaker 1: up with the Prince again and wants to tell him

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Speaker 1: that she's actually a commoner, but she can't bring herself

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Speaker 1: to do it. Back at the manner, the Baroness confronts

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Speaker 1: Danielle about pretending to be a contest and locks her

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Speaker 1: in the pantry. On the eve of the ball, no,

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Speaker 1: so it's the ball is about to happen. Henry thinks

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Speaker 1: his contest is engaged to a Belgian man, so he's

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Speaker 1: about to relent and go through with the engagement to

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Speaker 1: the Spanish princess, but Gustav grabs Leonardo da Vinci, who

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Speaker 1: breaks Danielle out of the pantry. She shows up at

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Speaker 1: the bay sentences, so weird need to draw everyone's attention

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Speaker 1: to the fact that the sentences or die. Okay, he is,

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Speaker 1: he is like, I needed to happen. I'm gonna do

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Speaker 1: what I can. Hope he's a shippers. He believes in

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Speaker 1: he does. His portrait at the end was just like

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Speaker 1: fan fiction for the time. Yeah, He's like, well, I

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Speaker 1: can conjure whatever I want, So I'm going to conjure

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Speaker 1: this ship, like incredibly use of power. Why didn't Robert

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Speaker 1: Langdon in the Da Vinci Code examine anything about that

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Speaker 1: painting and try to figure out Lawrence asking Also, we

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Speaker 1: didn't mention this, but in the framework, um, the framework

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Speaker 1: of this movie reminded me so much of the beginning

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Speaker 1: of A Portrait of a Lady on Fire, because it's

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Speaker 1: like a woman looking at longingly at a painting of

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Speaker 1: a young girl and being like, it's kind of a

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Speaker 1: funny story, actually, and then it flashes very different movies

404
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Speaker 1: unless I'm gidding. Okay, So Danielle shows up at the ball,

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Speaker 1: she's in this beautiful gown, she's in wings that Leonardo

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Speaker 1: da Vinci crafted for her. Henry is like, oh my god,

407
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Speaker 1: I love you. But then the baroness outs Danielle as

408
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Speaker 1: a servant, and then Henry is like, oh, gross, you're

409
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Speaker 1: a servant. Get away from me, which I was kind

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Speaker 1: of I didn't see that coming of him, because usually

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Speaker 1: when that happens in these adaptations. I'm not saying that

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Speaker 1: as a bad thing. I think we will get there,

413
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Speaker 1: of like why, I thought it was kind of interesting,

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Speaker 1: but usually I feel like when it's revealed that she's

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Speaker 1: a servant, he's like, but I'm so in love, I

416
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Speaker 1: don't even care. You're not like the other poor people.

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Speaker 1: So I think it's interesting that he still has a

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Speaker 1: classist reaction and then has to like look withins Yeah,

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Speaker 1: I see what you're saying. But that also makes them

420
00:28:01,920 --> 00:28:06,120
Speaker 1: getting back together harder to digest, because he's so awful

421
00:28:06,200 --> 00:28:08,240
Speaker 1: to her in that moment that I'm like, well, I

422
00:28:08,280 --> 00:28:11,080
Speaker 1: don't want her to take him back. With ten minutes

423
00:28:11,160 --> 00:28:12,920
Speaker 1: left on the run time, you're just like, oh, he's

424
00:28:12,960 --> 00:28:15,159
Speaker 1: like this class is this late in the movie? Yikes?

425
00:28:15,280 --> 00:28:17,960
Speaker 1: But yeah, I don't know, I think there's a discussion. Yeah,

426
00:28:18,240 --> 00:28:21,479
Speaker 1: I literally I feel like I have blinders on. Right

427
00:28:21,560 --> 00:28:25,399
Speaker 1: comes through that because he's so terrible to her, But

428
00:28:25,440 --> 00:28:29,600
Speaker 1: I just get so excited because I think, because spoiler

429
00:28:29,680 --> 00:28:32,880
Speaker 1: that she saved herself, right, yes, and then he's there

430
00:28:32,920 --> 00:28:34,760
Speaker 1: and I'm like, she did on her own, but like,

431
00:28:35,200 --> 00:28:37,720
Speaker 1: also get together because I'm already interested, so allowed to

432
00:28:37,800 --> 00:28:41,160
Speaker 1: do this. But I'm like, Okay, you were really bad there.

433
00:28:41,200 --> 00:28:45,640
Speaker 1: I hope you at least apologize directly, for which we

434
00:28:45,640 --> 00:28:48,600
Speaker 1: do see him do, and then he also needs to

435
00:28:48,640 --> 00:28:54,320
Speaker 1: continue to apologize and make amends for a long time

436
00:28:54,360 --> 00:28:58,720
Speaker 1: after that. Yeah, I agree, Um, okay, So he's like, oh, gross,

437
00:28:58,720 --> 00:29:02,040
Speaker 1: get away from me. Danielle runs off, and then Da

438
00:29:02,080 --> 00:29:04,760
Speaker 1: Vinci goes to Henry and he's like, you're a fool

439
00:29:04,960 --> 00:29:09,080
Speaker 1: and an asshole and you don't deserve her. Danielle back

440
00:29:09,120 --> 00:29:13,440
Speaker 1: at the manner she's humiliated and has no choice but

441
00:29:13,600 --> 00:29:17,560
Speaker 1: to resume being a servant to the Baroness. That is,

442
00:29:17,760 --> 00:29:22,440
Speaker 1: until the Baroness sells Danielle to that creepy guy, Monsieur

443
00:29:22,560 --> 00:29:26,080
Speaker 1: the Pew so gross, horrible, but he says to her

444
00:29:26,120 --> 00:29:29,480
Speaker 1: at some point in the movie, like you maybe three

445
00:29:29,560 --> 00:29:35,320
Speaker 1: times or two times my junior child child. But you

446
00:29:35,360 --> 00:29:38,320
Speaker 1: know I can, I can, Like he says, I'm well

447
00:29:38,480 --> 00:29:42,480
Speaker 1: endowed you and I can train you like a horse

448
00:29:42,600 --> 00:29:44,080
Speaker 1: or something. And I'm like, you just called her a

449
00:29:44,200 --> 00:29:47,000
Speaker 1: child and then also said you wanted her in the

450
00:29:47,080 --> 00:29:52,800
Speaker 1: exact disgusting it's intent like, and I feel like it

451
00:29:52,920 --> 00:29:56,240
Speaker 1: is kind of an example of like that we had

452
00:29:56,240 --> 00:30:00,120
Speaker 1: a name, this trope of like one man being so

453
00:30:00,440 --> 00:30:04,920
Speaker 1: egregiously evil that a guy that maybe isn't so great

454
00:30:05,040 --> 00:30:07,520
Speaker 1: looks so good by comparison, that we're not going to

455
00:30:07,640 --> 00:30:10,560
Speaker 1: examine the things that are, you know, maybe the deep

456
00:30:10,600 --> 00:30:13,560
Speaker 1: seated classism that he just yelled in your face. Well,

457
00:30:13,960 --> 00:30:17,720
Speaker 1: at least he's not Peppe Lapu, right, Like, at least

458
00:30:17,760 --> 00:30:21,640
Speaker 1: he's not threatening to rape you, right right. I mean,

459
00:30:21,640 --> 00:30:23,880
Speaker 1: I think it is like a trope that is grounded

460
00:30:24,200 --> 00:30:27,120
Speaker 1: in like the idea that two things can't be true

461
00:30:27,120 --> 00:30:29,600
Speaker 1: at the same time, where it's like there's only one

462
00:30:29,720 --> 00:30:36,640
Speaker 1: kind of bad man and it's the worst man imaginable, right, yes, bad.

463
00:30:37,480 --> 00:30:40,520
Speaker 1: So meanwhile, Henry is about to get married to the

464
00:30:40,560 --> 00:30:44,800
Speaker 1: Spanish princess, something that she also very much does not want.

465
00:30:45,360 --> 00:30:47,800
Speaker 1: So then Henry is like you know what, screw this,

466
00:30:47,880 --> 00:30:51,080
Speaker 1: We're not doing this. He releases her, and then he

467
00:30:51,120 --> 00:30:54,840
Speaker 1: sets off to find Danielle, who, meanwhile, like you said,

468
00:30:54,880 --> 00:31:00,200
Speaker 1: he manages to escape from Lipu by grabbing his ward

469
00:31:00,240 --> 00:31:02,880
Speaker 1: and daggers and being like, let me go or I

470
00:31:02,920 --> 00:31:07,240
Speaker 1: will gut you. She then leaves the castle and who

471
00:31:07,360 --> 00:31:13,280
Speaker 1: is there but Prince Henry, and he apologizes and proposes

472
00:31:13,360 --> 00:31:16,880
Speaker 1: marriage and she says yes. Then we see the Baroness

473
00:31:16,880 --> 00:31:19,800
Speaker 1: and Marguerite get their come up and basically they're invited

474
00:31:19,840 --> 00:31:23,000
Speaker 1: to the castle thinking that the prince will propose to Marguerite,

475
00:31:23,280 --> 00:31:27,880
Speaker 1: but instead they see that Danielle is the princes his wife,

476
00:31:28,520 --> 00:31:32,000
Speaker 1: and the Baroness and Marguerite are shown the same mercy

477
00:31:32,120 --> 00:31:35,800
Speaker 1: that they showed to Danielle a k A. They are

478
00:31:35,880 --> 00:31:41,440
Speaker 1: turned into servants at the castle, and then Danielle and

479
00:31:41,480 --> 00:31:46,760
Speaker 1: Henry live happily ever after. And the point is they lived.

480
00:31:47,720 --> 00:31:53,120
Speaker 1: I just need to take a second because the reveal

481
00:31:53,480 --> 00:31:57,000
Speaker 1: that they're married and he's like, Marguerite, I do believe

482
00:31:57,080 --> 00:32:01,120
Speaker 1: you've met my wife. She said about okay, and then

483
00:32:01,240 --> 00:32:03,760
Speaker 1: and then I just it's my favorite scene in the

484
00:32:03,960 --> 00:32:09,280
Speaker 1: entire movie, because Angelica Houston is acted down okay, and

485
00:32:09,320 --> 00:32:12,880
Speaker 1: she's like and and then the queen is like, oh, like,

486
00:32:12,960 --> 00:32:15,840
Speaker 1: if there's nobody here to defend you, like, it's over

487
00:32:15,880 --> 00:32:19,000
Speaker 1: for you girl. And then she's like, oh, everybody's out

488
00:32:19,040 --> 00:32:23,240
Speaker 1: of town, which great. Un She's like, She's like, yeah,

489
00:32:23,280 --> 00:32:25,040
Speaker 1: there there must be a lot of people out of town.

490
00:32:25,040 --> 00:32:28,680
Speaker 1: And then here comes Danielle and she's like, I'm gonna

491
00:32:28,760 --> 00:32:30,480
Speaker 1: let you know that I'm never gonna thank of you

492
00:32:30,560 --> 00:32:32,560
Speaker 1: again at for this moment, but you won't think of

493
00:32:32,600 --> 00:32:35,360
Speaker 1: me every day for the rest of your life. What

494
00:32:35,520 --> 00:32:39,040
Speaker 1: to read? First of all, he read her hard Miranda's

495
00:32:39,120 --> 00:32:42,080
Speaker 1: and then she was like how long will that be?

496
00:32:42,440 --> 00:32:44,479
Speaker 1: And Danielle was like, I'm just gonna give you the

497
00:32:44,520 --> 00:32:46,800
Speaker 1: same creement that you gave me. And it is just

498
00:32:47,000 --> 00:32:50,200
Speaker 1: I just love this scene so much that I feel

499
00:32:50,240 --> 00:32:54,800
Speaker 1: like I felt I felt justified, like he was Melanie

500
00:32:54,880 --> 00:32:57,280
Speaker 1: Lindskey over here, just minding her business, not in it

501
00:32:57,320 --> 00:33:02,480
Speaker 1: at all. And then like the two most terrible people

502
00:33:03,000 --> 00:33:04,880
Speaker 1: were not the most but like two of the terrible

503
00:33:04,880 --> 00:33:09,200
Speaker 1: people to Danielle actually get what they deserve. Although personally

504
00:33:09,240 --> 00:33:13,960
Speaker 1: I wanted to see them fist fight. I wanted Danielle

505
00:33:14,000 --> 00:33:19,280
Speaker 1: to fist fight bargay like that would have been perfect,

506
00:33:19,400 --> 00:33:22,520
Speaker 1: it would have fit right, like when she punched her.

507
00:33:22,560 --> 00:33:24,880
Speaker 1: I think the first time that I watched it as

508
00:33:24,920 --> 00:33:27,640
Speaker 1: a kid, I like we wound it so many times

509
00:33:27,720 --> 00:33:35,360
Speaker 1: because even then I was like, yes, she deserved what

510
00:33:35,400 --> 00:33:37,920
Speaker 1: was coming to her. She really did. Yeah, that wholes

511
00:33:38,200 --> 00:33:41,400
Speaker 1: like the baroness gets her come up and chunk at

512
00:33:41,440 --> 00:33:45,640
Speaker 1: the end, is so satisfying. Yeah, my god, I think

513
00:33:45,760 --> 00:33:50,480
Speaker 1: maybe the most satisfying of the adaptations that Yeah covered,

514
00:33:51,120 --> 00:33:55,200
Speaker 1: because it's like a weighted blanket. I feel like I'm like, yes,

515
00:33:55,280 --> 00:33:58,280
Speaker 1: I want to rest here for a while. You see

516
00:33:58,280 --> 00:34:01,800
Speaker 1: what happened, because it's like wild. I think for me

517
00:34:01,920 --> 00:34:05,640
Speaker 1: that they do that is really smart is they have

518
00:34:05,880 --> 00:34:10,279
Speaker 1: small moments where they're trying to like humanize her, you know,

519
00:34:10,320 --> 00:34:13,440
Speaker 1: when she's like kind to Danielle, but like for two

520
00:34:13,480 --> 00:34:16,680
Speaker 1: seconds and then it's over. I think it's so smart

521
00:34:16,719 --> 00:34:19,440
Speaker 1: because then they're like, oh, no, she kind of is

522
00:34:19,520 --> 00:34:22,279
Speaker 1: nice to her, but not really because and I think

523
00:34:22,280 --> 00:34:26,319
Speaker 1: it is because when the dad died, he turned to

524
00:34:26,400 --> 00:34:28,640
Speaker 1: daniel and said I love you, and she was sick

525
00:34:28,640 --> 00:34:31,400
Speaker 1: about it and had been sick about it ever since. Yeah.

526
00:34:31,520 --> 00:34:34,600
Speaker 1: I do like the way that the stepmother character. Her

527
00:34:34,640 --> 00:34:39,120
Speaker 1: behavior is contextualized more than in other adaptations. I think

528
00:34:39,160 --> 00:34:42,160
Speaker 1: that was like really effective, but still doesn't like I

529
00:34:42,480 --> 00:34:45,200
Speaker 1: like the idea that let's like they contextualize her behavior,

530
00:34:45,239 --> 00:34:47,520
Speaker 1: but they don't excuse it, which I feel like it's

531
00:34:47,560 --> 00:34:50,200
Speaker 1: a tough needle to thread that this movie does really well.

532
00:34:50,600 --> 00:34:54,120
Speaker 1: For sure, Let's take a quick break and then we'll

533
00:34:54,160 --> 00:35:04,839
Speaker 1: come back and discuss it further and we're back, all right,

534
00:35:04,920 --> 00:35:08,760
Speaker 1: we actually we start there's so much to talk about

535
00:35:08,760 --> 00:35:11,880
Speaker 1: with this movie. Well, we were just talking about Angeloicia

536
00:35:11,960 --> 00:35:16,840
Speaker 1: Houston's stepmother arc. Maybe maybe we can start there, because

537
00:35:16,880 --> 00:35:22,040
Speaker 1: I think that it's a really interesting approach to the character.

538
00:35:22,320 --> 00:35:24,360
Speaker 1: That again, it's like so much of what this movie

539
00:35:24,440 --> 00:35:27,759
Speaker 1: is doing seems like so built into the story that

540
00:35:27,840 --> 00:35:30,600
Speaker 1: it doesn't feel forced, and it makes it even more

541
00:35:30,719 --> 00:35:34,880
Speaker 1: kind of like why don't more adaptations attempt this? Because

542
00:35:35,560 --> 00:35:39,359
Speaker 1: we see that I mean in terms of like what

543
00:35:39,400 --> 00:35:43,600
Speaker 1: the stepmother's predicament is, I feel like sometimes a Cinderella story, unfortunately,

544
00:35:43,680 --> 00:35:46,839
Speaker 1: is an example of this. Her predicament is presented very

545
00:35:46,920 --> 00:35:50,120
Speaker 1: much in a void and there's no context to like

546
00:35:50,600 --> 00:35:54,640
Speaker 1: why is she mean, what is her social status? Like what?

547
00:35:54,800 --> 00:35:58,120
Speaker 1: Or like and so because of the era, like the

548
00:35:58,120 --> 00:36:00,120
Speaker 1: time and place this movie takes place in it, it's

549
00:36:00,239 --> 00:36:04,160
Speaker 1: very very clear that like this is her option. Marrying

550
00:36:04,880 --> 00:36:09,239
Speaker 1: Danielle's dad is her way to secure a life for

551
00:36:10,120 --> 00:36:13,279
Speaker 1: her and her daughters. And it seems to me, I mean,

552
00:36:13,280 --> 00:36:15,880
Speaker 1: I'm curious of what you both think. It felt like

553
00:36:15,960 --> 00:36:19,560
Speaker 1: to me that the context for why she is so

554
00:36:19,800 --> 00:36:23,320
Speaker 1: cruel to Danielle in this adaptation is that, like, it

555
00:36:23,360 --> 00:36:26,400
Speaker 1: almost seems like Danielle is like this triggering presence for

556
00:36:26,480 --> 00:36:30,560
Speaker 1: her that she wants to like suppress, and she she's

557
00:36:30,600 --> 00:36:33,080
Speaker 1: so upset that she's kind of like when when her

558
00:36:33,160 --> 00:36:35,680
Speaker 1: husband dies. She views this as like, well, now I'm

559
00:36:35,719 --> 00:36:38,440
Speaker 1: stuck here and now I'm fucked, and I'm going to

560
00:36:38,600 --> 00:36:41,440
Speaker 1: punish any reminder of the fact that this is how

561
00:36:41,520 --> 00:36:44,360
Speaker 1: I feel, and so she kind of weaponizes those feelings

562
00:36:44,880 --> 00:36:48,880
Speaker 1: against Danielle. Yeah, yeah, I see that as well. I

563
00:36:48,920 --> 00:36:51,640
Speaker 1: think the thing that I find really interesting is the

564
00:36:51,680 --> 00:36:55,799
Speaker 1: fact that she seemed to genuinely like him, right, Yeah,

565
00:36:55,880 --> 00:36:59,640
Speaker 1: Because oftentimes in these adaptations, the stop mom doesn't seem

566
00:36:59,640 --> 00:37:02,640
Speaker 1: to care that much about the person who died, you know,

567
00:37:02,800 --> 00:37:05,000
Speaker 1: And I think in this one, you get little pieces

568
00:37:05,040 --> 00:37:08,799
Speaker 1: of that, which is a nice juxtaposition between the King

569
00:37:08,840 --> 00:37:11,720
Speaker 1: and the Queen Andy and these parents who don't seem

570
00:37:11,760 --> 00:37:15,000
Speaker 1: to like each other at all. Whereas, like you see

571
00:37:15,160 --> 00:37:18,080
Speaker 1: in the very beginning when when the dad dies, she's like, well,

572
00:37:18,239 --> 00:37:21,600
Speaker 1: don't leave me here, like they're they're flirty like before

573
00:37:21,640 --> 00:37:23,919
Speaker 1: he gets to leave there like flirting with each other,

574
00:37:24,640 --> 00:37:28,160
Speaker 1: and and like he leaves and she's devastated. But I

575
00:37:28,200 --> 00:37:31,600
Speaker 1: think because she takes it out on Danielle, because Danielle

576
00:37:31,640 --> 00:37:33,360
Speaker 1: was the last person he said I love you too.

577
00:37:33,640 --> 00:37:35,960
Speaker 1: It's sort of the gates that love that she has,

578
00:37:36,440 --> 00:37:38,480
Speaker 1: you know, but it's me that it's there. It's just

579
00:37:38,520 --> 00:37:42,840
Speaker 1: like none of it matters because you're trashed this little

580
00:37:42,880 --> 00:37:45,759
Speaker 1: girl who was just like eight, You're just mean her immediately.

581
00:37:46,040 --> 00:37:48,880
Speaker 1: It's I think it's like really really well done of

582
00:37:49,000 --> 00:37:52,000
Speaker 1: like yeah, like you are. You do get why she

583
00:37:52,120 --> 00:37:55,280
Speaker 1: is upset, but like every choice she makes is cruel

584
00:37:55,480 --> 00:37:58,600
Speaker 1: and wrong, and I don't know, I's like that's more

585
00:37:58,680 --> 00:38:02,560
Speaker 1: nuanced than you get in most of these adaptations. I really,

586
00:38:02,640 --> 00:38:05,760
Speaker 1: I really liked it. Also, I was kind of curious

587
00:38:05,760 --> 00:38:08,920
Speaker 1: of like there's always this I don't know, and I

588
00:38:08,960 --> 00:38:12,920
Speaker 1: guess that no real Cinderella story like really takes a

589
00:38:12,960 --> 00:38:15,520
Speaker 1: look at this. But I mean, we're at the beginning

590
00:38:15,560 --> 00:38:19,520
Speaker 1: of every Cinderella adaptation, we're presented with like two sets

591
00:38:19,560 --> 00:38:22,719
Speaker 1: of single parents, and it's always implied like the single

592
00:38:22,800 --> 00:38:25,480
Speaker 1: dad is doing an amazing job. Um, which I think

593
00:38:25,560 --> 00:38:27,440
Speaker 1: is cool in one way because there's not a lot

594
00:38:27,440 --> 00:38:32,560
Speaker 1: of single dads in movies at all, especially single dads

595
00:38:32,560 --> 00:38:34,960
Speaker 1: of daughters. But then but then on the other hand,

596
00:38:35,000 --> 00:38:38,240
Speaker 1: it's like presenting a single moms as like a single

597
00:38:38,320 --> 00:38:42,600
Speaker 1: mom will raise her daughters to be vain and social

598
00:38:42,640 --> 00:38:46,839
Speaker 1: climate and she sucks. I don't really, I mean, that's

599
00:38:46,880 --> 00:38:48,839
Speaker 1: just something. Maybe it's just because we've watched so many

600
00:38:48,840 --> 00:38:52,359
Speaker 1: of these so close together, but yeah, I'm sure there

601
00:38:52,400 --> 00:38:55,600
Speaker 1: are there are plenty of exceptions to that, but yeah,

602
00:38:55,880 --> 00:38:59,960
Speaker 1: for sure. But it is something that the other Cinderella adaptation,

603
00:39:00,880 --> 00:39:04,239
Speaker 1: including the two we covered on the Matreon, they do

604
00:39:04,320 --> 00:39:09,319
Speaker 1: this thing where their context or their explanation for why

605
00:39:09,440 --> 00:39:15,200
Speaker 1: the stepmother is awful is that she's extremely vain and

606
00:39:15,600 --> 00:39:20,040
Speaker 1: obsessed with looking young and jealous of Cinderella and her

607
00:39:20,760 --> 00:39:26,719
Speaker 1: youthful beauty because that's just how older women are, rather

608
00:39:26,760 --> 00:39:31,160
Speaker 1: than examining anything more thoughtfully than that, and this movie

609
00:39:31,239 --> 00:39:35,840
Speaker 1: doesn't take that route, which I appreciated. Yeah, I don't know.

610
00:39:35,880 --> 00:39:40,040
Speaker 1: I like there's I think it is partly Angelica Houston's

611
00:39:40,080 --> 00:39:46,279
Speaker 1: performance and her amazing eyebrow acting and just like the

612
00:39:46,320 --> 00:39:49,919
Speaker 1: presence she commands on screen and then also do yeah,

613
00:39:50,000 --> 00:39:53,360
Speaker 1: just the way that character was written worked way better

614
00:39:53,440 --> 00:39:58,560
Speaker 1: for me than most other Cinderella adaptations. The thing that

615
00:39:58,640 --> 00:40:02,360
Speaker 1: I think is interesting why there when she calls Danielle

616
00:40:02,400 --> 00:40:05,480
Speaker 1: into her room to brush her hair, she talks about

617
00:40:05,520 --> 00:40:08,480
Speaker 1: like how her mom made her brush her hair a

618
00:40:08,480 --> 00:40:10,719
Speaker 1: bunch of times, and like there's a hint of like,

619
00:40:10,719 --> 00:40:13,000
Speaker 1: oh my mom never thought I was good enough, And

620
00:40:13,040 --> 00:40:16,320
Speaker 1: it's like you're pouring that onto Danielle, who was literally

621
00:40:16,320 --> 00:40:19,880
Speaker 1: again just a child when you met her. And I

622
00:40:19,960 --> 00:40:23,120
Speaker 1: just find it to be interesting because angelo Ka Houston

623
00:40:23,200 --> 00:40:26,759
Speaker 1: really does give this character depth in a way that

624
00:40:26,800 --> 00:40:29,640
Speaker 1: we haven't seen even in you know, My Beloved Rogers

625
00:40:29,640 --> 00:40:33,800
Speaker 1: and Hamberstein Cinderella. The most we got out of Bernard

626
00:40:33,840 --> 00:40:36,520
Speaker 1: that Peters is a nice song, you know, but I

627
00:40:36,520 --> 00:40:39,000
Speaker 1: think it's a really good song, you know. Don't get

628
00:40:39,000 --> 00:40:42,080
Speaker 1: me wrong, but I do find that, like Drew did

629
00:40:42,120 --> 00:40:43,880
Speaker 1: a really good job I don't know who wrote it,

630
00:40:43,920 --> 00:40:45,520
Speaker 1: but I know that she that was like one of

631
00:40:45,560 --> 00:40:48,759
Speaker 1: her first films for the production, but she did a

632
00:40:48,760 --> 00:40:51,520
Speaker 1: really good job of like humanizing her in a way.

633
00:40:51,560 --> 00:40:54,840
Speaker 1: And I remember reading an interview where she said people

634
00:40:54,920 --> 00:40:56,960
Speaker 1: kept calling her not to do it. They didn't want

635
00:40:56,960 --> 00:40:59,120
Speaker 1: her to do the movie at all. They said that

636
00:40:59,160 --> 00:41:01,799
Speaker 1: it was a really bad were move, and I was like, well,

637
00:41:01,840 --> 00:41:05,319
Speaker 1: thank god you didn't listen. But yeah, I just I

638
00:41:05,360 --> 00:41:08,280
Speaker 1: think that this movie is really smart because it gives

639
00:41:08,360 --> 00:41:11,480
Speaker 1: depth to characters that we are at this point I've

640
00:41:11,520 --> 00:41:15,799
Speaker 1: already seen as like caricatures of themselves really and of

641
00:41:15,880 --> 00:41:19,920
Speaker 1: this idea of a person, and it lets them just

642
00:41:20,160 --> 00:41:26,640
Speaker 1: be people. And that spans across basically all the major characters.

643
00:41:26,680 --> 00:41:28,560
Speaker 1: The last thing I wanted to say about the Baroness

644
00:41:28,760 --> 00:41:33,240
Speaker 1: was that I also found it fascinating that she targets

645
00:41:33,239 --> 00:41:38,040
Speaker 1: her cruelness depending on who she's talking to and based

646
00:41:38,080 --> 00:41:43,480
Speaker 1: on how she perceives that person can elevate her status

647
00:41:43,560 --> 00:41:45,880
Speaker 1: or elevate her situation in some way. Because she's like

648
00:41:46,920 --> 00:41:50,440
Speaker 1: very supportive of her daughter Marguerite, because she perceives Marguerite

649
00:41:50,480 --> 00:41:54,320
Speaker 1: as someone who's gonna help her move to the palace

650
00:41:54,440 --> 00:41:59,600
Speaker 1: or just like she's whatever, yeah, Whereas the Baroness is

651
00:42:00,000 --> 00:42:04,120
Speaker 1: extremely cruel to her other daughter, Jacqueline Melanie Lynsky's character.

652
00:42:04,880 --> 00:42:07,799
Speaker 1: One thing that she continually does to her is like

653
00:42:08,320 --> 00:42:13,200
Speaker 1: body and food shame her, where she tries to restrict

654
00:42:13,920 --> 00:42:17,120
Speaker 1: Jacqueline's food intake. She implies that she is not pretty

655
00:42:17,239 --> 00:42:21,000
Speaker 1: enough to warrant the attention of this is someone like

656
00:42:21,040 --> 00:42:23,680
Speaker 1: a prince um. She says that she's only going to

657
00:42:23,760 --> 00:42:26,920
Speaker 1: the ball for the food. And I appreciate that the

658
00:42:26,960 --> 00:42:31,400
Speaker 1: movie frames this behavior as despicable, which is something that

659
00:42:31,440 --> 00:42:36,040
Speaker 1: most movies of the late nineties weren't doing, because so

660
00:42:36,160 --> 00:42:40,520
Speaker 1: much of the media from this era is like very

661
00:42:40,640 --> 00:42:44,680
Speaker 1: body shamy, very fat shamy, not at all challenging that

662
00:42:44,719 --> 00:42:48,120
Speaker 1: type of normative thinking when it comes to bodies. It

663
00:42:48,239 --> 00:42:51,719
Speaker 1: was just like a given, yeah, I did, yeah, my

664
00:42:51,840 --> 00:42:53,759
Speaker 1: last that on on the Baroness, and then maybe we

665
00:42:53,800 --> 00:42:56,640
Speaker 1: should just go into the step sister stuff as well

666
00:42:56,640 --> 00:43:00,200
Speaker 1: while we're in this area. But I again, just with

667
00:43:00,320 --> 00:43:04,440
Speaker 1: the amount of like nuance and subtlety that is very

668
00:43:04,520 --> 00:43:06,439
Speaker 1: effortless to this movie, it doesn't feel like you're being

669
00:43:06,560 --> 00:43:08,359
Speaker 1: you know, bashed over the head with it at all.

670
00:43:09,040 --> 00:43:12,800
Speaker 1: Which sometimes updated fairy tales can feel and this one doesn't.

671
00:43:12,960 --> 00:43:16,160
Speaker 1: Um but I like that. Yeah, I mean going back

672
00:43:16,200 --> 00:43:19,920
Speaker 1: to what you were saying, Kia about the Baroness implying

673
00:43:20,000 --> 00:43:23,400
Speaker 1: that her mother was cruel to her, and like getting

674
00:43:23,880 --> 00:43:29,359
Speaker 1: that context and seeing that Danielle you know, that registers

675
00:43:29,400 --> 00:43:33,200
Speaker 1: for her and she knows like okay, like maybe there's

676
00:43:33,239 --> 00:43:36,600
Speaker 1: a moment of empathy, but also in that same moment,

677
00:43:37,120 --> 00:43:40,320
Speaker 1: the Baroness is you know, weaponizing that same behavior against Danielle,

678
00:43:40,360 --> 00:43:43,600
Speaker 1: and I like that. In the end, there's that other

679
00:43:43,640 --> 00:43:47,560
Speaker 1: scene where you know, it's whatever very end of second act,

680
00:43:47,560 --> 00:43:51,440
Speaker 1: all is lost, but Danielle like turns to the Baroness

681
00:43:51,440 --> 00:43:53,560
Speaker 1: and it's like did you ever love me at all?

682
00:43:53,640 --> 00:43:57,279
Speaker 1: And like it makes sense. I feel like sometimes with

683
00:43:57,400 --> 00:44:01,680
Speaker 1: like these like feminist updates of classic characters, they're not

684
00:44:01,719 --> 00:44:06,400
Speaker 1: allowed those moments of like emotional vulnerability that is so

685
00:44:06,760 --> 00:44:10,200
Speaker 1: human and it's like it's almost like they're emotionally marry

686
00:44:10,239 --> 00:44:12,400
Speaker 1: suing where they're like, yeah, I can experience all the

687
00:44:12,400 --> 00:44:16,440
Speaker 1: trauma in the world and like it doesn't affect at all,

688
00:44:17,000 --> 00:44:19,359
Speaker 1: or it's like in that moment, it's it's a small thing,

689
00:44:19,440 --> 00:44:21,640
Speaker 1: but it's like Yeah, of course Danielle would feel like this.

690
00:44:21,719 --> 00:44:24,440
Speaker 1: She's lived with this woman for you know, decades and

691
00:44:24,520 --> 00:44:28,759
Speaker 1: never experienced affection, and of course that's traumatic, and of course,

692
00:44:28,840 --> 00:44:31,080
Speaker 1: you know, deep down a lot of people would want

693
00:44:31,120 --> 00:44:35,080
Speaker 1: to believe that there was some love there and and

694
00:44:35,320 --> 00:44:38,560
Speaker 1: I like that all of that happens, and Danielle does

695
00:44:38,600 --> 00:44:41,720
Speaker 1: seem to understand the context of her stepmother and still

696
00:44:42,040 --> 00:44:45,560
Speaker 1: is like, well, I don't forgive you. Like that's another

697
00:44:45,640 --> 00:44:47,399
Speaker 1: huge thing that I feel. I feel like, I mean,

698
00:44:47,520 --> 00:44:51,000
Speaker 1: it's very character to character, and the idea of forgiveness

699
00:44:51,080 --> 00:44:54,319
Speaker 1: is so you know, there's just so much to talk about,

700
00:44:54,360 --> 00:44:56,400
Speaker 1: and I feel like there's ways you can forgive people

701
00:44:56,440 --> 00:44:58,480
Speaker 1: that are good for your mental health. But it's like

702
00:44:58,560 --> 00:45:02,000
Speaker 1: Danielle's like, no, I don't forgive you. It's like, I

703
00:45:02,000 --> 00:45:05,680
Speaker 1: don't even do that to the brig. Yeah, it's agree

704
00:45:05,960 --> 00:45:08,719
Speaker 1: because I think even in that moment that you're talking

705
00:45:08,760 --> 00:45:11,279
Speaker 1: about specifically where she asks her like, was there ever

706
00:45:11,320 --> 00:45:14,600
Speaker 1: a moment you can see something this is Angelica Houston

707
00:45:14,680 --> 00:45:17,640
Speaker 1: again just being so good at her job, where like

708
00:45:18,120 --> 00:45:21,880
Speaker 1: something in her eye changes for like a millisecond and

709
00:45:21,880 --> 00:45:24,080
Speaker 1: then she's like no, I mean, how can anybody a

710
00:45:24,120 --> 00:45:27,879
Speaker 1: pebble in their shoe, but it's like for a millisecond

711
00:45:27,920 --> 00:45:30,600
Speaker 1: you can tell she like even when and she does it.

712
00:45:30,800 --> 00:45:33,120
Speaker 1: She does it twice in the movie, I think, once

713
00:45:33,160 --> 00:45:35,520
Speaker 1: in that scene where like she like looks at her

714
00:45:35,560 --> 00:45:38,600
Speaker 1: like kind of but also, I'm not gonna let you

715
00:45:38,640 --> 00:45:41,400
Speaker 1: know that before she tells her about the pebble on

716
00:45:41,440 --> 00:45:44,080
Speaker 1: the shoe, and then again when she's brushing her hair

717
00:45:44,120 --> 00:45:46,440
Speaker 1: and she's like, come here, child, like, let me look

718
00:45:46,480 --> 00:45:49,000
Speaker 1: at you. And she looks at her and her face

719
00:45:49,040 --> 00:45:51,920
Speaker 1: softens for like again a tenth of a second, and

720
00:45:51,920 --> 00:45:55,440
Speaker 1: then she's right back to being horrible. Yeah. Oh that

721
00:45:55,520 --> 00:45:57,840
Speaker 1: was so effective to me because she's like, oh, you

722
00:45:57,880 --> 00:46:02,320
Speaker 1: have so much of your father in you. And Danielle

723
00:46:02,360 --> 00:46:05,120
Speaker 1: is very clearly touched by this and takes it as

724
00:46:05,160 --> 00:46:07,680
Speaker 1: a as a great compliment. And as soon as the

725
00:46:07,719 --> 00:46:12,239
Speaker 1: Baroness realizes that that she has done something to like

726
00:46:12,800 --> 00:46:18,359
Speaker 1: accidentally compliment Danielle, she does a one eighty and she's like, well, yeah,

727
00:46:18,400 --> 00:46:21,880
Speaker 1: it's because you have such masculine features, and you know,

728
00:46:21,960 --> 00:46:25,120
Speaker 1: you being raised by a man made it so that

729
00:46:25,160 --> 00:46:29,000
Speaker 1: you're built for hard labor and all this mean stuff.

730
00:46:29,200 --> 00:46:32,239
Speaker 1: Just like anytime she starts to have a feeling, she

731
00:46:32,440 --> 00:46:35,520
Speaker 1: turns mean and like goes to the extent of like

732
00:46:35,800 --> 00:46:38,800
Speaker 1: I'm having a feeling and so I'm going to sell

733
00:46:39,480 --> 00:46:45,000
Speaker 1: you to a molester, Like she is truly evil, And

734
00:46:45,040 --> 00:46:47,320
Speaker 1: I liked. I do like that that the movie doesn't

735
00:46:47,560 --> 00:46:52,799
Speaker 1: shy away from like how awful she can be. Yeah,

736
00:46:52,880 --> 00:46:54,480
Speaker 1: and I love that. The whole thing was like, oh

737
00:46:54,520 --> 00:46:58,200
Speaker 1: my god, you ride to the Queen about Danielle being

738
00:46:58,280 --> 00:47:01,759
Speaker 1: like so Badariel being shipped away that was the big

739
00:47:02,280 --> 00:47:04,960
Speaker 1: egregious name for them. It's like you lied to the

740
00:47:05,040 --> 00:47:08,720
Speaker 1: queen somebody like safer from being shipped after the inher

741
00:47:08,920 --> 00:47:12,279
Speaker 1: does And I'm like, she's done so much worse than

742
00:47:12,440 --> 00:47:17,759
Speaker 1: lie to you like about daniel being shipped away, like

743
00:47:17,800 --> 00:47:20,920
Speaker 1: she beat her, Like they don't show it on the

744
00:47:21,680 --> 00:47:25,680
Speaker 1: on the version where they're streaming, they skip past it,

745
00:47:26,080 --> 00:47:29,399
Speaker 1: But on the DVD, if I can find it, they

746
00:47:29,480 --> 00:47:33,240
Speaker 1: actually like you can hear her being beat oh, because

747
00:47:33,280 --> 00:47:36,480
Speaker 1: you see the aftermath of her getting lashed and like

748
00:47:36,880 --> 00:47:38,880
Speaker 1: the wounds that she has on her back. So in

749
00:47:38,920 --> 00:47:42,400
Speaker 1: the DVD version you actually see that. You can't see it,

750
00:47:42,440 --> 00:47:44,920
Speaker 1: but you hear you hear Oh, I see okay, here yeah,

751
00:47:45,040 --> 00:47:51,640
Speaker 1: which makes it even worse. Yes, she's wrong. This movie

752
00:47:52,200 --> 00:47:58,480
Speaker 1: goes there, much like Degrassive it goes there. Sorry, I

753
00:47:58,520 --> 00:48:04,160
Speaker 1: love it was beautiful to all the Degraphy fans. I

754
00:48:04,200 --> 00:48:10,440
Speaker 1: remember that tagline from two thousand and five six to Gussie,

755
00:48:10,480 --> 00:48:15,600
Speaker 1: it goes there. Um, okay, let's get because we're kind

756
00:48:15,600 --> 00:48:17,719
Speaker 1: of in this area of the story. Anyways, let's talk

757
00:48:17,719 --> 00:48:20,560
Speaker 1: a little bit about Marguerite and Jacqueline. I don't really

758
00:48:20,560 --> 00:48:24,120
Speaker 1: know how much there is to talk about Margarite. Like,

759
00:48:24,640 --> 00:48:27,560
Speaker 1: I think it's interesting that in all of these adaptations

760
00:48:27,600 --> 00:48:31,360
Speaker 1: there's always like the alpha stepsister and the beta step

761
00:48:31,400 --> 00:48:34,960
Speaker 1: sister as it's presented to us and Marguerite. I think

762
00:48:34,960 --> 00:48:39,840
Speaker 1: that what is like more clearly telegraphed in Marguerite's case

763
00:48:40,080 --> 00:48:43,400
Speaker 1: is that, yes, she is the favorite daughter by her mother.

764
00:48:43,520 --> 00:48:46,399
Speaker 1: But like you were saying, Caitlin, it's just because her

765
00:48:46,440 --> 00:48:48,600
Speaker 1: mother sees her as a means to an end. It's

766
00:48:48,640 --> 00:48:53,480
Speaker 1: not actually like I love my daughter so much and

767
00:48:53,520 --> 00:48:57,080
Speaker 1: I hate my other daughter. Like it's clear that the

768
00:48:57,120 --> 00:49:02,240
Speaker 1: Baroness is going to be kind to anyone she finds useful,

769
00:49:02,400 --> 00:49:07,279
Speaker 1: and Marguerite is the daughter she finds useful, and you

770
00:49:07,320 --> 00:49:11,600
Speaker 1: can already see like there's just like this wild generational

771
00:49:11,640 --> 00:49:13,920
Speaker 1: trauma story going on with them, because you can already

772
00:49:13,920 --> 00:49:17,919
Speaker 1: see Marguerite taking on those negative qualities that her mother

773
00:49:18,000 --> 00:49:22,440
Speaker 1: has to get through her life. So I have so

774
00:49:22,520 --> 00:49:29,160
Speaker 1: many thoughts. Okay, so Marguerite the acter she plays Marguerite,

775
00:49:29,200 --> 00:49:31,520
Speaker 1: I wish her the best in life. I hope that

776
00:49:31,560 --> 00:49:35,440
Speaker 1: she's prospering. But Marguerite the character, oh, I want the worst.

777
00:49:35,680 --> 00:49:37,920
Speaker 1: I have never in my life. I was like, if

778
00:49:37,920 --> 00:49:40,600
Speaker 1: I could jump into this TV and cite her, I

779
00:49:40,640 --> 00:49:43,640
Speaker 1: would do it because I find that like the thing

780
00:49:43,719 --> 00:49:46,720
Speaker 1: that I find the most interesting about the two step

781
00:49:46,800 --> 00:49:50,480
Speaker 1: sisters is that the Baroness looks the most like Jacky

782
00:49:50,800 --> 00:49:53,719
Speaker 1: right to me, it looks nothing like Marguerite. And I

783
00:49:53,760 --> 00:49:57,359
Speaker 1: think that's on purpose, because I think it's basically a

784
00:49:57,400 --> 00:50:01,319
Speaker 1: commentary about how the aaronas wants to be so far

785
00:50:01,440 --> 00:50:05,600
Speaker 1: removed from herself that it makes sense that she has

786
00:50:05,640 --> 00:50:08,080
Speaker 1: this idea of who she should be and what her

787
00:50:08,120 --> 00:50:10,200
Speaker 1: life should be like. And Marguarite is closer to that

788
00:50:11,239 --> 00:50:16,279
Speaker 1: than Jacqueline is, because she's sort of the like Jacqueline

789
00:50:16,320 --> 00:50:19,080
Speaker 1: is sort of a mirror to her physically of what

790
00:50:19,280 --> 00:50:23,200
Speaker 1: like she is now and Marguarite can be the thing

791
00:50:23,239 --> 00:50:26,759
Speaker 1: that she's after. But I do find very interesting is

792
00:50:26,800 --> 00:50:32,080
Speaker 1: the relationship between Marguarite and Jacqueline. Like Margarite is so

793
00:50:32,200 --> 00:50:34,719
Speaker 1: nasty to her in like small ways, you know, not

794
00:50:34,800 --> 00:50:37,480
Speaker 1: only is the mom calling her fat and saying she's

795
00:50:37,520 --> 00:50:40,400
Speaker 1: only there for the food, Margarite is laughing and like

796
00:50:40,440 --> 00:50:42,799
Speaker 1: going along with it. And there's also a point in

797
00:50:42,800 --> 00:50:44,560
Speaker 1: the movie that I don't think we talked about where

798
00:50:45,360 --> 00:50:49,239
Speaker 1: Danielle is like hungover and the mom's like, go make

799
00:50:49,400 --> 00:50:51,960
Speaker 1: us breakfast or eggs or whatever. It was like approach

800
00:50:52,040 --> 00:50:54,360
Speaker 1: take something, and she's like, you have two hands, go

801
00:50:54,520 --> 00:50:58,000
Speaker 1: do it yourself. And they made Jacqueline go do it.

802
00:50:58,719 --> 00:51:00,799
Speaker 1: She's like, oh, go boil the water like you though,

803
00:51:01,239 --> 00:51:04,719
Speaker 1: And Jack was like, so what about Danielle, which I

804
00:51:04,760 --> 00:51:07,439
Speaker 1: think was like a moment for her, But I still

805
00:51:07,440 --> 00:51:10,359
Speaker 1: love her to pieces because I think she showed up

806
00:51:10,360 --> 00:51:12,080
Speaker 1: for her what she needed to. But I also find

807
00:51:12,080 --> 00:51:15,120
Speaker 1: it really funny how immediately with Danielle was like I'm

808
00:51:15,160 --> 00:51:16,880
Speaker 1: not getting up, don't make me do it. She was

809
00:51:16,920 --> 00:51:19,160
Speaker 1: like okay, well, Jaquil, and you know what you have

810
00:51:19,239 --> 00:51:20,880
Speaker 1: to do. I get in the kitchen, you know, go

811
00:51:21,000 --> 00:51:23,480
Speaker 1: brow the water. And I just think that that's so

812
00:51:23,560 --> 00:51:27,200
Speaker 1: funny because even though that it's often the tropher is

813
00:51:27,280 --> 00:51:30,879
Speaker 1: like there's one good daughter and one bad one. It's

814
00:51:30,960 --> 00:51:35,120
Speaker 1: interesting how immediately she's treated as close to Danielle as

815
00:51:35,160 --> 00:51:40,040
Speaker 1: possible when Danielle was like predisposed or not there or something,

816
00:51:41,360 --> 00:51:46,200
Speaker 1: which I think also bonds both Danielle and Jacqueline. I

817
00:51:46,239 --> 00:51:50,360
Speaker 1: love every word of that's honestly, I hadn't considered the

818
00:51:50,640 --> 00:51:54,719
Speaker 1: specific but but it totally tracks like I hadn't considered

819
00:51:55,640 --> 00:52:00,759
Speaker 1: why the Baroness is so particularly aggressive to its Jacqueline,

820
00:52:00,760 --> 00:52:03,919
Speaker 1: and that totally scans for me as to like why

821
00:52:04,000 --> 00:52:06,000
Speaker 1: she would turn on And I think if that's something

822
00:52:06,000 --> 00:52:08,319
Speaker 1: that happens in real life all the time, where it's like,

823
00:52:09,120 --> 00:52:13,200
Speaker 1: you know, emotionally unhealthy people tend to lash out against

824
00:52:13,239 --> 00:52:15,520
Speaker 1: people who remind them of themselves if they're a self

825
00:52:15,520 --> 00:52:18,799
Speaker 1: clathing person, which clearly the Baroness has a lot of

826
00:52:18,840 --> 00:52:23,560
Speaker 1: issues with. I mean, you know, it's medieval France and

827
00:52:23,600 --> 00:52:27,400
Speaker 1: they're not going to therapy is so all those emotions

828
00:52:27,400 --> 00:52:31,520
Speaker 1: are just getting sharp blasted out at every other woman

829
00:52:31,600 --> 00:52:36,960
Speaker 1: in the area. Um. I believe that's a medical term

830
00:52:37,000 --> 00:52:39,799
Speaker 1: and Jacqueline is getting I mean, Danielle and Jacqueline are

831
00:52:39,800 --> 00:52:48,800
Speaker 1: getting sprayed with the most shart. So with that in mind, uh,

832
00:52:48,840 --> 00:52:51,360
Speaker 1: but I do like and and this is the only

833
00:52:51,520 --> 00:52:54,239
Speaker 1: I think. Let me know if I'm missing here, but

834
00:52:54,600 --> 00:52:58,760
Speaker 1: I think that this is the only adaptation that gives

835
00:52:59,440 --> 00:53:03,879
Speaker 1: the quote un quote beta sister a story and and

836
00:53:03,960 --> 00:53:06,200
Speaker 1: not just a story, but an arc that ends with

837
00:53:06,320 --> 00:53:10,360
Speaker 1: her better off and like gone on this emotional journey

838
00:53:10,520 --> 00:53:14,319
Speaker 1: where she's rejecting, you know, the cruel behavior of her

839
00:53:14,360 --> 00:53:17,960
Speaker 1: own mother. I thought it was really great, and it's

840
00:53:18,000 --> 00:53:20,399
Speaker 1: like I feel like it's also I don't know, I mean,

841
00:53:20,640 --> 00:53:22,960
Speaker 1: I feel like it's implied at the end of like, well,

842
00:53:23,040 --> 00:53:26,560
Speaker 1: Jacqueline and Danielle aren't going to be like best friends,

843
00:53:26,960 --> 00:53:30,560
Speaker 1: but they're not. And but they're not gonna like hang

844
00:53:30,600 --> 00:53:33,319
Speaker 1: out because why you know, right, Like I wouldn't want

845
00:53:33,320 --> 00:53:34,680
Speaker 1: to hear out what they're either. But I feel like

846
00:53:35,320 --> 00:53:38,040
Speaker 1: they set it up really well because Jacqueline is the

847
00:53:38,040 --> 00:53:40,600
Speaker 1: one that tends to her after her mom beats her.

848
00:53:41,480 --> 00:53:44,399
Speaker 1: Jacqueline is the one that's like, I'll never forget how

849
00:53:44,440 --> 00:53:48,799
Speaker 1: Marguerite's legs throw up between like that, and they're like laughing. Well,

850
00:53:48,880 --> 00:53:52,040
Speaker 1: she's taking care of her. And I think that, aside

851
00:53:52,080 --> 00:53:55,480
Speaker 1: from the two older lady servants that Dannielle was closest to,

852
00:53:56,040 --> 00:53:59,759
Speaker 1: no one takes care of Daniel right aside from those

853
00:53:59,760 --> 00:54:01,840
Speaker 1: two and like goose stuff. And I think it was

854
00:54:01,920 --> 00:54:04,319
Speaker 1: really smart of them to do that so that by

855
00:54:04,360 --> 00:54:07,279
Speaker 1: the time we get to a place where Okay, we're

856
00:54:07,280 --> 00:54:11,279
Speaker 1: gonna punish Marguerite and the baroness, like what do we

857
00:54:11,320 --> 00:54:13,719
Speaker 1: do with Jacqueline, It's like, oh, it makes sense to

858
00:54:13,920 --> 00:54:16,120
Speaker 1: just pop her off on the side. She has her

859
00:54:16,120 --> 00:54:19,080
Speaker 1: own little maybe romance. There's a lot of nods to that,

860
00:54:19,160 --> 00:54:21,319
Speaker 1: which I thought was really sweet. I thought I thought

861
00:54:21,320 --> 00:54:24,640
Speaker 1: that was fun. And I just think that I think

862
00:54:24,640 --> 00:54:27,680
Speaker 1: that their relationship to each other is more like, I'm

863
00:54:27,680 --> 00:54:29,960
Speaker 1: gonna let you go of your life, have your fun

864
00:54:30,040 --> 00:54:33,200
Speaker 1: with you know, my man's right hand man, do whatever

865
00:54:33,280 --> 00:54:35,719
Speaker 1: y'all want. I'm just gonna go live happily and right after.

866
00:54:36,239 --> 00:54:38,239
Speaker 1: But your sister and your mom are not going to

867
00:54:38,320 --> 00:54:43,560
Speaker 1: get the same treatment. Yeah, I both step sisters. The

868
00:54:43,600 --> 00:54:48,319
Speaker 1: way they're characterized, I thought was really well done in

869
00:54:48,360 --> 00:54:52,680
Speaker 1: the sense that Marguerite was the type of shitty person

870
00:54:52,800 --> 00:54:57,319
Speaker 1: that that is who benefits from her mother favoring her

871
00:54:57,600 --> 00:55:02,480
Speaker 1: over her sister, and a shitty person will revel in

872
00:55:02,520 --> 00:55:05,319
Speaker 1: that rather than make any attempt to like stand up

873
00:55:05,320 --> 00:55:09,839
Speaker 1: for her sister who's being abused and mistreated. And that's

874
00:55:09,880 --> 00:55:13,399
Speaker 1: just the type of person that Marguerite is, And there

875
00:55:13,400 --> 00:55:15,520
Speaker 1: are plenty of people like that in real life, so

876
00:55:15,560 --> 00:55:18,719
Speaker 1: it doesn't seem like a stretcher. Doesn't seem like, you know, oh,

877
00:55:18,800 --> 00:55:22,320
Speaker 1: no one is this cruel in real life. These people exist.

878
00:55:22,840 --> 00:55:29,080
Speaker 1: And then with Jacqueline, she is used to this upscale

879
00:55:29,120 --> 00:55:33,960
Speaker 1: life of coming from noble blood, so she's still like

880
00:55:34,160 --> 00:55:39,680
Speaker 1: in a station above Danielle, but is being similarly mistreated

881
00:55:40,239 --> 00:55:43,839
Speaker 1: by her mother and her sister, and we just kind

882
00:55:43,880 --> 00:55:48,000
Speaker 1: of see how that is chipping away at her. So

883
00:55:48,040 --> 00:55:51,279
Speaker 1: even though like, I don't know, like that worked for

884
00:55:51,320 --> 00:55:54,360
Speaker 1: me as far as she isn't as quick to like

885
00:55:54,480 --> 00:55:58,720
Speaker 1: jump to Danielle's defense at first, because again she's also

886
00:55:58,760 --> 00:56:02,240
Speaker 1: benefiting from this life of more of like higher class

887
00:56:02,440 --> 00:56:05,880
Speaker 1: and noble blood and all of that stuff. But then

888
00:56:05,960 --> 00:56:09,680
Speaker 1: as time goes on and like the way she's mistreated

889
00:56:10,360 --> 00:56:15,120
Speaker 1: makes her kind of realize, oh, I'm actually royal blood.

890
00:56:15,160 --> 00:56:21,520
Speaker 1: Wise i am quote unquote elevated above Danielle. But as

891
00:56:21,560 --> 00:56:24,680
Speaker 1: far as like the way I'm treated, we're basically peers.

892
00:56:24,880 --> 00:56:27,600
Speaker 1: So it actually makes sense for me to ally myself

893
00:56:27,719 --> 00:56:31,279
Speaker 1: with Danielle and try to like get out of this

894
00:56:31,719 --> 00:56:34,759
Speaker 1: abusive situation. And this is all done with like relatively

895
00:56:34,840 --> 00:56:36,759
Speaker 1: little screen time to like I feel like it's like

896
00:56:36,800 --> 00:56:39,960
Speaker 1: she's characterized so effectively and such. I feel like at

897
00:56:39,960 --> 00:56:41,840
Speaker 1: the time we've spent talking about her is maybe the

898
00:56:41,920 --> 00:56:45,959
Speaker 1: amount of time she's on screen for the whole Yeah,

899
00:56:46,000 --> 00:56:48,840
Speaker 1: I mean, and it's like whatever that I I really

900
00:56:49,000 --> 00:56:52,880
Speaker 1: enjoy the like the couple of you know, nineties movie

901
00:56:52,920 --> 00:56:55,439
Speaker 1: one liners you get towards the end of the movie

902
00:56:55,560 --> 00:56:57,840
Speaker 1: and she gets one of them where you know, the

903
00:56:57,840 --> 00:57:01,200
Speaker 1: Baroness turns to her and then you Jacqueline says, I'm

904
00:57:01,239 --> 00:57:03,640
Speaker 1: only here for the food, and then you're like, okay.

905
00:57:03,719 --> 00:57:06,440
Speaker 1: So she got her mic drop moment. Danielle gets her

906
00:57:06,520 --> 00:57:10,160
Speaker 1: mic drop moment, like everyone's dropping their little microphones against

907
00:57:10,200 --> 00:57:12,560
Speaker 1: the baroness and then the baroness like the floor opens

908
00:57:12,640 --> 00:57:15,480
Speaker 1: up and she goes to work, you know, for the

909
00:57:15,480 --> 00:57:19,120
Speaker 1: first time in her life. Um, but it's satisfied. Yeah,

910
00:57:19,120 --> 00:57:23,920
Speaker 1: I thought, like, there's so much more to the stepmother

911
00:57:23,960 --> 00:57:27,440
Speaker 1: and stepsisters in a way that is effective and also

912
00:57:27,560 --> 00:57:31,840
Speaker 1: doesn't let them get away with their ship, which not

913
00:57:31,960 --> 00:57:34,960
Speaker 1: easy to do. I thought it was awesome. Yeah, yeah,

914
00:57:35,000 --> 00:57:37,160
Speaker 1: I think so too. And I feel like a lot

915
00:57:37,200 --> 00:57:39,960
Speaker 1: of movies in general, but a lot of Cinderella movies

916
00:57:40,000 --> 00:57:43,360
Speaker 1: now are like we have to redeem you know, the

917
00:57:43,400 --> 00:57:46,320
Speaker 1: stepmom and make them like likable and and I'm like,

918
00:57:46,440 --> 00:57:50,640
Speaker 1: I like, I I prefer when we have movies in

919
00:57:50,680 --> 00:57:53,200
Speaker 1: general where like you just like it would be bad

920
00:57:53,320 --> 00:57:56,200
Speaker 1: without having to feel like, oh, let me redeem them,

921
00:57:56,240 --> 00:57:59,200
Speaker 1: Like I think I felt that way about the movie Coulola.

922
00:58:00,040 --> 00:58:02,000
Speaker 1: I felt like we didn't really need to. We don't

923
00:58:02,000 --> 00:58:05,960
Speaker 1: need to redeem her. And I think that like, just

924
00:58:06,040 --> 00:58:08,200
Speaker 1: let her be bad, like either way, Like I'm sorry

925
00:58:08,200 --> 00:58:13,000
Speaker 1: that her mom died because dalmatians attacked her, like were

926
00:58:13,040 --> 00:58:15,040
Speaker 1: winning because she didn't get out of the way. But

927
00:58:15,240 --> 00:58:19,480
Speaker 1: that happens, I haven't seen it. That's so goofy. We

928
00:58:19,480 --> 00:58:23,120
Speaker 1: don't want to swallow you. Then I'm sorry. No, that

929
00:58:23,200 --> 00:58:26,440
Speaker 1: just makes me laugh so much? Is it? Is? It

930
00:58:26,600 --> 00:58:29,080
Speaker 1: like there's and they're serious about it. They're like, she

931
00:58:29,120 --> 00:58:32,640
Speaker 1: has dalmatian related trauma. They're so serious about it like

932
00:58:32,680 --> 00:58:37,720
Speaker 1: maybe the most serious so funn I mean, when someone

933
00:58:37,760 --> 00:58:40,640
Speaker 1: goes that one to one, I'm like, you know what,

934
00:58:41,080 --> 00:58:42,880
Speaker 1: I guess I gotta hand it to you because that

935
00:58:43,160 --> 00:58:46,520
Speaker 1: is like a level of ridiculous that wouldn't have even

936
00:58:46,560 --> 00:58:49,120
Speaker 1: occurred to me, right, And so I like, yeah, I

937
00:58:49,200 --> 00:58:50,920
Speaker 1: think about what you said Kate were where it's like

938
00:58:51,720 --> 00:58:54,200
Speaker 1: they're allowed to be evil without Daniel being like, well,

939
00:58:54,200 --> 00:58:56,480
Speaker 1: I forgive you, you know, because life's too short, Like yeah,

940
00:58:56,480 --> 00:59:00,080
Speaker 1: maybe it is, but just let people be like, but

941
00:59:00,760 --> 00:59:04,000
Speaker 1: it's okay for people to not forgive someone who has

942
00:59:04,080 --> 00:59:05,960
Speaker 1: hurt them as much as and then this is like

943
00:59:06,120 --> 00:59:07,920
Speaker 1: years and years and years are built that hurt you.

944
00:59:08,000 --> 00:59:10,400
Speaker 1: And they're like, no, you don't have to forgive her.

945
00:59:10,440 --> 00:59:13,080
Speaker 1: You don't have to be like, oh, you know, she

946
00:59:13,240 --> 00:59:15,640
Speaker 1: learned her lesson and blah blah blah blah blah. But

947
00:59:15,760 --> 00:59:18,120
Speaker 1: also I think that something really important to note about

948
00:59:18,400 --> 00:59:23,440
Speaker 1: Margarite is that immediately Margorite was like, what have you done? Mother?

949
00:59:23,600 --> 00:59:27,320
Speaker 1: Like I can't believe you. The queen looks like, you know,

950
00:59:27,400 --> 00:59:29,320
Speaker 1: like you're gonna be shaped up for the Americas, Like

951
00:59:29,400 --> 00:59:31,560
Speaker 1: I can't believe that you all did this to this girl.

952
00:59:32,000 --> 00:59:35,640
Speaker 1: And to like me specifically the Queen speaking of course,

953
00:59:35,960 --> 00:59:37,800
Speaker 1: and it's just like so funny to me because it

954
00:59:37,840 --> 00:59:41,440
Speaker 1: does show how different Margarite is to Jacquillen, where it's like,

955
00:59:41,760 --> 00:59:45,120
Speaker 1: I'm gonna immediately turn on you and hopes that something

956
00:59:45,200 --> 00:59:46,840
Speaker 1: is going to happen that will be better for me,

957
00:59:46,920 --> 00:59:49,120
Speaker 1: and then they end up in the same spot and

958
00:59:49,240 --> 00:59:52,120
Speaker 1: the Baroness is like, I'm royalty or something. When she

959
00:59:52,160 --> 00:59:55,920
Speaker 1: tells her to go do something, I'm management. Yeah, management,

960
00:59:55,960 --> 00:59:59,400
Speaker 1: that's what she's like. No, you're not. You're the same

961
00:59:59,440 --> 01:00:05,240
Speaker 1: as me, nobody. It's just really smartly done. Yeah, I

962
01:00:05,280 --> 01:00:08,320
Speaker 1: love it. Let's take a quick break and then we'll

963
01:00:08,320 --> 01:00:18,160
Speaker 1: come back for a more discussion and we're back. Should

964
01:00:18,160 --> 01:00:21,520
Speaker 1: we get into Danielle. Let's talk about Danielle. Let's just

965
01:00:21,600 --> 01:00:24,120
Speaker 1: do it. The first thing that stood out to I mean,

966
01:00:24,160 --> 01:00:27,480
Speaker 1: there's a lot we've we've obviously been discussing her the

967
01:00:27,520 --> 01:00:31,280
Speaker 1: whole episode, but something that I again just like adaptation

968
01:00:31,360 --> 01:00:37,360
Speaker 1: wise and character wise. I really like that this script

969
01:00:37,600 --> 01:00:41,920
Speaker 1: updates the Cinderella character to like she saves herself. She

970
01:00:42,240 --> 01:00:46,000
Speaker 1: is I think, like very intelligent and capable in a

971
01:00:46,000 --> 01:00:48,320
Speaker 1: way that isn't Mary suing her we don't see her

972
01:00:48,360 --> 01:00:51,680
Speaker 1: suddenly knowing how to sword fight when there'd be no

973
01:00:51,760 --> 01:00:54,280
Speaker 1: reason that you know how to sword fight stuff like that.

974
01:00:55,000 --> 01:00:59,960
Speaker 1: But also, like, something that is so tricky about adapting

975
01:01:00,120 --> 01:01:05,480
Speaker 1: this fairy tale is that there's a core gentleness and

976
01:01:05,600 --> 01:01:09,479
Speaker 1: kindness attributed to Cinderella that I think is a little

977
01:01:09,520 --> 01:01:13,240
Speaker 1: at odds with how a lot of nineties heroines were presented.

978
01:01:13,280 --> 01:01:16,720
Speaker 1: But this movie like has it all of the ways

979
01:01:16,840 --> 01:01:18,760
Speaker 1: in a way that I thought was like really unusual

980
01:01:18,840 --> 01:01:24,520
Speaker 1: and cool. Of like, Danielle is very motivated, she's very empathetic,

981
01:01:24,640 --> 01:01:28,640
Speaker 1: she is very active, she liberates herself, but also she

982
01:01:28,840 --> 01:01:34,560
Speaker 1: has a very patient and gentle and kind nature but

983
01:01:34,760 --> 01:01:37,360
Speaker 1: is also strong. I just thought it was like really

984
01:01:37,600 --> 01:01:39,640
Speaker 1: cool and well done, and you just don't see a

985
01:01:39,640 --> 01:01:43,160
Speaker 1: lot of characters that can embody all of those things

986
01:01:43,160 --> 01:01:46,280
Speaker 1: when there's so many people who are like totally yeah.

987
01:01:46,280 --> 01:01:50,600
Speaker 1: And I also really really love her relationship with but

988
01:01:51,120 --> 01:01:54,400
Speaker 1: I think the addition of that is so special because

989
01:01:54,400 --> 01:01:57,200
Speaker 1: she's like, first of all, here's this man, no interest,

990
01:01:57,280 --> 01:02:00,800
Speaker 1: we have no there's no tension between us. It's romantic.

991
01:02:01,280 --> 01:02:04,520
Speaker 1: He's just my friend. I can like talk to him

992
01:02:04,560 --> 01:02:07,800
Speaker 1: about this prince. But also you know, tease him about

993
01:02:07,840 --> 01:02:11,080
Speaker 1: like you know, beating him up or beating him at games,

994
01:02:11,200 --> 01:02:14,600
Speaker 1: and like even when they're like their kids. And the

995
01:02:14,680 --> 01:02:17,080
Speaker 1: reason that her outfit is messed up in the beginnings

996
01:02:17,160 --> 01:02:20,320
Speaker 1: because she was playing with him and hanging out and

997
01:02:20,480 --> 01:02:25,680
Speaker 1: like he supported her decisions throughout, like when she was like,

998
01:02:25,720 --> 01:02:29,440
Speaker 1: I'm going to go into town and like get more respect,

999
01:02:29,480 --> 01:02:32,800
Speaker 1: and he was like, I wouldn't suggested, but I'm also

1000
01:02:32,960 --> 01:02:35,840
Speaker 1: not gonna, you know, keep you from doing it. Here,

1001
01:02:35,920 --> 01:02:37,800
Speaker 1: let me fix your hair. Like I just think that

1002
01:02:38,320 --> 01:02:41,560
Speaker 1: the addition of him is so nice because she literally

1003
01:02:41,600 --> 01:02:44,880
Speaker 1: at this point has no one else, you know, except

1004
01:02:44,920 --> 01:02:47,200
Speaker 1: for like the two older ladies. And in the same way,

1005
01:02:47,240 --> 01:02:50,280
Speaker 1: it's like I feel like sometimes with the Gustav character

1006
01:02:50,760 --> 01:02:54,320
Speaker 1: or like whatever, the when people who are not the

1007
01:02:54,360 --> 01:02:56,840
Speaker 1: same gender are best friends, it's always implied that one

1008
01:02:56,880 --> 01:02:59,680
Speaker 1: of them is like pining for the other, and it's

1009
01:02:59,720 --> 01:03:03,920
Speaker 1: like your soul made is and it's like Gustav is like, no,

1010
01:03:04,040 --> 01:03:07,120
Speaker 1: this is my friend, like my friend. I will support

1011
01:03:07,160 --> 01:03:10,840
Speaker 1: her if she hits the fan, I will bring Leonardo

1012
01:03:10,880 --> 01:03:19,320
Speaker 1: da Vinci into the equation as a friend. It's nice, Yeah,

1013
01:03:19,360 --> 01:03:22,240
Speaker 1: I like that, And that's just like an un it

1014
01:03:22,280 --> 01:03:24,440
Speaker 1: doesn't even need to be addressed because it's just like

1015
01:03:24,480 --> 01:03:29,000
Speaker 1: it's clearly a strong friendship. I love it. Yeah, I agree,

1016
01:03:29,200 --> 01:03:31,600
Speaker 1: And I like that that like kind of her kindness

1017
01:03:31,760 --> 01:03:36,160
Speaker 1: and her empathetic nature is used in this story to

1018
01:03:36,920 --> 01:03:41,720
Speaker 1: address class concerns where which I think is like such

1019
01:03:41,760 --> 01:03:45,280
Speaker 1: a good use of that, like classically Cinderella quality that

1020
01:03:45,360 --> 01:03:47,600
Speaker 1: I feel like is used in other adaptations to make

1021
01:03:47,640 --> 01:03:51,520
Speaker 1: her very demurred and to kind of flatten out her personality,

1022
01:03:51,800 --> 01:03:54,360
Speaker 1: but in this the way it's used in this screenplay,

1023
01:03:54,560 --> 01:03:58,120
Speaker 1: like it completely elevates her and gives her this mission

1024
01:03:58,560 --> 01:04:02,320
Speaker 1: that is completely you know, unrelated to a relationship, and

1025
01:04:02,320 --> 01:04:06,000
Speaker 1: it makes total sense because she is being treated like

1026
01:04:06,160 --> 01:04:11,880
Speaker 1: garbage by a stepparent who is very fixated on class

1027
01:04:11,920 --> 01:04:13,960
Speaker 1: in a very negative way. So of course these are

1028
01:04:13,960 --> 01:04:16,800
Speaker 1: concerns and her and the main people that she interacts

1029
01:04:16,840 --> 01:04:20,480
Speaker 1: with our servants, who are being actively oppressed. And so

1030
01:04:20,560 --> 01:04:24,800
Speaker 1: it's like I thought that the class unlike the well

1031
01:04:24,920 --> 01:04:29,760
Speaker 1: meaning but pretty clunky attempt to address class in Ella Enchanted,

1032
01:04:29,800 --> 01:04:32,880
Speaker 1: which is the other adaptation where it comes up, I

1033
01:04:33,200 --> 01:04:35,640
Speaker 1: felt like the way that class issues and the way

1034
01:04:35,640 --> 01:04:40,600
Speaker 1: that Danielle approaches class issues in this movie was really

1035
01:04:40,960 --> 01:04:44,000
Speaker 1: clear and for the most part, like really really effective.

1036
01:04:44,560 --> 01:04:49,840
Speaker 1: I completely agree. Danielle is like a leftist president of

1037
01:04:49,880 --> 01:04:52,600
Speaker 1: her local chapter of the d s A. Like, yeah,

1038
01:04:52,680 --> 01:04:58,280
Speaker 1: she's medieval friends d s A. She's like her various monologues.

1039
01:04:58,440 --> 01:05:01,360
Speaker 1: I wrote a lot of them down because I was

1040
01:05:01,400 --> 01:05:05,160
Speaker 1: just like, good, this is some good stuff. She's saying

1041
01:05:05,160 --> 01:05:08,240
Speaker 1: stuff like, you know, you can't deny people access to

1042
01:05:08,640 --> 01:05:12,480
Speaker 1: education and a means to survive and then punish them

1043
01:05:12,520 --> 01:05:15,600
Speaker 1: when they have no choice but to become thieves. And

1044
01:05:15,600 --> 01:05:19,400
Speaker 1: then Henry is like, wow, I see your point. I'll

1045
01:05:19,440 --> 01:05:23,760
Speaker 1: release this Maurice guy. And then she's like, yeah, okay,

1046
01:05:23,800 --> 01:05:25,880
Speaker 1: well you released him, but did you even give a

1047
01:05:25,920 --> 01:05:29,320
Speaker 1: second thought to the several other people who had you

1048
01:05:29,400 --> 01:05:32,720
Speaker 1: had imprisoned and like what about them? And I was like,

1049
01:05:32,760 --> 01:05:35,120
Speaker 1: holy sh it, Like I wasn't expecting that at all.

1050
01:05:35,600 --> 01:05:39,280
Speaker 1: I love it. She basically is like she's like performative.

1051
01:05:40,360 --> 01:05:45,240
Speaker 1: More more, she tells him she's like, you've been born

1052
01:05:45,320 --> 01:05:49,040
Speaker 1: with privilege when with that comes specific obligations, which is

1053
01:05:49,080 --> 01:05:51,200
Speaker 1: the same thing that his mother said to him earlier.

1054
01:05:51,320 --> 01:05:55,360
Speaker 1: But his mother meant, your obligation is to marry royalty

1055
01:05:55,400 --> 01:05:58,680
Speaker 1: and become a king Danielle. When she says it, she

1056
01:05:58,760 --> 01:06:02,800
Speaker 1: means that you have to use your elevated status and

1057
01:06:02,880 --> 01:06:06,280
Speaker 1: your position of privilege to do good in the world,

1058
01:06:06,720 --> 01:06:10,120
Speaker 1: which is why I don't hate that. Like at the

1059
01:06:10,160 --> 01:06:12,640
Speaker 1: end of the movie, after she's like been, you know,

1060
01:06:13,160 --> 01:06:19,160
Speaker 1: monologueing about leftist issues and class inequality, that she then

1061
01:06:19,240 --> 01:06:22,480
Speaker 1: becomes a princess, I'm like, Okay, well, at least she's

1062
01:06:22,480 --> 01:06:27,040
Speaker 1: probably going to use her new station to enact change

1063
01:06:27,200 --> 01:06:30,040
Speaker 1: and do good in the world. I mean, that's what

1064
01:06:30,080 --> 01:06:34,240
Speaker 1: they all say. But best I think she might go

1065
01:06:34,520 --> 01:06:37,960
Speaker 1: because she got him to invite the thieves to the

1066
01:06:38,040 --> 01:06:42,280
Speaker 1: ball and like, didn't they implement like a library that

1067
01:06:42,360 --> 01:06:46,560
Speaker 1: everybody could go to. Some stuff was happening even before

1068
01:06:46,640 --> 01:06:51,520
Speaker 1: she became I'm biased, obviously, but even before she's good,

1069
01:06:51,880 --> 01:06:55,800
Speaker 1: she's great. She's everything he does. Prince Henry does say like,

1070
01:06:55,960 --> 01:06:58,280
Speaker 1: I have this this great idea, I'm going to start

1071
01:06:58,280 --> 01:07:01,840
Speaker 1: a university that anyone can tend, regardless of their station

1072
01:07:01,880 --> 01:07:05,080
Speaker 1: in life, and then he tells Danielle about it and

1073
01:07:05,120 --> 01:07:08,439
Speaker 1: says that she inspired him. So he's like acknowledging that

1074
01:07:09,080 --> 01:07:13,880
Speaker 1: her ideology is influencing him, not enough that he doesn't

1075
01:07:14,040 --> 01:07:16,480
Speaker 1: scream at her to get out of his face when

1076
01:07:16,520 --> 01:07:19,680
Speaker 1: she's outed as a servant and a commoner at the ball,

1077
01:07:20,360 --> 01:07:24,560
Speaker 1: which is like, okay, sir, did you learn nothing? We

1078
01:07:24,640 --> 01:07:29,000
Speaker 1: all have some growing to do. It's so like, I

1079
01:07:29,040 --> 01:07:32,880
Speaker 1: think it's interesting how because I that's maybe like like

1080
01:07:32,960 --> 01:07:36,760
Speaker 1: maybe that's too real where but I like like the

1081
01:07:36,840 --> 01:07:40,160
Speaker 1: issue of class and the fact that Danielle is very

1082
01:07:40,200 --> 01:07:43,840
Speaker 1: confident and passionate about her views on class is part

1083
01:07:43,920 --> 01:07:47,560
Speaker 1: of what attracts the prince to her. But it first

1084
01:07:47,680 --> 01:07:51,320
Speaker 1: it's in this way that is like, oh god, it

1085
01:07:51,360 --> 01:07:53,480
Speaker 1: doesn't feel good to see on screen, where it's like

1086
01:07:54,000 --> 01:07:55,840
Speaker 1: he's drawn to her because he's like, oh, you're so

1087
01:07:55,920 --> 01:07:58,880
Speaker 1: passionate about this, this and this. That's so hot to

1088
01:07:58,960 --> 01:08:02,280
Speaker 1: me that you care about something. But then it's like

1089
01:08:02,560 --> 01:08:05,760
Speaker 1: it's hot to him to an extent, like you know,

1090
01:08:05,880 --> 01:08:09,720
Speaker 1: like once it becomes intrusive to his life, he shuts

1091
01:08:09,760 --> 01:08:12,240
Speaker 1: down and like once he's like, oh, you're not like

1092
01:08:12,600 --> 01:08:14,880
Speaker 1: a rich girl that cares about the poor, You're a

1093
01:08:14,920 --> 01:08:18,080
Speaker 1: poor girl that cares about the poor. Fuck you, Like

1094
01:08:18,720 --> 01:08:21,479
Speaker 1: I don't know, like I it just I I thought

1095
01:08:21,479 --> 01:08:23,799
Speaker 1: that there was a lot going on with the Prince's

1096
01:08:24,560 --> 01:08:26,960
Speaker 1: you know, class awakening, which I would argue is not

1097
01:08:27,000 --> 01:08:30,000
Speaker 1: fully complete by the end of the movie, and it's

1098
01:08:30,000 --> 01:08:33,000
Speaker 1: not supposed to be. You needed to happen earlier in

1099
01:08:33,000 --> 01:08:36,400
Speaker 1: the movie, or they needed to find a way to

1100
01:08:36,439 --> 01:08:38,080
Speaker 1: add something on the end of it to where it

1101
01:08:38,080 --> 01:08:40,599
Speaker 1: made sense that he was like, all right, my dad,

1102
01:08:40,680 --> 01:08:44,560
Speaker 1: I was wild. And basically what I mean is that

1103
01:08:44,880 --> 01:08:47,920
Speaker 1: everybody should should, you know, be much more equal, and

1104
01:08:48,000 --> 01:08:51,840
Speaker 1: we should have opportunities to everyone. Because just ending it on,

1105
01:08:52,000 --> 01:08:54,840
Speaker 1: like I love you and I'm gonna love you and

1106
01:08:54,880 --> 01:08:59,920
Speaker 1: I'm just gonna deal with you. Love it, you know

1107
01:09:00,000 --> 01:09:02,000
Speaker 1: what I mean, right right, Like it's like, oh, this

1108
01:09:02,080 --> 01:09:04,519
Speaker 1: is a cute quality of my wife's that I like,

1109
01:09:04,920 --> 01:09:07,559
Speaker 1: she gives a shit about poor people. Like it's like,

1110
01:09:07,680 --> 01:09:11,440
Speaker 1: all right, which is you know, classic rich guy behavior.

1111
01:09:12,400 --> 01:09:17,160
Speaker 1: I don't love it anyways. Uh yeah him him said, like,

1112
01:09:17,640 --> 01:09:19,800
Speaker 1: I confess the plight of the everyday rustic bores me.

1113
01:09:19,800 --> 01:09:22,360
Speaker 1: Blah blah blah. What I do like, even though I

1114
01:09:22,400 --> 01:09:26,280
Speaker 1: think that, yeah, the decision for him to really publicly

1115
01:09:26,560 --> 01:09:29,599
Speaker 1: humiliate her when he finds out that she is not

1116
01:09:30,560 --> 01:09:33,360
Speaker 1: missus upper middle class or whatever the funk he thought

1117
01:09:33,400 --> 01:09:35,800
Speaker 1: she was. I was just like, if you're gonna make

1118
01:09:35,800 --> 01:09:38,600
Speaker 1: that choice, he's got to really give a spectacular apology,

1119
01:09:38,720 --> 01:09:42,360
Speaker 1: which doesn't really happen. But I do like that. It's

1120
01:09:42,400 --> 01:09:44,800
Speaker 1: not like I was a little worried because I feel

1121
01:09:44,840 --> 01:09:47,280
Speaker 1: like this is kind of like an ell enchanted thing too.

1122
01:09:47,760 --> 01:09:53,559
Speaker 1: Of you know, Danielle is definitely the strongest character in

1123
01:09:53,640 --> 01:09:57,759
Speaker 1: terms of like turning his head to the clear class issues.

1124
01:09:57,800 --> 01:10:01,200
Speaker 1: And I mean there's like another great quote from her

1125
01:10:01,439 --> 01:10:04,120
Speaker 1: where she's like, you claim to love this land, but

1126
01:10:04,160 --> 01:10:06,519
Speaker 1: you don't love the people who make it what it is,

1127
01:10:06,680 --> 01:10:09,120
Speaker 1: Like what the fuck? What are you talk like? The

1128
01:10:09,160 --> 01:10:12,639
Speaker 1: working classes makes the land what it is. But there

1129
01:10:12,680 --> 01:10:15,120
Speaker 1: are like I was worried that it's like, oh, it's

1130
01:10:15,240 --> 01:10:17,679
Speaker 1: just her that's gonna wake him up to this stuff,

1131
01:10:17,880 --> 01:10:19,560
Speaker 1: which kind of like I feel like feeds into a

1132
01:10:19,640 --> 01:10:22,840
Speaker 1: narrative of like I'm fixing him. But there's also other

1133
01:10:22,920 --> 01:10:25,519
Speaker 1: elements that are bringing Like I feel like that's how

1134
01:10:25,520 --> 01:10:28,040
Speaker 1: the da Vinci character is used pretty effectively. It's like

1135
01:10:28,080 --> 01:10:33,360
Speaker 1: there's the Princes encountering class issues because he's just out

1136
01:10:33,400 --> 01:10:36,360
Speaker 1: in the world for the first time Jasmine style, and

1137
01:10:36,439 --> 01:10:39,760
Speaker 1: like Danielle is a huge part of that. But She's

1138
01:10:39,760 --> 01:10:41,720
Speaker 1: not the only part of that, so it's like he's

1139
01:10:41,760 --> 01:10:44,559
Speaker 1: kind of on this whole side quest journey. And I

1140
01:10:44,600 --> 01:10:47,200
Speaker 1: like that it was characterized of like it's not just her,

1141
01:10:47,439 --> 01:10:51,400
Speaker 1: but she's a part of it. Yeah, that's what doesn't

1142
01:10:51,439 --> 01:10:56,200
Speaker 1: work for me quite so well, is that I do

1143
01:10:56,240 --> 01:10:59,919
Speaker 1: appreciate that what he likes about her is her passion

1144
01:11:00,040 --> 01:11:05,080
Speaker 1: and intelligence and conviction, which is more than you can

1145
01:11:05,120 --> 01:11:09,879
Speaker 1: say for most romantic storylines in most movies across genres

1146
01:11:09,920 --> 01:11:11,720
Speaker 1: where you're we talked about this all the time on

1147
01:11:11,760 --> 01:11:14,360
Speaker 1: the podcast, where it's like we're not sure why they

1148
01:11:14,400 --> 01:11:16,519
Speaker 1: like each other aside from the fact that they are

1149
01:11:16,640 --> 01:11:20,800
Speaker 1: near each other and they're both attractive people. So at

1150
01:11:20,840 --> 01:11:26,280
Speaker 1: least we get more about why he likes her. I'm

1151
01:11:26,320 --> 01:11:30,040
Speaker 1: not really sure why she likes him, especially because he

1152
01:11:30,240 --> 01:11:33,519
Speaker 1: is a pompous asshole for most of the movie and

1153
01:11:33,560 --> 01:11:35,960
Speaker 1: the part where she's like she's trying to like tell

1154
01:11:36,040 --> 01:11:39,559
Speaker 1: him that she is a commoner and like, you know,

1155
01:11:40,040 --> 01:11:43,519
Speaker 1: reveal her truth, she says something like, oh, why did

1156
01:11:43,560 --> 01:11:46,160
Speaker 1: you have to be so wonderful? And I'm thinking, like,

1157
01:11:46,760 --> 01:11:52,160
Speaker 1: was he so wonderful at any point? Caitlan, Listen, you

1158
01:11:52,160 --> 01:11:58,120
Speaker 1: can be a leftist and be addicted to dating pompous assholes. Yeah,

1159
01:11:58,160 --> 01:12:01,479
Speaker 1: I'm not pulling, but she said that though. When he

1160
01:12:01,960 --> 01:12:05,519
Speaker 1: like right after, she's beaten up because I feel like, okay,

1161
01:12:05,760 --> 01:12:08,800
Speaker 1: I'm going to be an apologist for a second, but

1162
01:12:08,840 --> 01:12:13,519
Speaker 1: ignorant for it. So basically when she says that to him,

1163
01:12:13,560 --> 01:12:16,479
Speaker 1: it's like whatever, she gets beat up because she was

1164
01:12:16,520 --> 01:12:20,120
Speaker 1: like gone the whole night with him, right, and like, yeah,

1165
01:12:20,120 --> 01:12:23,600
Speaker 1: he's a jerk, but like he wasn't a jerk, like

1166
01:12:23,760 --> 01:12:26,639
Speaker 1: for that whole time that night, right, So she probably

1167
01:12:27,040 --> 01:12:29,000
Speaker 1: on the high of that, right, because he was really

1168
01:12:29,040 --> 01:12:32,160
Speaker 1: laid it down, you know, he was sick, and she

1169
01:12:32,280 --> 01:12:34,760
Speaker 1: was like, I am into it, right. I mean they

1170
01:12:34,840 --> 01:12:37,400
Speaker 1: also banter with each other, they go back and forth,

1171
01:12:37,520 --> 01:12:40,200
Speaker 1: and they like, you know, that's a vibe as well.

1172
01:12:40,400 --> 01:12:44,280
Speaker 1: So an apologist, I feel like, you know, based off

1173
01:12:44,320 --> 01:12:48,479
Speaker 1: of the whole night that they spend with the thieves,

1174
01:12:49,400 --> 01:12:51,599
Speaker 1: you know, when they're like drinking and playing a game

1175
01:12:51,800 --> 01:12:55,679
Speaker 1: which is like basically rock paper shoot, I think, yeah,

1176
01:12:56,560 --> 01:12:59,160
Speaker 1: you know, it's a vibe. So like that's why that's

1177
01:12:59,160 --> 01:13:02,160
Speaker 1: why that's why she liked him. I think I think

1178
01:13:02,200 --> 01:13:05,240
Speaker 1: it's also because she can see his potential you know,

1179
01:13:05,439 --> 01:13:07,439
Speaker 1: it's like he's not all the way there yet, but

1180
01:13:07,520 --> 01:13:09,640
Speaker 1: like she's not trying. I don't think she has to

1181
01:13:09,680 --> 01:13:12,360
Speaker 1: fix him. I think she just just like bringing out

1182
01:13:12,560 --> 01:13:15,640
Speaker 1: the things that she thinks are already there. I don't know.

1183
01:13:15,760 --> 01:13:18,479
Speaker 1: I feel like I'm just obviously biased because this is

1184
01:13:18,520 --> 01:13:21,120
Speaker 1: like one of my favorite movies in the entire world.

1185
01:13:21,120 --> 01:13:24,559
Speaker 1: But I just feel like I see why she likes him.

1186
01:13:24,600 --> 01:13:26,240
Speaker 1: But I do think that he has a lot of

1187
01:13:26,240 --> 01:13:29,640
Speaker 1: what to do. Yeah, I agree with that. Like I

1188
01:13:30,040 --> 01:13:33,400
Speaker 1: think that like in terms of like because this is

1189
01:13:33,439 --> 01:13:35,760
Speaker 1: a kids movie and it's like showing you how to

1190
01:13:35,960 --> 01:13:37,960
Speaker 1: you know, you do have to be careful of like

1191
01:13:38,000 --> 01:13:40,439
Speaker 1: how you model relationships and movies like this, and I

1192
01:13:40,439 --> 01:13:42,679
Speaker 1: don't think it's perfect in that way. And like I

1193
01:13:42,720 --> 01:13:47,160
Speaker 1: totally see what you're saying, Caitlin, of like telegraphing the children.

1194
01:13:47,240 --> 01:13:49,479
Speaker 1: That's like, well, sometimes the guy is a real fix

1195
01:13:49,560 --> 01:13:53,240
Speaker 1: her upper. But it's like that, like it gets a

1196
01:13:53,240 --> 01:13:58,160
Speaker 1: little muddy. Somebody calls hip in Joanna like it all

1197
01:13:58,200 --> 01:14:00,080
Speaker 1: it all gets a little messy, and I wish it

1198
01:14:00,240 --> 01:14:03,640
Speaker 1: were a little more clear cut for that reason. But

1199
01:14:03,680 --> 01:14:06,080
Speaker 1: I also agree with you Kia that it's like she

1200
01:14:06,160 --> 01:14:09,040
Speaker 1: does I think that that is maybe what we're supposed

1201
01:14:09,040 --> 01:14:11,280
Speaker 1: to believe is like she sees potential in him and

1202
01:14:12,000 --> 01:14:14,519
Speaker 1: he It's interesting. I feel like his arc is not

1203
01:14:14,680 --> 01:14:17,080
Speaker 1: complete really at the end of the movie, but it's

1204
01:14:17,120 --> 01:14:22,400
Speaker 1: like he's started a journey that I hope continues. I

1205
01:14:22,439 --> 01:14:26,000
Speaker 1: don't know, like it's tricky, but also it's like, yeah,

1206
01:14:26,040 --> 01:14:28,120
Speaker 1: I don't know. It seems like Pickens are slim in

1207
01:14:28,160 --> 01:14:31,880
Speaker 1: this neighborhood. She can now use she can like you know,

1208
01:14:32,040 --> 01:14:34,280
Speaker 1: like we were talking about, she can leverage the power

1209
01:14:34,320 --> 01:14:37,960
Speaker 1: and influence she now has to advance her own causes,

1210
01:14:38,720 --> 01:14:41,960
Speaker 1: and you know, hopefully her husband will stop, you know,

1211
01:14:42,040 --> 01:14:45,680
Speaker 1: Will will unlearn a lot of the behaviors he was

1212
01:14:45,720 --> 01:14:48,200
Speaker 1: brought up with, although you know, we all know how

1213
01:14:48,240 --> 01:14:53,000
Speaker 1: that story ends every single time. He did start that

1214
01:14:53,080 --> 01:14:56,800
Speaker 1: university though, because the framing device mentions at the end

1215
01:14:56,920 --> 01:15:00,640
Speaker 1: like and this portrait by Leonardo da Vinci of Danielle

1216
01:15:00,680 --> 01:15:04,720
Speaker 1: to Barbarak hung in the university until the French Revolution,

1217
01:15:04,800 --> 01:15:11,480
Speaker 1: when it presumably was ripped down and burned by the proletariat,

1218
01:15:12,360 --> 01:15:17,519
Speaker 1: which I get, but also like it's such a pretty

1219
01:15:17,560 --> 01:15:19,680
Speaker 1: it's fair. I kind of want that would be like

1220
01:15:19,720 --> 01:15:22,000
Speaker 1: a very fun. I love when people have like subtle

1221
01:15:22,520 --> 01:15:25,920
Speaker 1: fans stuff in their apartments like that. Having that painting

1222
01:15:25,960 --> 01:15:31,519
Speaker 1: would be fun as an ever after shout out, because

1223
01:15:31,520 --> 01:15:36,600
Speaker 1: that's a real painting. Yeah right, yeah, yeah, yeah, I do.

1224
01:15:38,200 --> 01:15:40,920
Speaker 1: This is like grasping at straws here. But I do

1225
01:15:41,000 --> 01:15:44,479
Speaker 1: appreciate that he apologizes at the end, which, as we've

1226
01:15:44,520 --> 01:15:48,360
Speaker 1: discussed on a number of other episodes, oftentimes in a

1227
01:15:48,760 --> 01:15:53,000
Speaker 1: story that involves a hetero romantic relationship where the man

1228
01:15:53,280 --> 01:15:57,760
Speaker 1: has wronged the woman in some way, there's often not

1229
01:15:58,240 --> 01:16:01,040
Speaker 1: any apology, or if it is, it's a very kind

1230
01:16:01,080 --> 01:16:04,680
Speaker 1: of empty one that is not satisfying. I would say

1231
01:16:04,720 --> 01:16:08,400
Speaker 1: that this apology, at least he says like I offered

1232
01:16:08,400 --> 01:16:11,120
Speaker 1: you the world, and at the first test of honor,

1233
01:16:11,200 --> 01:16:15,479
Speaker 1: I betrayed your trust. So he acknowledges that he sucked

1234
01:16:15,560 --> 01:16:19,599
Speaker 1: up real bad. I do think that he sucked up

1235
01:16:19,640 --> 01:16:23,360
Speaker 1: too bad, and that her coming around on his apology

1236
01:16:23,400 --> 01:16:26,720
Speaker 1: happens way too fast. But as to say, like I

1237
01:16:26,720 --> 01:16:29,320
Speaker 1: I don't oppose it happening. I just wish there was

1238
01:16:29,360 --> 01:16:33,000
Speaker 1: like a little less end of movie rushed. Yeah, yeah,

1239
01:16:33,080 --> 01:16:34,920
Speaker 1: did it felt rushed? If they would have done it

1240
01:16:34,920 --> 01:16:37,479
Speaker 1: a little faster, like I think they could have cut

1241
01:16:38,280 --> 01:16:42,160
Speaker 1: the scene where he plays Kennis. If they cut that

1242
01:16:42,200 --> 01:16:45,600
Speaker 1: scene where he plays Kennis and pushed everything up, it

1243
01:16:45,640 --> 01:16:48,800
Speaker 1: would have made yeah and given her more time to

1244
01:16:49,200 --> 01:16:53,479
Speaker 1: like to digest or even talk with another character about

1245
01:16:53,560 --> 01:17:00,080
Speaker 1: it and that like face masks or something. Yeah. I

1246
01:17:00,120 --> 01:17:03,320
Speaker 1: do like that. Da Vinci shows up to the princess

1247
01:17:03,520 --> 01:17:08,400
Speaker 1: like you mother fucker. She's perfect and you hurt her

1248
01:17:08,439 --> 01:17:11,120
Speaker 1: and you've sucked up so bad. I was like, yeah,

1249
01:17:11,320 --> 01:17:16,000
Speaker 1: da Vinci, Yeah, then you don't deserve her. And even

1250
01:17:16,120 --> 01:17:18,360
Speaker 1: he just like takes her shoe and he's like, here

1251
01:17:18,760 --> 01:17:20,880
Speaker 1: have it. It's in the rain. It's ruined though, but

1252
01:17:21,000 --> 01:17:27,759
Speaker 1: just symbolically, here's the most ingenious creative decision made of

1253
01:17:27,800 --> 01:17:31,240
Speaker 1: all time. Is Da Vinci as fairy Godmother? Sort of?

1254
01:17:31,760 --> 01:17:35,080
Speaker 1: I love it so much. It's great and I feel

1255
01:17:35,080 --> 01:17:37,519
Speaker 1: like I have to say this before anything else happens.

1256
01:17:37,600 --> 01:17:40,280
Speaker 1: But and I'm biased again, but Drew Barrymore was in

1257
01:17:40,400 --> 01:17:44,320
Speaker 1: her broken bag. Okay, she was acting down. She's so

1258
01:17:44,360 --> 01:17:47,880
Speaker 1: good at being endearing and loving and you just root

1259
01:17:47,960 --> 01:17:51,280
Speaker 1: for her and you're like, why is this character not

1260
01:17:51,400 --> 01:17:55,439
Speaker 1: getting all the things that she deserves? Like who would

1261
01:17:55,439 --> 01:17:58,840
Speaker 1: you mean to her? She's perfect. And I just want

1262
01:17:58,840 --> 01:18:00,519
Speaker 1: to say, Drew, if your list man, I love you

1263
01:18:00,520 --> 01:18:03,800
Speaker 1: with my entire heart. Please know that you really did

1264
01:18:03,840 --> 01:18:08,719
Speaker 1: what you had to do. Oh Drew's listening. I feel

1265
01:18:08,720 --> 01:18:11,559
Speaker 1: like Drew Barrymore would listen to a podcast. I feel

1266
01:18:11,560 --> 01:18:14,519
Speaker 1: like I think she would just to sort of put

1267
01:18:14,600 --> 01:18:18,000
Speaker 1: a bow in the Danielle stuff. I liked how again,

1268
01:18:18,040 --> 01:18:21,679
Speaker 1: how this movie um gives you like the nineties heroine

1269
01:18:22,280 --> 01:18:26,400
Speaker 1: stuff without Mary suing her. She's a very physically active character.

1270
01:18:26,680 --> 01:18:29,920
Speaker 1: She's going on quests, their quests of her own. She's

1271
01:18:29,960 --> 01:18:34,360
Speaker 1: not the sidekick in any capacity. There is a fight

1272
01:18:34,479 --> 01:18:39,080
Speaker 1: that the prince participates in that she, you know, characterwise

1273
01:18:39,479 --> 01:18:43,479
Speaker 1: doesn't participate in, but then she picks him up. In

1274
01:18:43,600 --> 01:18:48,479
Speaker 1: that incredible shot, she picks him up. She gets into

1275
01:18:48,479 --> 01:18:51,920
Speaker 1: a fist fight with her step sister. She is like,

1276
01:18:52,120 --> 01:18:56,439
Speaker 1: she's about to get pepe lapew like, right, she fucking

1277
01:18:56,560 --> 01:19:01,439
Speaker 1: knife's pepe lapew. Possibly. Um. I just I liked that

1278
01:19:01,600 --> 01:19:06,080
Speaker 1: she was very physically active and capable without being you know,

1279
01:19:06,240 --> 01:19:12,040
Speaker 1: pandery Mary so decisions. I thought it was good. She

1280
01:19:12,040 --> 01:19:15,360
Speaker 1: who happens to the plot point doesn't happen to her exactly,

1281
01:19:15,800 --> 01:19:20,240
Speaker 1: but she's very yeah, he said, she's very active, always

1282
01:19:20,400 --> 01:19:23,120
Speaker 1: doing something. It's really that's really nice to see because

1283
01:19:23,200 --> 01:19:26,040
Speaker 1: usually it's like they're just sitting and waiting for the ball.

1284
01:19:26,120 --> 01:19:29,560
Speaker 1: They're like hanging out, usually at the pie table, like

1285
01:19:29,720 --> 01:19:32,920
Speaker 1: is it the ball yet? Especially in like fairy tale

1286
01:19:33,280 --> 01:19:38,240
Speaker 1: stories and even like modern adaptations of fairy tale stories,

1287
01:19:38,240 --> 01:19:42,719
Speaker 1: a lot of them don't really make the princess character

1288
01:19:43,360 --> 01:19:47,080
Speaker 1: that active or they damsel her. But like was mentioned,

1289
01:19:47,520 --> 01:19:50,599
Speaker 1: she at no point really has to be saved by

1290
01:19:50,800 --> 01:19:54,519
Speaker 1: a man. She saves Prince Henry from the band of

1291
01:19:54,800 --> 01:19:58,200
Speaker 1: thieves by carrying him off, and then at the end

1292
01:19:58,439 --> 01:20:01,360
Speaker 1: this was also mentioned, but when Prince Henry comes to

1293
01:20:01,400 --> 01:20:06,840
Speaker 1: rescue her from Monsieur qu she has already rescued herself,

1294
01:20:06,880 --> 01:20:09,120
Speaker 1: and they like just meet outside and she's like, what

1295
01:20:09,160 --> 01:20:11,719
Speaker 1: are you doing here? I love it. Yeah, Like it's

1296
01:20:11,720 --> 01:20:15,679
Speaker 1: so and it's not like I mean, it is kind

1297
01:20:15,680 --> 01:20:18,920
Speaker 1: of that's a big deal, but it's also like I

1298
01:20:18,960 --> 01:20:22,880
Speaker 1: did like the Prince's reaction where he wasn't like what

1299
01:20:23,800 --> 01:20:29,000
Speaker 1: like he was just like, oh great, like go back

1300
01:20:29,040 --> 01:20:32,120
Speaker 1: inside so I can rescue you. Right. I thought that

1301
01:20:32,120 --> 01:20:34,519
Speaker 1: that was a really sweet moment um. Getting it to

1302
01:20:34,720 --> 01:20:36,400
Speaker 1: just really quick. I wanted to just like touch on

1303
01:20:36,439 --> 01:20:38,680
Speaker 1: the creepy benefactor character one more time. I feel like

1304
01:20:38,720 --> 01:20:41,160
Speaker 1: we we talked about it at the top a little bit,

1305
01:20:41,240 --> 01:20:43,880
Speaker 1: but just to like I was again, And I don't

1306
01:20:43,920 --> 01:20:45,439
Speaker 1: mean this is like a good or bad thing. I

1307
01:20:45,479 --> 01:20:50,720
Speaker 1: just was like surprised that this movie went there to

1308
01:20:51,000 --> 01:20:53,760
Speaker 1: the extent of like Danielle is being treated as her

1309
01:20:53,800 --> 01:20:58,040
Speaker 1: stepmother's property. She is essentially sold to this creepy guy

1310
01:20:58,080 --> 01:21:01,840
Speaker 1: who we've seen attempt to prey on her before, and

1311
01:21:02,160 --> 01:21:05,840
Speaker 1: there's a real threat of rape in this scene, like

1312
01:21:05,880 --> 01:21:10,160
Speaker 1: he's repeatedly threatening to assault her. And then she's like

1313
01:21:10,439 --> 01:21:12,120
Speaker 1: I belong to no and at least of all you,

1314
01:21:12,200 --> 01:21:15,280
Speaker 1: and like saves herself. But I was I just wasn't expecting.

1315
01:21:15,320 --> 01:21:17,960
Speaker 1: I was expecting her to maybe get herself out of

1316
01:21:18,040 --> 01:21:21,439
Speaker 1: the tower, but Da Vinci gets her out of the tower,

1317
01:21:21,520 --> 01:21:24,200
Speaker 1: and then she has to save herself from something far

1318
01:21:24,360 --> 01:21:28,320
Speaker 1: more terrifying, and I just wasn't expecting it. But I

1319
01:21:28,360 --> 01:21:30,880
Speaker 1: thought that the way that the story handled it was

1320
01:21:30,920 --> 01:21:36,439
Speaker 1: pretty effective. Yeah, but espos because you know, like she's sold,

1321
01:21:36,720 --> 01:21:40,880
Speaker 1: like the stepman sold all the candlesticks, all the stuff

1322
01:21:40,920 --> 01:21:44,320
Speaker 1: that went missing to this man when I feel like,

1323
01:21:44,600 --> 01:21:47,800
Speaker 1: you know, it's not explicitly said, but it's implied, like

1324
01:21:48,160 --> 01:21:52,080
Speaker 1: she understands how gross he is to Danny, like what

1325
01:21:52,240 --> 01:21:57,200
Speaker 1: he's always implying, what he's hoping for with a child basically,

1326
01:21:57,920 --> 01:22:00,360
Speaker 1: and she's just like, I don't care, like still us.

1327
01:22:00,400 --> 01:22:02,640
Speaker 1: You know, here's the candle things give me money, Like

1328
01:22:02,720 --> 01:22:05,799
Speaker 1: here's this since in exchange for you know, a person,

1329
01:22:05,920 --> 01:22:08,840
Speaker 1: but also all my items that my husband had, but

1330
01:22:08,920 --> 01:22:11,360
Speaker 1: I'm supposed to care about, Like, I don't care what

1331
01:22:11,479 --> 01:22:13,360
Speaker 1: any of that. I just want the thing that's going

1332
01:22:13,400 --> 01:22:16,519
Speaker 1: to propel me forward, which makes her even more evil

1333
01:22:17,280 --> 01:22:20,160
Speaker 1: then before under that context where you're like, you know,

1334
01:22:20,280 --> 01:22:23,320
Speaker 1: this man is creepy. He comes to the market every week.

1335
01:22:23,760 --> 01:22:26,840
Speaker 1: It's on daniel and you're just like, all right, cool,

1336
01:22:26,960 --> 01:22:31,080
Speaker 1: say lest I'm just gonna, you know, let that ride. Yeah,

1337
01:22:31,200 --> 01:22:33,280
Speaker 1: I mean, it really just doubles down on how evil

1338
01:22:33,360 --> 01:22:36,080
Speaker 1: she is. And I think it's also part of the

1339
01:22:36,080 --> 01:22:41,320
Speaker 1: class commentary where she's so irresponsible with her money, like

1340
01:22:41,439 --> 01:22:44,839
Speaker 1: Danielle points out that she ignores the manner she blames

1341
01:22:44,880 --> 01:22:47,559
Speaker 1: the servants for her debt. She sells the servants to

1342
01:22:47,600 --> 01:22:50,800
Speaker 1: pay her taxes and her debts pretends to have money

1343
01:22:50,800 --> 01:22:53,080
Speaker 1: to burn because there's a scene where like she's buying

1344
01:22:53,160 --> 01:22:56,640
Speaker 1: a brooch for Marguerite, and then yeah, all those like

1345
01:22:56,720 --> 01:23:01,000
Speaker 1: household things go missing, and she's accusing the servants of

1346
01:23:01,080 --> 01:23:05,920
Speaker 1: being thieves and like garnishes their wages until they're returned,

1347
01:23:06,080 --> 01:23:09,040
Speaker 1: knowing that she's the one who's selling those items off.

1348
01:23:09,640 --> 01:23:12,240
Speaker 1: But it's very much like the shitty things that like

1349
01:23:12,479 --> 01:23:17,799
Speaker 1: shitty rich people do, blaming poor people for their problems.

1350
01:23:17,880 --> 01:23:20,200
Speaker 1: There are things that they're doing wrong. Yeah, and then

1351
01:23:20,280 --> 01:23:23,040
Speaker 1: and then punishing the working class in order like as

1352
01:23:23,080 --> 01:23:25,120
Speaker 1: a part of her scheme to fake it until she

1353
01:23:25,200 --> 01:23:30,679
Speaker 1: makes it, like she is actively punishing and treating people

1354
01:23:30,880 --> 01:23:34,120
Speaker 1: like they're her property. I hate it, but the movie

1355
01:23:34,160 --> 01:23:37,080
Speaker 1: hates it too, So there you go. I wanted to

1356
01:23:37,080 --> 01:23:42,000
Speaker 1: just give some quick contact on the production of this movie. Kia.

1357
01:23:42,080 --> 01:23:44,920
Speaker 1: You mentioned that Drew Barrymore produced this movie and like

1358
01:23:44,960 --> 01:23:47,519
Speaker 1: really had to advocate for it being made, which is

1359
01:23:47,560 --> 01:23:50,680
Speaker 1: something she's repeatedly done throughout her career to you know,

1360
01:23:51,040 --> 01:23:53,200
Speaker 1: very you know, we you can listen to our Charlie's

1361
01:23:53,200 --> 01:23:55,200
Speaker 1: Angels episode if you want. We don't need to go

1362
01:23:55,240 --> 01:23:58,160
Speaker 1: there today. But I just thought this is a movie

1363
01:23:58,320 --> 01:24:02,680
Speaker 1: that was champion and brought to life by women and

1364
01:24:02,760 --> 01:24:07,000
Speaker 1: queer people. So there you go. Directed by Andy Tennant,

1365
01:24:07,640 --> 01:24:10,800
Speaker 1: who was I believe out and married at the time

1366
01:24:10,840 --> 01:24:14,599
Speaker 1: this movie came out, but he also directed It Takes Two.

1367
01:24:14,720 --> 01:24:19,960
Speaker 1: He later direct Hitch. He's another example, along with Rob

1368
01:24:20,000 --> 01:24:24,160
Speaker 1: Marshall of The Dancer and Kenny Ortega. Oh my God,

1369
01:24:25,120 --> 01:24:28,439
Speaker 1: for The Dancer to Director Pipeline, one of my favorite

1370
01:24:28,439 --> 01:24:32,840
Speaker 1: Pipelines because he's I mean, I could talk about him

1371
01:24:32,840 --> 01:24:35,920
Speaker 1: for a long time, but his debut was he was

1372
01:24:35,960 --> 01:24:39,599
Speaker 1: He's a background dancer in the original Greece and then

1373
01:24:39,800 --> 01:24:43,040
Speaker 1: like slowly worked as I don't know how The Dancer

1374
01:24:43,080 --> 01:24:45,920
Speaker 1: to Director Pipeline. I don't understand it, but I'm thrilled

1375
01:24:45,960 --> 01:24:51,479
Speaker 1: it exists. He co writes the screenplay with two other writers,

1376
01:24:51,479 --> 01:24:54,479
Speaker 1: one of whom I forgot to look up, but he

1377
01:24:54,520 --> 01:24:57,200
Speaker 1: co writes it with Susannah Grant and another writer named

1378
01:24:57,280 --> 01:25:00,840
Speaker 1: Rick Parks. Susannah Grant is of particul Killer interest here

1379
01:25:00,840 --> 01:25:05,400
Speaker 1: because obviously she's the only credited female screenwriter, but Susannah

1380
01:25:05,439 --> 01:25:08,160
Speaker 1: Grant had previously written I mean, she read a lot

1381
01:25:08,200 --> 01:25:14,160
Speaker 1: of nineties heroines, and her debut is Pocahontas, which we

1382
01:25:14,240 --> 01:25:16,479
Speaker 1: will do an episode with down the line. That's a

1383
01:25:16,560 --> 01:25:19,519
Speaker 1: whole thing. But she she would go on to write

1384
01:25:19,520 --> 01:25:23,320
Speaker 1: Aaron Brockovich. So we've covered Susannah Grant movie before with

1385
01:25:23,360 --> 01:25:28,920
Speaker 1: Alfred Molina. With Alfred Molina, she wrote other movies that

1386
01:25:28,960 --> 01:25:33,639
Speaker 1: I've seen, including In Her Shoes anyone remember that one? Yes?

1387
01:25:35,720 --> 01:25:38,000
Speaker 1: And then she also she wrote a series that came out.

1388
01:25:38,040 --> 01:25:41,839
Speaker 1: I mean she's still very much working. Um. She wrote

1389
01:25:41,880 --> 01:25:46,400
Speaker 1: that Netflix I think limited series Unbelievable. Um that came

1390
01:25:46,400 --> 01:25:49,760
Speaker 1: out a couple of years that was really Yeah. So

1391
01:25:49,800 --> 01:25:54,000
Speaker 1: she's like a really you know, talented writer who seems

1392
01:25:54,040 --> 01:26:00,400
Speaker 1: like throughout her career has prioritized telling women's stories, so that,

1393
01:26:00,560 --> 01:26:02,320
Speaker 1: you know, good for her. And then it was also

1394
01:26:02,400 --> 01:26:06,720
Speaker 1: produced by two young producers that are both women. The

1395
01:26:06,760 --> 01:26:10,880
Speaker 1: two top credited producers are Morrel Saraya I hope I'm

1396
01:26:10,880 --> 01:26:14,559
Speaker 1: saying that right and Tracy Trench. So yeah, it was

1397
01:26:14,640 --> 01:26:17,840
Speaker 1: just a movie that it sounds like, um, like you

1398
01:26:17,880 --> 01:26:21,280
Speaker 1: were saying, Kia that Drew Barrymore pushing for this movie

1399
01:26:21,320 --> 01:26:23,920
Speaker 1: to be made was one of in her like using

1400
01:26:23,920 --> 01:26:26,840
Speaker 1: her star power for good is a huge reason that

1401
01:26:26,880 --> 01:26:29,320
Speaker 1: this movie exists. And then it was very successful. I

1402
01:26:29,320 --> 01:26:31,519
Speaker 1: mean it made whatever. I had a twenty six million

1403
01:26:31,520 --> 01:26:36,479
Speaker 1: dollar budget and made nine million dollars at the box offices. So,

1404
01:26:37,560 --> 01:26:41,040
Speaker 1: you know, thrilled for everyone involved. And I would love

1405
01:26:41,120 --> 01:26:45,560
Speaker 1: to read someone's thesis on the Dancer to director Pipeline

1406
01:26:46,320 --> 01:26:50,759
Speaker 1: what's going on there? And somebody's got to write it, whoever,

1407
01:26:50,920 --> 01:26:53,120
Speaker 1: whoever has written it or will write it, Please let

1408
01:26:53,200 --> 01:26:58,400
Speaker 1: Jamie know, please. Uh. The last thing I wanted to

1409
01:26:59,080 --> 01:27:04,840
Speaker 1: mention about this movie, something that doesn't hold up as

1410
01:27:04,840 --> 01:27:06,679
Speaker 1: well as most of the other stuff in the movie,

1411
01:27:07,000 --> 01:27:11,759
Speaker 1: is the portrayal of Romani people, uh in the movie,

1412
01:27:11,840 --> 01:27:16,080
Speaker 1: which is a very stereotypical depiction of the way Romani

1413
01:27:16,200 --> 01:27:19,679
Speaker 1: people are often portrayed in media, which is they are thieves,

1414
01:27:19,680 --> 01:27:23,360
Speaker 1: they are criminals, their bandits, that kind of thing, which

1415
01:27:23,400 --> 01:27:27,719
Speaker 1: this movie completely reinforces and doesn't challenge in any way. Yeah,

1416
01:27:27,760 --> 01:27:30,839
Speaker 1: that's a big that's a big bulge of this movie.

1417
01:27:30,920 --> 01:27:34,040
Speaker 1: Like what does I love it? I'm like, no, that's terrible,

1418
01:27:34,120 --> 01:27:39,280
Speaker 1: stop it, stop it stop. Um. Does anyone have any

1419
01:27:39,320 --> 01:27:43,919
Speaker 1: other thoughts about ever after? Um? Just that it's that horrible,

1420
01:27:44,000 --> 01:27:49,400
Speaker 1: terrible thing aside a masterpiece, and that I feel like

1421
01:27:49,920 --> 01:27:52,639
Speaker 1: I want to see more. I want us to bring

1422
01:27:52,720 --> 01:27:58,920
Speaker 1: back the era of like letting female characters not forgive

1423
01:27:59,000 --> 01:28:03,439
Speaker 1: people who are them, Like, let's bring up back, let's

1424
01:28:03,960 --> 01:28:06,760
Speaker 1: let's let's keep going with that, please and thank you, Like, yes,

1425
01:28:06,800 --> 01:28:10,320
Speaker 1: I know I believe forgiven it blah blah blah. But also,

1426
01:28:10,520 --> 01:28:15,880
Speaker 1: let's let's normalize punching steps in the face, right We've

1427
01:28:16,280 --> 01:28:18,960
Speaker 1: I've been circling around this idea for a while. I

1428
01:28:19,120 --> 01:28:22,560
Speaker 1: it first like really bothered me a toy story for

1429
01:28:23,040 --> 01:28:25,479
Speaker 1: but of like this trend right now, like we need

1430
01:28:25,520 --> 01:28:27,719
Speaker 1: to humanize all of our villains to the point where

1431
01:28:27,720 --> 01:28:29,600
Speaker 1: we forgive them by the end. And I'm like, m

1432
01:28:30,240 --> 01:28:32,439
Speaker 1: I do kind of miss pushing the villain off a cliff.

1433
01:28:32,760 --> 01:28:37,240
Speaker 1: Like I like the idea of not leaning on stereotypes

1434
01:28:37,360 --> 01:28:42,160
Speaker 1: and weaponizing a lot of identity against a villain, which

1435
01:28:42,160 --> 01:28:45,639
Speaker 1: obviously happens in fairy tales and Disney movies all the time.

1436
01:28:46,400 --> 01:28:49,519
Speaker 1: But I also am like, if someone is behaving evil,

1437
01:28:49,680 --> 01:28:52,200
Speaker 1: you can have the context for it and you can

1438
01:28:52,200 --> 01:28:54,160
Speaker 1: push them off a cliff, or you can push them

1439
01:28:54,160 --> 01:28:58,280
Speaker 1: in the face. Some people are so awful that they

1440
01:28:58,400 --> 01:29:03,160
Speaker 1: don't deserve a dedemption, or they don't deserve forgiveness, and

1441
01:29:03,240 --> 01:29:07,320
Speaker 1: I would say that, especially the Baroness and Marguerite, their

1442
01:29:07,320 --> 01:29:11,599
Speaker 1: behavior in this movie does not warrant redemption. So it's

1443
01:29:11,640 --> 01:29:13,719
Speaker 1: fine that they end up in a tub of purple

1444
01:29:13,800 --> 01:29:18,920
Speaker 1: dye and turn purple and which is I was like,

1445
01:29:19,000 --> 01:29:21,959
Speaker 1: this is totally a little sillier than I was expecting.

1446
01:29:22,280 --> 01:29:24,599
Speaker 1: I like that if I'd be a big fat liar

1447
01:29:25,920 --> 01:29:28,000
Speaker 1: it literally I was like, I was like, this is

1448
01:29:28,040 --> 01:29:34,559
Speaker 1: giving me like Charlie and the Chocolate Factory violent. But yeah,

1449
01:29:34,640 --> 01:29:36,960
Speaker 1: I feel like that's my thing is that I wish

1450
01:29:37,000 --> 01:29:39,600
Speaker 1: that people would either read the script or watch the

1451
01:29:39,680 --> 01:29:43,960
Speaker 1: movie in terms of crafting villains where it's like you

1452
01:29:44,000 --> 01:29:46,280
Speaker 1: give them back story and you give them context, but

1453
01:29:46,400 --> 01:29:49,479
Speaker 1: you don't necessarily have to make them somehow a better

1454
01:29:49,600 --> 01:29:52,800
Speaker 1: person by the time that the ninety minutes or now

1455
01:29:52,840 --> 01:29:59,200
Speaker 1: at this point three hour movies o H. And this

1456
01:29:59,240 --> 01:30:04,639
Speaker 1: movie us past the factal test with flying colors. There's

1457
01:30:04,840 --> 01:30:07,800
Speaker 1: so I mean, I think that the majority of interactions,

1458
01:30:07,800 --> 01:30:12,599
Speaker 1: with the exception of Danielle and Prince Henry, are between women,

1459
01:30:12,840 --> 01:30:17,240
Speaker 1: and unless they are about Prince Henry, usually just about

1460
01:30:17,479 --> 01:30:19,760
Speaker 1: what women are doing or how women are treating each other.

1461
01:30:20,560 --> 01:30:22,920
Speaker 1: I feel like the stepmother is sometimes the third party

1462
01:30:22,960 --> 01:30:25,639
Speaker 1: being discussed in a lot of the things. Sometimes it's

1463
01:30:25,720 --> 01:30:30,280
Speaker 1: class issues, sometimes it's personal issues between women, Like there's

1464
01:30:30,360 --> 01:30:34,680
Speaker 1: no shortage of I think like almost every combination of

1465
01:30:34,760 --> 01:30:38,120
Speaker 1: women in this movie that could talk do for the

1466
01:30:38,160 --> 01:30:41,960
Speaker 1: most party. Yeah, yeah, I think so. And then as

1467
01:30:42,000 --> 01:30:45,679
Speaker 1: far as our nipple scale zero to five nipples based

1468
01:30:45,720 --> 01:30:48,519
Speaker 1: on how well the movie fares looking at it through

1469
01:30:48,600 --> 01:30:53,759
Speaker 1: an intersectional feminist lens, I think I would go four

1470
01:30:54,280 --> 01:30:58,280
Speaker 1: on this one. Um, there's a lot of things that

1471
01:30:58,320 --> 01:31:01,200
Speaker 1: the movie does that I think are very effective and

1472
01:31:01,880 --> 01:31:05,960
Speaker 1: a good example of how to modernize and update a

1473
01:31:06,200 --> 01:31:10,719
Speaker 1: fairy tale story which usually have problems baked into them,

1474
01:31:11,040 --> 01:31:14,920
Speaker 1: but knowing how to do an adaptation effectively in a

1475
01:31:14,960 --> 01:31:17,839
Speaker 1: way that you're staying somewhat true to the source material

1476
01:31:17,920 --> 01:31:23,840
Speaker 1: but also putting a modern and even feminist spin on

1477
01:31:24,160 --> 01:31:29,280
Speaker 1: the tail where we do have a strongly motivated character

1478
01:31:29,360 --> 01:31:34,160
Speaker 1: who has leftist politics and is very passionate about them,

1479
01:31:34,520 --> 01:31:37,600
Speaker 1: and is not motivated by like wanting to find a

1480
01:31:37,640 --> 01:31:42,920
Speaker 1: handsome prince. She is motivated by wanting to do good

1481
01:31:42,920 --> 01:31:47,360
Speaker 1: by her fellow human being. The way the romance unfolds,

1482
01:31:47,680 --> 01:31:52,719
Speaker 1: especially with Henry being a bit too pompous for most

1483
01:31:52,760 --> 01:31:56,559
Speaker 1: of the movie and then treating her like trash in

1484
01:31:56,600 --> 01:31:59,840
Speaker 1: the third act and then being like, oops, I saw

1485
01:31:59,840 --> 01:32:03,679
Speaker 1: her about that and she's like, that's okay, let's get married.

1486
01:32:04,520 --> 01:32:07,640
Speaker 1: Didn't work super well for me. But um, it is

1487
01:32:08,040 --> 01:32:12,920
Speaker 1: a fairy tale movie, so I guess I'll suspend my disbelief. Um,

1488
01:32:13,000 --> 01:32:15,760
Speaker 1: the movie does only have white people in it, and

1489
01:32:15,800 --> 01:32:19,280
Speaker 1: I don't know what the demographics of like rural Renaissance

1490
01:32:19,320 --> 01:32:22,960
Speaker 1: era France was, but it's a fantasy movie. Like it

1491
01:32:23,080 --> 01:32:27,240
Speaker 1: is a fantasy movie, you can make those changes as well, exactly.

1492
01:32:28,120 --> 01:32:32,000
Speaker 1: So there's that, uh. And then the representation of Romani

1493
01:32:32,080 --> 01:32:37,280
Speaker 1: people is very stereotypical and harmful. But yeah, I think

1494
01:32:37,320 --> 01:32:40,000
Speaker 1: there's a lot to really love about this movie. And

1495
01:32:40,360 --> 01:32:42,879
Speaker 1: I again, I think it like sets a good example

1496
01:32:43,200 --> 01:32:48,680
Speaker 1: of a modern retelling of a problematic fairy tale that

1497
01:32:49,360 --> 01:32:51,879
Speaker 1: does so much in the adaptation to make it actually

1498
01:32:51,920 --> 01:32:56,680
Speaker 1: like a feminist film. Yeah, i'd say I'd say that

1499
01:32:56,720 --> 01:32:58,920
Speaker 1: as well, who are you going to give your nipples to?

1500
01:32:59,320 --> 01:33:05,280
Speaker 1: I'll give one to Leonardo da Vinci, I'll give one

1501
01:33:06,040 --> 01:33:10,880
Speaker 1: to the apple that gets thrown at Prince Henry. I'll

1502
01:33:10,880 --> 01:33:14,519
Speaker 1: give one to the Da Vinci code being Apple, and

1503
01:33:17,040 --> 01:33:22,800
Speaker 1: my final nipple to Angelica Houston's eyebrow acting love it.

1504
01:33:23,320 --> 01:33:27,559
Speaker 1: I'll meet you four. Um. I I agree with the

1505
01:33:27,720 --> 01:33:32,840
Speaker 1: glaring issue of the treatment of Romani people, the plot

1506
01:33:32,840 --> 01:33:37,240
Speaker 1: point of having Henry be extremely classes until two seconds

1507
01:33:37,240 --> 01:33:41,440
Speaker 1: before the movie is over. It wasn't my favorite. Um.

1508
01:33:41,880 --> 01:33:46,639
Speaker 1: There could have been a plenty more racial and body

1509
01:33:46,680 --> 01:33:50,120
Speaker 1: diversity in particular this movie, which I think was like

1510
01:33:50,160 --> 01:33:56,120
Speaker 1: a huge miss, But there's so much being done right.

1511
01:33:56,560 --> 01:34:00,280
Speaker 1: I love that there are a lot of women hind

1512
01:34:00,320 --> 01:34:03,800
Speaker 1: this project to get it made. That makes perfect sense

1513
01:34:03,840 --> 01:34:06,639
Speaker 1: to me given what the movie is, and I love

1514
01:34:06,720 --> 01:34:11,080
Speaker 1: that it was successful and and really like, I don't know,

1515
01:34:11,360 --> 01:34:14,720
Speaker 1: it's my I think it's tied with Brandy Cinderella for

1516
01:34:14,920 --> 01:34:19,840
Speaker 1: my favorite adaptation of Cinderella. Now, so Kia is just

1517
01:34:20,080 --> 01:34:22,559
Speaker 1: spreading the good word. I'm so glad I saw the

1518
01:34:22,560 --> 01:34:27,280
Speaker 1: spoofy Danielle forever. I hope her d s A chapter flourishes.

1519
01:34:27,439 --> 01:34:33,360
Speaker 1: So I'll go four nipples, one to Danielle, one to Jacqueline,

1520
01:34:33,920 --> 01:34:40,439
Speaker 1: one to Da Vinci for sure, and let's see, I'll

1521
01:34:40,479 --> 01:34:43,040
Speaker 1: give my last one to Gustav because he was he

1522
01:34:43,120 --> 01:34:46,120
Speaker 1: was a real one. He was a good friend, he

1523
01:34:46,280 --> 01:34:48,759
Speaker 1: was a writer guy. He was he really was. Really

1524
01:34:49,600 --> 01:34:52,960
Speaker 1: what about you? I'm gonna echo your four because even

1525
01:34:53,000 --> 01:34:55,519
Speaker 1: though again it's my I love it with my whole heart,

1526
01:34:55,640 --> 01:34:58,160
Speaker 1: like I give it ten stars in my heart, but

1527
01:34:58,320 --> 01:35:03,200
Speaker 1: reality for nipples because of the same exact reasons, like

1528
01:35:03,280 --> 01:35:08,160
Speaker 1: the lack of diversity, which just so funny because you're

1529
01:35:08,160 --> 01:35:11,040
Speaker 1: still right, the lack of diversity, the way it treats

1530
01:35:11,040 --> 01:35:15,320
Speaker 1: the Romani people. And I hear what you're saying about Henry,

1531
01:35:15,360 --> 01:35:18,280
Speaker 1: but I feel like there were bits and pieces in

1532
01:35:18,320 --> 01:35:20,880
Speaker 1: there that like makes sense to me, but I get

1533
01:35:20,920 --> 01:35:24,519
Speaker 1: the vibe. So basically, four nipples. I'm going to give

1534
01:35:24,600 --> 01:35:27,719
Speaker 1: my first nipple, as always to Danielle Drew Barry where

1535
01:35:27,720 --> 01:35:30,479
Speaker 1: we love you and you were in your bag. My

1536
01:35:30,600 --> 01:35:33,400
Speaker 1: second nipple will go to Angelica Houston because she was

1537
01:35:33,479 --> 01:35:37,080
Speaker 1: also in her bag. My third nipple will go specifically

1538
01:35:37,080 --> 01:35:39,640
Speaker 1: to the scene at the Very Young when there's the

1539
01:35:39,680 --> 01:35:45,080
Speaker 1: confrontation between the Queen, the King, the baroness and everybody

1540
01:35:45,080 --> 01:35:47,880
Speaker 1: else in the town. And then my final nipple will

1541
01:35:47,880 --> 01:35:51,160
Speaker 1: go to Leonardo da Vinci because what like the second

1542
01:35:53,439 --> 01:35:58,559
Speaker 1: is just absolutely bonkers and I'm so just amazing, Like

1543
01:35:58,640 --> 01:36:01,960
Speaker 1: it is just the best. I love it so much.

1544
01:36:02,040 --> 01:36:04,920
Speaker 1: If you want to see a movie where a lot

1545
01:36:04,960 --> 01:36:07,760
Speaker 1: of things happen in a very short time, this is

1546
01:36:07,800 --> 01:36:14,120
Speaker 1: the movie for you to watch. It so amazing. Uh,

1547
01:36:14,560 --> 01:36:17,639
Speaker 1: and that's that's ever After, fox Kia. Thank you so

1548
01:36:17,720 --> 01:36:20,599
Speaker 1: much for for coming back and for bringing us this movie.

1549
01:36:20,640 --> 01:36:24,360
Speaker 1: The Cinderella tradition holds strong. Yes, listen, thank you for

1550
01:36:24,400 --> 01:36:27,080
Speaker 1: having me back. First of all, and I'll have to

1551
01:36:27,120 --> 01:36:30,160
Speaker 1: think of another movie that I'm just obsessed with. Besides,

1552
01:36:30,200 --> 01:36:33,160
Speaker 1: I want to remember what you've already done. Then I'll

1553
01:36:33,160 --> 01:36:35,719
Speaker 1: come back for that's their movie that I'll just figure

1554
01:36:35,760 --> 01:36:38,519
Speaker 1: it out. But yes, I'm glad to have introduced you

1555
01:36:38,600 --> 01:36:42,240
Speaker 1: to ever After, the American classic. It's really ever After,

1556
01:36:42,600 --> 01:36:47,040
Speaker 1: a Cinderella story, but also a story about like shouting

1557
01:36:47,120 --> 01:36:51,400
Speaker 1: on one persons and she's kind of good to the end.

1558
01:36:51,640 --> 01:36:53,880
Speaker 1: Thank you. I think that that did need to come back.

1559
01:36:53,960 --> 01:37:00,919
Speaker 1: Before the end of the episode. Kalen hates sharts, which, yeah,

1560
01:37:01,000 --> 01:37:04,639
Speaker 1: I guess, sorry to shame anyone who's sharts sting right now.

1561
01:37:04,960 --> 01:37:07,519
Speaker 1: We have listeners who are charting right now, Caitlin, so

1562
01:37:07,600 --> 01:37:13,960
Speaker 1: can you chill out so you can starting but you're right,

1563
01:37:13,960 --> 01:37:18,360
Speaker 1: You're right. Um, where can we Where can we find you? Online? Um?

1564
01:37:18,360 --> 01:37:23,639
Speaker 1: I'm to online everywhere. I'm on Twitter and Instagram at

1565
01:37:23,760 --> 01:37:29,800
Speaker 1: Kia k h Underscore Maria m A. I'm also on

1566
01:37:29,880 --> 01:37:33,120
Speaker 1: Tracebook at the Kia Brown. You can also see my

1567
01:37:33,200 --> 01:37:36,599
Speaker 1: work at Kia brown dot com. And I also again

1568
01:37:37,120 --> 01:37:41,000
Speaker 1: have a chicken's book coming out in August called Sam's

1569
01:37:41,160 --> 01:37:44,040
Speaker 1: Super Seeds, which I please, please please, would love for

1570
01:37:44,080 --> 01:37:48,280
Speaker 1: you to preorder because they're vital for authors and I

1571
01:37:48,320 --> 01:37:50,080
Speaker 1: feel like, if you have a kid in your life,

1572
01:37:50,520 --> 01:37:53,720
Speaker 1: you're gonna love this book. I love this book. I'm biased,

1573
01:37:53,760 --> 01:37:57,920
Speaker 1: but it's really good. Yes, I know I wrote it,

1574
01:37:58,000 --> 01:38:02,400
Speaker 1: so it's like we're so stuked. I'm like, I'm so

1575
01:38:02,439 --> 01:38:05,719
Speaker 1: thrilled to I'm literally going to preorder it right now.

1576
01:38:05,760 --> 01:38:11,000
Speaker 1: I'm so excited. Adore you. And then you can follow

1577
01:38:11,120 --> 01:38:15,400
Speaker 1: us on social media at bechtel Cast on Twitter and Instagram.

1578
01:38:15,680 --> 01:38:19,679
Speaker 1: You can subscribe to our Patreon ak Matreon, where again,

1579
01:38:19,800 --> 01:38:24,680
Speaker 1: we very recently covered two other Cinderella adaptations, Ella Enchanted

1580
01:38:24,880 --> 01:38:29,320
Speaker 1: and a Cinderella Story. Those can be found at patreon

1581
01:38:29,439 --> 01:38:33,000
Speaker 1: dot com slash becketel Cast. It's five dollars a month

1582
01:38:33,160 --> 01:38:38,000
Speaker 1: and you get access to all the past backlog of episodes.

1583
01:38:38,320 --> 01:38:41,439
Speaker 1: So scoot on over to the Patreon and and have

1584
01:38:41,560 --> 01:38:44,519
Speaker 1: a ball. And you can get merch at t public

1585
01:38:44,560 --> 01:38:48,680
Speaker 1: dot com slash the Bechtel Cast if that is uh

1586
01:38:48,720 --> 01:38:53,920
Speaker 1: lined up with your personal desires. Okay, and with that

1587
01:38:54,560 --> 01:39:03,440
Speaker 1: genius outro um, let's go and live. They lived, We lived.