WEBVTT - Ever After with Keah Brown

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<v Speaker 1>On the Bell Cast, the questions asked if movies have

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<v Speaker 1>women in them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have end individualism the patriarchy? Zef in

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<v Speaker 1>best start changing it with the Bell Cast. Once upon

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<v Speaker 1>a time there were two podcasters. But the story you

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<v Speaker 1>think you know about them is not right. It is

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<v Speaker 1>not accurate. You have some fantastical notion of this story.

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<v Speaker 1>But they're really just two ordinary women hosting a podcast

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<v Speaker 1>and there and they're living, laughing and loving. The end.

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<v Speaker 1>The end, the end. Okay, fine, you know what, there's

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<v Speaker 1>no conflict. That was a great story. I okay, well,

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<v Speaker 1>welcome to the back Cast. I didn't have anything that

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<v Speaker 1>was the best I could come up with on short notice. Honestly, listeners,

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<v Speaker 1>I think it's because we have covered We're having a

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<v Speaker 1>really Cinderella e month, and I feel like we've kind

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<v Speaker 1>of burned out our Cinderella themed intros because over on

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<v Speaker 1>the Matreon we did Ella Enchanted and a Cinderella Story

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<v Speaker 1>for Cinderelluary, and now we're observing Cinderelluary in February with

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<v Speaker 1>an amazing guest. All I had to say, we've been

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<v Speaker 1>introducing Cinderella episodes quite a bit lately. What's your podcasts again?

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<v Speaker 1>So we are the Bechtel Cast. My name is Caitlin Darante.

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<v Speaker 1>My name is Jamie Loftus. And again we're so we're

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<v Speaker 1>just ordinary women, were commoners. In fact, we're just yeah yeah,

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<v Speaker 1>which some people don't care about, right, And we examine

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<v Speaker 1>movies through an intersectional feminist lens, using the Bectel test

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<v Speaker 1>as a jumping off point. Jamie, ye tell me what

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<v Speaker 1>that is, please. While it's an ordinary media metric in

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<v Speaker 1>which uh um we uh it was invented by Holy

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<v Speaker 1>sh it is invented by queer cartoonist Alison Bechdel, sometimes

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<v Speaker 1>called the Bechdel Wallace Test, lots of different permutations of

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<v Speaker 1>the test. The one that we use requires that there

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<v Speaker 1>be two characters of a marginalized gender with names who

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<v Speaker 1>speak to each other about something other than a man

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<v Speaker 1>for two lines of dialogue. You're in Luck today, baby.

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<v Speaker 1>It's a movie that I think we were talking about

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<v Speaker 1>this as we were watching, Caitlin or you mentioned this.

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<v Speaker 1>I think barely passes the reverse Bechtel test. Yeah, there's

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<v Speaker 1>not a lot of men talking to each other in

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<v Speaker 1>this movie. And we love that love so and we

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<v Speaker 1>have Okay, So we have a very not just a

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<v Speaker 1>very popular request, but an extremely popular guest returning to

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<v Speaker 1>continue her mission of covering the best Cinderella adaptations on offer,

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<v Speaker 1>which happened to come out one year apart. Right, Yes,

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<v Speaker 1>and these episodes are coming out almost exactly one year apart.

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<v Speaker 1>Because it's true. Right around a year ago, our guest

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<v Speaker 1>was on for Cinderella, The Brandy and Whitney Houston one.

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<v Speaker 1>She's back for this episode. She is a journalist, actor,

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<v Speaker 1>author of the book The Pretty One on life, pop culture, disability,

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<v Speaker 1>and other Reasons to Fall in Love with Me, and

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<v Speaker 1>she's got a forthcoming children's book called Sam's Super Seats.

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<v Speaker 1>It's Keia Brown. Oh god, Hi, thank you for having

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<v Speaker 1>me back. I'm pretty much you know, force your hand,

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<v Speaker 1>but it was necessary. You manifested it. I did. I

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<v Speaker 1>quote all the YouTubers I watch. I had it on

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<v Speaker 1>my metaphorical vision board. I'm so thrilled that you brought

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<v Speaker 1>us this Cinderella adaptation in particular. We I know how

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<v Speaker 1>passionate you are about it, and it's um when I've

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<v Speaker 1>never seen before. Recovering ever after Today, Ever After parentheses.

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<v Speaker 1>A Cinderella Story, not to be confused with a Cinderella

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<v Speaker 1>Story starring Hillary Duff and Chad Michael Murray. Chad Michael Murray,

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<v Speaker 1>Uh sorry, yeah, I know that this is Like have

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<v Speaker 1>you seen the Hillary Duff Cinderella Story And if so,

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<v Speaker 1>how recently? Oh? I own it? Like I have the DVD.

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<v Speaker 1>I watched it, I'd say at the beginning of no

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<v Speaker 1>at the end of December. I think I watched it

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<v Speaker 1>on Oh my god, so very recently. I didn't seen

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<v Speaker 1>it in over a decade. And I like, what a messy,

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<v Speaker 1>interesting film. So what is your relationship with ever After? Kia? Oh?

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<v Speaker 1>I mean it's a masterpiece. I think it deserved oscars.

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<v Speaker 1>I feel like people need to see the movie, like

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<v Speaker 1>it's one of those movies where it's like, I don't

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<v Speaker 1>care how you feel about anybody in it, you still

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<v Speaker 1>need to watch it. Like it's It's one of those

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<v Speaker 1>films that I think is like the perfect intro for

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<v Speaker 1>people who don't know how they feel about a ram

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<v Speaker 1>com but I want to try them out. I think

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<v Speaker 1>ever After is that movie to give you you know,

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<v Speaker 1>your way in because it's just it's a masterpiece. It's

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<v Speaker 1>a Gateway drug. Yeah, like everybody has a different accent,

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<v Speaker 1>Like everybody in the film has the same accent. Like

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<v Speaker 1>it's just correct, and I think it's like beautifully casted.

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<v Speaker 1>And I just feel like some parts made no sense,

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<v Speaker 1>but it makes all the sense together, like you know

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<v Speaker 1>what I mean. Like ideally you'd be like, why why

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<v Speaker 1>do they all sound so different if they're from the

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<v Speaker 1>same place, But yeah, it's just beautiful. I'm obsessed with it.

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<v Speaker 1>It's spiritually it makes sense. I know, I was. I

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<v Speaker 1>was getting some I wrote down. I was like getting

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<v Speaker 1>some House of Gucci vibes with the accent work, because

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<v Speaker 1>everyone allegedly is from the same place. But but I

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<v Speaker 1>also like how it's like they're in France there in

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<v Speaker 1>Renaissance era France. The only character with the French accent

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<v Speaker 1>is her father, a goost, who's only on screen for

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<v Speaker 1>the first like five minutes, and then everyone else has

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<v Speaker 1>a British accent, which is five that happens in movies

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<v Speaker 1>all the time. I feel like movies that are specifically

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<v Speaker 1>catered to like Western audiences, is like everyone's British, but

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<v Speaker 1>they could be from anywhere in Eastern Europe. But I

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<v Speaker 1>feel like it keeps coming to your attention because they

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<v Speaker 1>keep making fun of England and America while speaking in

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<v Speaker 1>British accents, but they're from France and you're like, huh,

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<v Speaker 1>they also Spain. It's a whole thing. Look. I was confused,

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<v Speaker 1>but also he I totally agree with. It's like, well,

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<v Speaker 1>everything happening is emotionally true, and so you're just like

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<v Speaker 1>on board with the ride, right, You're like, you know what,

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<v Speaker 1>I'll just I'll do this. It's it's fine, whatever is happening,

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<v Speaker 1>I'm gonna let it do it, and it's just we'll

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<v Speaker 1>figure it out at the end. There's enough good stuff

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<v Speaker 1>going on. Yeah. Yeah, So like you know, you get

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<v Speaker 1>past the fact that it's literally nobody talks the same.

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<v Speaker 1>Everybody's just kind of like trying to make it work

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<v Speaker 1>using their like listen, I'm just gonna be charming and

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<v Speaker 1>lovable and you're gonna deal with it. It's fine, we'll

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<v Speaker 1>figure it out and make it happen. I love it

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<v Speaker 1>and it works and it works. Jamie, you said you

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<v Speaker 1>had never seen this before, correct, I hadn't. I was

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<v Speaker 1>kind of surprised that I hadn't. I don't know why

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<v Speaker 1>I hadn't. But I guess that there's just so many

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<v Speaker 1>Cinderella adaptations from this era that you gotta miss one

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<v Speaker 1>of them, and I guess this is this is the

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<v Speaker 1>one that I missed, and I'm bummed out because it's

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<v Speaker 1>so so much better than a lot of the ones

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<v Speaker 1>that I did get very attached to. So I'm I'm

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<v Speaker 1>really thrilled to have seen it now. I think it

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<v Speaker 1>holds up like extremely well. I had a great time

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<v Speaker 1>watching it. And sorry, but Flee is going off today,

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<v Speaker 1>so he's just going to be present in the recording. Um,

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<v Speaker 1>and yeah, I really enjoyed it. Caitlin, had you seen

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<v Speaker 1>this movie before? I forget I had, but I didn't

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<v Speaker 1>grow up with it. I only saw it for the

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<v Speaker 1>first time during the pandemic and it was after Kia

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<v Speaker 1>we recorded Cinderella with you. So I saw it for

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<v Speaker 1>the first time within the past like probably nine months,

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<v Speaker 1>and I can safely say it's my favorite Cinderella adaptation.

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<v Speaker 1>And I watched it like three times to prep for

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<v Speaker 1>this episode, partially because it's a very dense movie in

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<v Speaker 1>a good way, like it just there's a lot happening,

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<v Speaker 1>there's a lot to digest, there's a lot to process,

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<v Speaker 1>but in a way that it's just covering a lot

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<v Speaker 1>of ground, and like there's all this class commentary that

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<v Speaker 1>you're not expecting from a Cinderella movie, even though the

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<v Speaker 1>source material is ripe to make that kind of commentary.

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<v Speaker 1>But most of them don't bother with it. So it's

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<v Speaker 1>just like really cool. And I like the movie a lot.

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<v Speaker 1>I think it's well written. And oh my gosh, Angelica

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<v Speaker 1>Houston's eyebrows and all the work that they're doing, the costumes,

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<v Speaker 1>everything her eyebrowser put to work in this movie. She

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<v Speaker 1>really is like she's using her powers for good and

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<v Speaker 1>this one she and Angelica He's I'm trying to think

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<v Speaker 1>of who belongs in the Eyebrows Hall of Fame. I'm

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<v Speaker 1>going to work on this eyebrows Hall of Fame. Angelica

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<v Speaker 1>Houston's in there, of course, Will Poulter's in there. That's

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<v Speaker 1>as far as I've gotten. Well, it's a good start. Listeners,

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<v Speaker 1>If there's anyone that you're like, oh, this is an

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<v Speaker 1>obvious addition to Eyebrows Hall of Fame, please let me know.

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<v Speaker 1>And by that I mean I think just people who

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<v Speaker 1>really we lead with their eyebrows. It's an unusual acting decision.

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<v Speaker 1>I'll throw um. Well, I don't know if she leads

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<v Speaker 1>with her eyebrows, but Rachel Weiss has very prominent eyebrows.

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<v Speaker 1>Put her in. She's then I'm renting a space it.

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<v Speaker 1>This is an installation of doing um, I love it.

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<v Speaker 1>All right, we'll get there. Let's talk about ever after. Yes,

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<v Speaker 1>here's the recap. We open on an old woman telling

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<v Speaker 1>the brothers grim that their version of Cinderella is inaccurate

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<v Speaker 1>and too fantastical, but she has the real story, which

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<v Speaker 1>is once upon a time again. In Renaissance era France,

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<v Speaker 1>there was a young girl named Danielle de Barberak. She

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<v Speaker 1>and her father, August are very close. He has just

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<v Speaker 1>married a woman, a stepmother to Danielle. She's a baroness

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<v Speaker 1>named Rodmilla de Gent and she is Angelica Houston. She

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<v Speaker 1>has two daughters, Marguerite and Jacqueline. And not long after

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<v Speaker 1>Danielle's new step family moves into their manner, Danielle's father

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<v Speaker 1>dies and she is, of course devastated. Ten years pass

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<v Speaker 1>we then meet the King and Queen of France and

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<v Speaker 1>their son, Prince Henry played by do Gray Scott. Is

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<v Speaker 1>that his name? Who is that not? Sure, okay, I

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<v Speaker 1>don't think so is it what is it? Is it

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<v Speaker 1>doug Ray? Is it doug Ray? Doug Ray would be fun.

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<v Speaker 1>That's like the Margharita vill reed of that of that name.

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<v Speaker 1>How do you say his first name? I assumed it

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<v Speaker 1>was do Gray. Yeah, I don't know why I said Doury.

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<v Speaker 1>Let's just go with is terrible, but hey, it can

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<v Speaker 1>be anything we want. So Prince Henry is leaving his

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<v Speaker 1>tower to escape the pressures of palace life, to quote

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<v Speaker 1>Disney's Aladdin, because he is about to be forced into

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<v Speaker 1>an arranged marriage with the Princess of Spain, which he

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<v Speaker 1>does not want to be in. Meanwhile, Danielle is now

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<v Speaker 1>Drew Barrymore. And then you know, as the Cinderella story goes,

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<v Speaker 1>her stepmother has made her a servant in her own home.

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<v Speaker 1>She's cruel to Danielle. And then one day, as Danielle

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<v Speaker 1>is outside doing her chores, she sees a man stealing

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<v Speaker 1>her father's horse, so she pelts him with apples, but

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<v Speaker 1>then realizes that he's the Prince. He pays her to

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<v Speaker 1>keep quiet about having seen him, and with this money,

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<v Speaker 1>Danielle can buy back quote unquote Maurice one of the

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<v Speaker 1>servants of the house who the baroness had sold to

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<v Speaker 1>pay her taxes. I really enjoyed that. I don't know.

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<v Speaker 1>I was like, oh, this, here's a fantasy I didn't

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<v Speaker 1>know that I had where a man looks ridiculous in

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<v Speaker 1>front of you and then he throws you a bag

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<v Speaker 1>of money and then disappears forever. I was like, that

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<v Speaker 1>actually should be more of a common practice. Right, he's

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<v Speaker 1>doing something bad, you're punishing him. He looks like a fool,

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<v Speaker 1>and then he's like, please don't tell anyone you saw this.

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<v Speaker 1>Here's a bunch of money. I really think that that

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<v Speaker 1>would be a good thing. I mean, and then we

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<v Speaker 1>would we would all own houses, you know. Yeah, we

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<v Speaker 1>would be rich exactly, no debt. We can dream. So

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<v Speaker 1>that morning, as Danielle is serving breakfast, the Baroness is

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<v Speaker 1>especially cruel to Danielle, as is her daughter Marguerite played

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<v Speaker 1>by Megan Dodds, though the other step sister, Acculean, played

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<v Speaker 1>by Melanie Lynsky, seems much more sweet. I love Melanie.

0:14:05.760 --> 0:14:11.000
<v Speaker 1>I didn't know she was in this movie. She's there,

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<v Speaker 1>and her character is similarly bullied by the Baroness and

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<v Speaker 1>Marguerite then we cut back to Prince Henry, who on

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<v Speaker 1>his journey runs into Leonardo da Vinci as one does,

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<v Speaker 1>who is on his way to the castle because he

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<v Speaker 1>was invited to be the artists in residence. Is so wild, right,

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<v Speaker 1>I did not. Okay, if you, like me, hadn't seen

0:14:36.320 --> 0:14:39.480
<v Speaker 1>ever after, are you shocked to hear in this recap

0:14:39.520 --> 0:14:42.760
<v Speaker 1>that Leonardo da Vinci is And then I was like, oh,

0:14:42.800 --> 0:14:45.400
<v Speaker 1>that's an interesting But then he's there for the rest

0:14:45.400 --> 0:14:48.480
<v Speaker 1>of the movie. He's a main character. He's in many

0:14:48.480 --> 0:14:53.920
<v Speaker 1>ways the grandpa that Henry right right, like he's and

0:14:53.920 --> 0:14:55.720
<v Speaker 1>then in some ways, like there's a read of it

0:14:55.720 --> 0:15:00.720
<v Speaker 1>where it's like he's also the fairy Leonardo Nci. Other Yeah,

0:15:01.600 --> 0:15:06.880
<v Speaker 1>he is a fascinating choice. I loved it, And tell

0:15:06.920 --> 0:15:10.000
<v Speaker 1>me your thoughts on this. So we see the scene

0:15:10.000 --> 0:15:13.920
<v Speaker 1>where Danielle is throwing apples at the Prince Leonardo Davincius

0:15:13.960 --> 0:15:18.920
<v Speaker 1>in the movie the da Vinci Code is apple. Uh huh?

0:15:19.200 --> 0:15:21.600
<v Speaker 1>Is the movie trying to tell us something? It is

0:15:21.640 --> 0:15:23.600
<v Speaker 1>trying to tell us don't watch The Da Vinci Code

0:15:23.640 --> 0:15:29.200
<v Speaker 1>when it comes out, like in eight years, absolutely ridiculous

0:15:29.320 --> 0:15:31.760
<v Speaker 1>dogship movies gonna come out and everyone's gonna say it's good,

0:15:31.920 --> 0:15:33.960
<v Speaker 1>and then you're gonna watched three years later and be like,

0:15:34.120 --> 0:15:38.960
<v Speaker 1>the da Vinci code was Apple. I still can't. We

0:15:39.080 --> 0:15:41.120
<v Speaker 1>We covered that on the Matreon like a year ago,

0:15:41.160 --> 0:15:44.600
<v Speaker 1>and I'm still furious about it, like we were all

0:15:45.360 --> 0:15:47.920
<v Speaker 1>the power we gave that man, Dan Brown when the

0:15:48.000 --> 0:15:51.800
<v Speaker 1>da Vinci code was Apple is so absurd. Alfred Molina

0:15:51.920 --> 0:15:55.120
<v Speaker 1>is in it, though, and that's it's one redeeming quality,

0:15:55.200 --> 0:15:58.360
<v Speaker 1>and so we can't write it off entirely. There is

0:15:58.560 --> 0:16:04.600
<v Speaker 1>cultural significance understandable, Yes, okay, So Leonardo da Vinci is

0:16:04.600 --> 0:16:06.560
<v Speaker 1>on his way to the castle, but he is being

0:16:06.680 --> 0:16:11.320
<v Speaker 1>robbed by a band of thieves. Henry recovers the Mona

0:16:11.360 --> 0:16:15.200
<v Speaker 1>Lisa that one of the thieves was trying to steal Prince.

0:16:15.240 --> 0:16:18.800
<v Speaker 1>Henry also goes to return the horse that he had

0:16:18.800 --> 0:16:23.120
<v Speaker 1>stolen from the Baroness to the baroness, and Marguerite then

0:16:23.200 --> 0:16:27.400
<v Speaker 1>tries to dazzle the Prince. She hopes that he will

0:16:27.440 --> 0:16:31.680
<v Speaker 1>fall in love with her and marry her. Meanwhile, Danielle,

0:16:31.720 --> 0:16:35.320
<v Speaker 1>with the help of her friend Gustav, secretly borrows a

0:16:35.480 --> 0:16:40.080
<v Speaker 1>fancy dress so she can impersonate a noblewoman and go

0:16:40.240 --> 0:16:43.880
<v Speaker 1>to the castle to negotiate the buying back of Maurice,

0:16:44.280 --> 0:16:49.560
<v Speaker 1>which she successfully does, something that Prince Henry witnesses, and

0:16:49.680 --> 0:16:54.080
<v Speaker 1>he is very impressed by her passionate speech about class

0:16:54.480 --> 0:16:57.960
<v Speaker 1>and he's like, wow, who are you. What's your name?

0:16:58.440 --> 0:17:02.600
<v Speaker 1>To quote Ella Enchant, You're not like other girls, like

0:17:03.320 --> 0:17:06.560
<v Speaker 1>this movie doesn't like directly say it to you, but

0:17:06.680 --> 0:17:10.359
<v Speaker 1>there but you know, same vibe. He's like, but there's

0:17:10.400 --> 0:17:13.600
<v Speaker 1>more nuance too, because there is. There is. I don't

0:17:13.600 --> 0:17:15.639
<v Speaker 1>want to keep interrupting you, but my one of my

0:17:15.720 --> 0:17:18.520
<v Speaker 1>favorite lines of the entire movie is when he comes

0:17:18.520 --> 0:17:22.119
<v Speaker 1>to return the horse and she says, oh, she's mute,

0:17:22.440 --> 0:17:24.040
<v Speaker 1>and he's like, but she was talking to me. Just

0:17:24.240 --> 0:17:28.040
<v Speaker 1>ride and she was like, oh it comes and girls

0:17:28.080 --> 0:17:35.120
<v Speaker 1>just a pleasant perfect The movie's got jokes, yes, So

0:17:35.240 --> 0:17:39.240
<v Speaker 1>Danielle is trying to brush off Prince Henry and she

0:17:39.320 --> 0:17:42.720
<v Speaker 1>finally tells him that she's a comtesse by the name

0:17:42.880 --> 0:17:47.640
<v Speaker 1>of Nicole de Lancre, which we learned was her mother's name,

0:17:48.359 --> 0:17:53.320
<v Speaker 1>and then Danielle runs off. Danielle and Maurice returned to

0:17:53.359 --> 0:17:56.240
<v Speaker 1>the manor. There is a very nice reunion with them

0:17:56.520 --> 0:17:59.560
<v Speaker 1>and the two servant women that Danielle is very close

0:17:59.600 --> 0:18:04.720
<v Speaker 1>with Paulette and Louise. Then the King, after arguing with

0:18:05.000 --> 0:18:08.840
<v Speaker 1>Henry about this arranged marriage, decides to throw a ball

0:18:09.200 --> 0:18:12.199
<v Speaker 1>in honor of da Vinci, who again is in the

0:18:12.240 --> 0:18:16.520
<v Speaker 1>movie as a character. Um, if Henry can find love

0:18:16.800 --> 0:18:20.480
<v Speaker 1>before the ball, he can marry whoever he falls in

0:18:20.480 --> 0:18:25.200
<v Speaker 1>love with, rather than the Spanish princess. But the ball

0:18:25.320 --> 0:18:31.639
<v Speaker 1>is only five days away. Done right. The Baroness and

0:18:31.800 --> 0:18:34.359
<v Speaker 1>all the ladies of the house get invited to the ball.

0:18:34.760 --> 0:18:36.840
<v Speaker 1>So so now the Baroness is like, okay, this is

0:18:36.840 --> 0:18:39.600
<v Speaker 1>our chance to like get the prince to fall in

0:18:39.640 --> 0:18:44.480
<v Speaker 1>love with Marguerite. She bribes Toby Jones, who is making

0:18:44.560 --> 0:18:49.479
<v Speaker 1>his American film debut in this movie. Yes, he had

0:18:49.520 --> 0:18:52.199
<v Speaker 1>been in a number of like British productions, but this

0:18:52.280 --> 0:18:55.760
<v Speaker 1>is his first role in an American production. I would

0:18:55.760 --> 0:18:57.720
<v Speaker 1>say that Toby Jones is actually doing a lot of

0:18:57.720 --> 0:19:01.840
<v Speaker 1>eyebrow acting and this role also okay, so he's going

0:19:01.840 --> 0:19:07.560
<v Speaker 1>into consideration for my gallery. Amazing. So Toby Jones's character

0:19:08.080 --> 0:19:12.840
<v Speaker 1>works at the castle in some capacity. It's a page okay,

0:19:13.040 --> 0:19:16.600
<v Speaker 1>got it. The Baroness bribes him to feed her information

0:19:16.640 --> 0:19:19.600
<v Speaker 1>about what Prince Henry is doing so that Marguerite can

0:19:19.640 --> 0:19:24.840
<v Speaker 1>basically stalk Prince Henry. Then Danielle finds out about the

0:19:24.880 --> 0:19:28.280
<v Speaker 1>ball when she walks in on Marguerite about to steal

0:19:28.600 --> 0:19:33.000
<v Speaker 1>Danielle's mother's dress and shoes, and the Baroness plays it

0:19:33.040 --> 0:19:35.760
<v Speaker 1>off like, oh, Danielle, you can come to the ball too,

0:19:36.160 --> 0:19:41.240
<v Speaker 1>I guess if you're on your best behavior. Then Danielle

0:19:41.240 --> 0:19:47.200
<v Speaker 1>bumps into Prince Henry again when she's having a little swim.

0:19:47.359 --> 0:19:52.520
<v Speaker 1>I love this something about like, I feel like we've

0:19:52.560 --> 0:19:54.879
<v Speaker 1>discussed the trope. This is not the trope, though, I

0:19:54.920 --> 0:19:57.000
<v Speaker 1>would say this is an inversion of the troupe, which

0:19:57.040 --> 0:19:58.520
<v Speaker 1>didn't exist at the time. So I don't know what

0:19:58.560 --> 0:20:02.160
<v Speaker 1>I'm talking about. But there's been a recent wave of

0:20:03.040 --> 0:20:06.760
<v Speaker 1>coming of age stories where at the peak of the action,

0:20:06.840 --> 0:20:10.639
<v Speaker 1>the peak of her uncertainty, the girl dives into a

0:20:10.720 --> 0:20:15.359
<v Speaker 1>pool and it's like like it happens in Ladybird, it

0:20:15.440 --> 0:20:18.600
<v Speaker 1>happens in eighth Grade, it happens all the recent coming

0:20:18.640 --> 0:20:22.040
<v Speaker 1>of age movies. A girl's jumping into an in ground

0:20:22.080 --> 0:20:26.320
<v Speaker 1>pool and having a moment. This is the opposite. Drew

0:20:26.320 --> 0:20:29.440
<v Speaker 1>Barrymore is having a moment, but she's like floating. She's

0:20:29.480 --> 0:20:32.000
<v Speaker 1>looking at this guy. She's having a nice time, and

0:20:32.080 --> 0:20:34.840
<v Speaker 1>she's like, I don't know. I really liked that moment.

0:20:34.840 --> 0:20:36.480
<v Speaker 1>I was like, oh, I want, I want to do that.

0:20:37.160 --> 0:20:41.720
<v Speaker 1>It seems very relaxing. Here was my thought. Leonardo DiCaprio

0:20:41.920 --> 0:20:45.080
<v Speaker 1>watched this movie and he's like, Wow, someone in water

0:20:45.480 --> 0:20:49.360
<v Speaker 1>swimming around, but they're still wearing their clothes. But he's

0:20:49.400 --> 0:20:53.320
<v Speaker 1>already been at it for years at that point, he'd

0:20:53.320 --> 0:20:56.359
<v Speaker 1>been in clothes in water. That's I mean. Titanic probably

0:20:56.400 --> 0:21:01.320
<v Speaker 1>sued her and Romeo all we call this lawyer before

0:21:01.320 --> 0:21:04.960
<v Speaker 1>they left the movie theater, and was like, can I

0:21:05.200 --> 0:21:10.240
<v Speaker 1>sue for this is my intellectual property? Can you copyright

0:21:10.680 --> 0:21:16.480
<v Speaker 1>wet clothes? But it's so great though, because she was

0:21:16.560 --> 0:21:21.919
<v Speaker 1>just like they're minding her business, you know, like relaxing.

0:21:22.000 --> 0:21:24.440
<v Speaker 1>And then you're coming out of the virgie and he's

0:21:24.480 --> 0:21:28.399
<v Speaker 1>just like, hey, looks like rain. He's walking on water

0:21:28.560 --> 0:21:32.840
<v Speaker 1>because he's invented boat shoes or something. Who knows. I

0:21:32.920 --> 0:21:35.680
<v Speaker 1>love every time he's on screen. I'm like, I'm interested.

0:21:36.000 --> 0:21:40.919
<v Speaker 1>Whatever is happening. I'm interested. So Danielle bumps into Prince Henry.

0:21:41.040 --> 0:21:45.520
<v Speaker 1>They have another discussion about class. It becomes kind of flirty.

0:21:45.640 --> 0:21:48.359
<v Speaker 1>They're giggling, but then she has to run off and

0:21:48.400 --> 0:21:53.640
<v Speaker 1>get back home again. Then we meet this wealthy, creepy

0:21:53.760 --> 0:21:58.879
<v Speaker 1>guy Monsieur Le Pew literally love p you like we

0:21:59.000 --> 0:22:04.320
<v Speaker 1>get it pay l Pew Yeah, played by Richard O'Brien

0:22:04.560 --> 0:22:08.280
<v Speaker 1>of Rocky Horror Picture Show Fame. This guy has a

0:22:08.320 --> 0:22:12.520
<v Speaker 1>fixation with Danielle and he wants to marry her, slash

0:22:12.600 --> 0:22:16.960
<v Speaker 1>and trap her basically. Meanwhile, Prince Henry is kind of

0:22:17.000 --> 0:22:20.400
<v Speaker 1>going through the motions of courting Marguerite, but you can

0:22:20.400 --> 0:22:23.239
<v Speaker 1>tell he's not really interested in her because he like

0:22:23.359 --> 0:22:28.560
<v Speaker 1>someone else, surprised it's Danielle. Um. There are a couple

0:22:28.560 --> 0:22:32.720
<v Speaker 1>of instances where Prince Henry almost runs into Danielle when

0:22:32.800 --> 0:22:37.880
<v Speaker 1>she's in her commoner clothes, including when Danielle and Gustav

0:22:38.000 --> 0:22:41.040
<v Speaker 1>are in a field and she's trying to fly one

0:22:41.080 --> 0:22:44.120
<v Speaker 1>of da Vinci's kites, so she has to run back

0:22:44.119 --> 0:22:46.199
<v Speaker 1>to the manner get into a fancy dress just in

0:22:46.280 --> 0:22:49.240
<v Speaker 1>time for Henry to arrive and pay her a visit.

0:22:49.800 --> 0:22:54.720
<v Speaker 1>He then takes her to this huge library. She's dazzled

0:22:54.760 --> 0:22:57.760
<v Speaker 1>by all of the books Fairy Beauty and the Beast.

0:22:59.600 --> 0:23:01.960
<v Speaker 1>He has like a really I don't know why I

0:23:02.000 --> 0:23:05.720
<v Speaker 1>always focus on this in the scene, but like his

0:23:05.840 --> 0:23:10.960
<v Speaker 1>pants is very pronounced or whatever they had, it's very

0:23:10.960 --> 0:23:14.680
<v Speaker 1>pronounced in that scene. That is true of a lot

0:23:14.760 --> 0:23:18.680
<v Speaker 1>of this movie where whatever, like cod pieces they wore

0:23:18.760 --> 0:23:21.679
<v Speaker 1>back in the day. It's very distracting because I'm just

0:23:21.720 --> 0:23:26.120
<v Speaker 1>looking at the the giant bulge in these guys pants.

0:23:27.680 --> 0:23:32.760
<v Speaker 1>But that's yeah, it's like that said, let's not be

0:23:32.880 --> 0:23:36.000
<v Speaker 1>pointing fingers at the movie. Maybe you're just horny. Could

0:23:36.040 --> 0:23:43.680
<v Speaker 1>be sounds like me, okay. So on their way back,

0:23:44.280 --> 0:23:48.600
<v Speaker 1>the carriage breaks down and Danielle and Henry are bombarded

0:23:48.640 --> 0:23:51.239
<v Speaker 1>by the same band of thieves. Then we get that

0:23:51.280 --> 0:23:55.120
<v Speaker 1>moment where the main thief is like, you can take

0:23:55.160 --> 0:23:58.480
<v Speaker 1>anything you can carry, and then Danielle picks up Henry

0:23:58.600 --> 0:24:02.399
<v Speaker 1>and starts to carry him away, and the thieves are

0:24:02.400 --> 0:24:12.280
<v Speaker 1>like feminism alert. I liked it though. Yeah. Then the

0:24:12.320 --> 0:24:15.439
<v Speaker 1>thieves are like, all you goofs, let's be friends, and

0:24:15.480 --> 0:24:19.560
<v Speaker 1>then they all hang out and Danielle and Prince Henry

0:24:19.840 --> 0:24:25.320
<v Speaker 1>finally kiss. Meanwhile, Marguerite and the Baroness are trying to

0:24:25.400 --> 0:24:29.480
<v Speaker 1>get into the Queen's good graces, mostly by using deceit.

0:24:30.040 --> 0:24:33.879
<v Speaker 1>The Baroness uninvites Danielle from the ball after she stays

0:24:33.880 --> 0:24:37.639
<v Speaker 1>out all night, although the Baroness does not know that

0:24:37.720 --> 0:24:41.760
<v Speaker 1>daniel was with the Prince. Then Marguerite says something really

0:24:41.840 --> 0:24:46.680
<v Speaker 1>rude about Danielle's mother, so Danielle punches Marguerite in the face.

0:24:47.520 --> 0:24:54.720
<v Speaker 1>So but then Marguerite retaliates by destroying a beloved book

0:24:54.760 --> 0:25:00.040
<v Speaker 1>of Danielle's that her father gave her. Margite she he

0:25:00.119 --> 0:25:07.320
<v Speaker 1>is sorry extremely. Then the Baroness figures out that the

0:25:07.359 --> 0:25:10.359
<v Speaker 1>contests that the Prince has been spending so much time

0:25:10.400 --> 0:25:13.800
<v Speaker 1>with that all of the courtiers at the castle are

0:25:13.840 --> 0:25:19.080
<v Speaker 1>gossiping about, is in fact Danielle. And then Danielle meets

0:25:19.119 --> 0:25:21.920
<v Speaker 1>up with the Prince again and wants to tell him

0:25:21.960 --> 0:25:24.880
<v Speaker 1>that she's actually a commoner, but she can't bring herself

0:25:25.000 --> 0:25:28.800
<v Speaker 1>to do it. Back at the manner, the Baroness confronts

0:25:28.880 --> 0:25:32.800
<v Speaker 1>Danielle about pretending to be a contest and locks her

0:25:32.840 --> 0:25:37.879
<v Speaker 1>in the pantry. On the eve of the ball, no,

0:25:38.640 --> 0:25:42.440
<v Speaker 1>so it's the ball is about to happen. Henry thinks

0:25:42.520 --> 0:25:46.880
<v Speaker 1>his contest is engaged to a Belgian man, so he's

0:25:46.880 --> 0:25:49.480
<v Speaker 1>about to relent and go through with the engagement to

0:25:49.520 --> 0:25:54.640
<v Speaker 1>the Spanish princess, but Gustav grabs Leonardo da Vinci, who

0:25:54.680 --> 0:25:57.840
<v Speaker 1>breaks Danielle out of the pantry. She shows up at

0:25:57.840 --> 0:26:02.959
<v Speaker 1>the bay sentences, so weird need to draw everyone's attention

0:26:02.960 --> 0:26:08.480
<v Speaker 1>to the fact that the sentences or die. Okay, he is,

0:26:08.640 --> 0:26:12.639
<v Speaker 1>he is like, I needed to happen. I'm gonna do

0:26:12.680 --> 0:26:17.359
<v Speaker 1>what I can. Hope he's a shippers. He believes in

0:26:18.040 --> 0:26:21.080
<v Speaker 1>he does. His portrait at the end was just like

0:26:21.560 --> 0:26:25.520
<v Speaker 1>fan fiction for the time. Yeah, He's like, well, I

0:26:25.560 --> 0:26:29.000
<v Speaker 1>can conjure whatever I want, So I'm going to conjure

0:26:29.040 --> 0:26:34.719
<v Speaker 1>this ship, like incredibly use of power. Why didn't Robert

0:26:34.760 --> 0:26:37.880
<v Speaker 1>Langdon in the Da Vinci Code examine anything about that

0:26:37.960 --> 0:26:44.000
<v Speaker 1>painting and try to figure out Lawrence asking Also, we

0:26:44.119 --> 0:26:46.920
<v Speaker 1>didn't mention this, but in the framework, um, the framework

0:26:46.960 --> 0:26:49.240
<v Speaker 1>of this movie reminded me so much of the beginning

0:26:49.240 --> 0:26:53.560
<v Speaker 1>of A Portrait of a Lady on Fire, because it's

0:26:53.640 --> 0:26:56.240
<v Speaker 1>like a woman looking at longingly at a painting of

0:26:56.280 --> 0:26:58.679
<v Speaker 1>a young girl and being like, it's kind of a

0:26:58.680 --> 0:27:04.400
<v Speaker 1>funny story, actually, and then it flashes very different movies

0:27:05.160 --> 0:27:10.920
<v Speaker 1>unless I'm gidding. Okay, So Danielle shows up at the ball,

0:27:11.080 --> 0:27:13.880
<v Speaker 1>she's in this beautiful gown, she's in wings that Leonardo

0:27:13.960 --> 0:27:17.840
<v Speaker 1>da Vinci crafted for her. Henry is like, oh my god,

0:27:18.240 --> 0:27:23.360
<v Speaker 1>I love you. But then the baroness outs Danielle as

0:27:23.400 --> 0:27:27.640
<v Speaker 1>a servant, and then Henry is like, oh, gross, you're

0:27:27.680 --> 0:27:30.360
<v Speaker 1>a servant. Get away from me, which I was kind

0:27:30.400 --> 0:27:34.439
<v Speaker 1>of I didn't see that coming of him, because usually

0:27:34.440 --> 0:27:37.719
<v Speaker 1>when that happens in these adaptations. I'm not saying that

0:27:38.000 --> 0:27:39.840
<v Speaker 1>as a bad thing. I think we will get there,

0:27:39.920 --> 0:27:41.520
<v Speaker 1>of like why, I thought it was kind of interesting,

0:27:41.640 --> 0:27:45.000
<v Speaker 1>but usually I feel like when it's revealed that she's

0:27:45.000 --> 0:27:47.399
<v Speaker 1>a servant, he's like, but I'm so in love, I

0:27:47.400 --> 0:27:50.280
<v Speaker 1>don't even care. You're not like the other poor people.

0:27:50.320 --> 0:27:52.640
<v Speaker 1>So I think it's interesting that he still has a

0:27:52.680 --> 0:27:58.520
<v Speaker 1>classist reaction and then has to like look withins Yeah,

0:27:58.680 --> 0:28:01.880
<v Speaker 1>I see what you're saying. But that also makes them

0:28:01.920 --> 0:28:06.120
<v Speaker 1>getting back together harder to digest, because he's so awful

0:28:06.200 --> 0:28:08.240
<v Speaker 1>to her in that moment that I'm like, well, I

0:28:08.280 --> 0:28:11.080
<v Speaker 1>don't want her to take him back. With ten minutes

0:28:11.160 --> 0:28:12.920
<v Speaker 1>left on the run time, you're just like, oh, he's

0:28:12.960 --> 0:28:15.159
<v Speaker 1>like this class is this late in the movie? Yikes?

0:28:15.280 --> 0:28:17.960
<v Speaker 1>But yeah, I don't know, I think there's a discussion. Yeah,

0:28:18.240 --> 0:28:21.479
<v Speaker 1>I literally I feel like I have blinders on. Right

0:28:21.560 --> 0:28:25.399
<v Speaker 1>comes through that because he's so terrible to her, But

0:28:25.440 --> 0:28:29.600
<v Speaker 1>I just get so excited because I think, because spoiler

0:28:29.680 --> 0:28:32.880
<v Speaker 1>that she saved herself, right, yes, and then he's there

0:28:32.920 --> 0:28:34.760
<v Speaker 1>and I'm like, she did on her own, but like,

0:28:35.200 --> 0:28:37.720
<v Speaker 1>also get together because I'm already interested, so allowed to

0:28:37.800 --> 0:28:41.160
<v Speaker 1>do this. But I'm like, Okay, you were really bad there.

0:28:41.200 --> 0:28:45.640
<v Speaker 1>I hope you at least apologize directly, for which we

0:28:45.640 --> 0:28:48.600
<v Speaker 1>do see him do, and then he also needs to

0:28:48.640 --> 0:28:54.320
<v Speaker 1>continue to apologize and make amends for a long time

0:28:54.360 --> 0:28:58.720
<v Speaker 1>after that. Yeah, I agree, Um, okay, So he's like, oh, gross,

0:28:58.720 --> 0:29:02.040
<v Speaker 1>get away from me. Danielle runs off, and then Da

0:29:02.080 --> 0:29:04.760
<v Speaker 1>Vinci goes to Henry and he's like, you're a fool

0:29:04.960 --> 0:29:09.080
<v Speaker 1>and an asshole and you don't deserve her. Danielle back

0:29:09.120 --> 0:29:13.440
<v Speaker 1>at the manner she's humiliated and has no choice but

0:29:13.600 --> 0:29:17.560
<v Speaker 1>to resume being a servant to the Baroness. That is,

0:29:17.760 --> 0:29:22.440
<v Speaker 1>until the Baroness sells Danielle to that creepy guy, Monsieur

0:29:22.560 --> 0:29:26.080
<v Speaker 1>the Pew so gross, horrible, but he says to her

0:29:26.120 --> 0:29:29.480
<v Speaker 1>at some point in the movie, like you maybe three

0:29:29.560 --> 0:29:35.320
<v Speaker 1>times or two times my junior child child. But you

0:29:35.360 --> 0:29:38.320
<v Speaker 1>know I can, I can, Like he says, I'm well

0:29:38.480 --> 0:29:42.480
<v Speaker 1>endowed you and I can train you like a horse

0:29:42.600 --> 0:29:44.080
<v Speaker 1>or something. And I'm like, you just called her a

0:29:44.200 --> 0:29:47.000
<v Speaker 1>child and then also said you wanted her in the

0:29:47.080 --> 0:29:52.800
<v Speaker 1>exact disgusting it's intent like, and I feel like it

0:29:52.920 --> 0:29:56.240
<v Speaker 1>is kind of an example of like that we had

0:29:56.240 --> 0:30:00.120
<v Speaker 1>a name, this trope of like one man being so

0:30:00.440 --> 0:30:04.920
<v Speaker 1>egregiously evil that a guy that maybe isn't so great

0:30:05.040 --> 0:30:07.520
<v Speaker 1>looks so good by comparison, that we're not going to

0:30:07.640 --> 0:30:10.560
<v Speaker 1>examine the things that are, you know, maybe the deep

0:30:10.600 --> 0:30:13.560
<v Speaker 1>seated classism that he just yelled in your face. Well,

0:30:13.960 --> 0:30:17.720
<v Speaker 1>at least he's not Peppe Lapu, right, Like, at least

0:30:17.760 --> 0:30:21.640
<v Speaker 1>he's not threatening to rape you, right right. I mean,

0:30:21.640 --> 0:30:23.880
<v Speaker 1>I think it is like a trope that is grounded

0:30:24.200 --> 0:30:27.120
<v Speaker 1>in like the idea that two things can't be true

0:30:27.120 --> 0:30:29.600
<v Speaker 1>at the same time, where it's like there's only one

0:30:29.720 --> 0:30:36.640
<v Speaker 1>kind of bad man and it's the worst man imaginable, right, yes, bad.

0:30:37.480 --> 0:30:40.520
<v Speaker 1>So meanwhile, Henry is about to get married to the

0:30:40.560 --> 0:30:44.800
<v Speaker 1>Spanish princess, something that she also very much does not want.

0:30:45.360 --> 0:30:47.800
<v Speaker 1>So then Henry is like you know what, screw this,

0:30:47.880 --> 0:30:51.080
<v Speaker 1>We're not doing this. He releases her, and then he

0:30:51.120 --> 0:30:54.840
<v Speaker 1>sets off to find Danielle, who, meanwhile, like you said,

0:30:54.880 --> 0:31:00.200
<v Speaker 1>he manages to escape from Lipu by grabbing his ward

0:31:00.240 --> 0:31:02.880
<v Speaker 1>and daggers and being like, let me go or I

0:31:02.920 --> 0:31:07.240
<v Speaker 1>will gut you. She then leaves the castle and who

0:31:07.360 --> 0:31:13.280
<v Speaker 1>is there but Prince Henry, and he apologizes and proposes

0:31:13.360 --> 0:31:16.880
<v Speaker 1>marriage and she says yes. Then we see the Baroness

0:31:16.880 --> 0:31:19.800
<v Speaker 1>and Marguerite get their come up and basically they're invited

0:31:19.840 --> 0:31:23.000
<v Speaker 1>to the castle thinking that the prince will propose to Marguerite,

0:31:23.280 --> 0:31:27.880
<v Speaker 1>but instead they see that Danielle is the princes his wife,

0:31:28.520 --> 0:31:32.000
<v Speaker 1>and the Baroness and Marguerite are shown the same mercy

0:31:32.120 --> 0:31:35.800
<v Speaker 1>that they showed to Danielle a k A. They are

0:31:35.880 --> 0:31:41.440
<v Speaker 1>turned into servants at the castle, and then Danielle and

0:31:41.480 --> 0:31:46.760
<v Speaker 1>Henry live happily ever after. And the point is they lived.

0:31:47.720 --> 0:31:53.120
<v Speaker 1>I just need to take a second because the reveal

0:31:53.480 --> 0:31:57.000
<v Speaker 1>that they're married and he's like, Marguerite, I do believe

0:31:57.080 --> 0:32:01.120
<v Speaker 1>you've met my wife. She said about okay, and then

0:32:01.240 --> 0:32:03.760
<v Speaker 1>and then I just it's my favorite scene in the

0:32:03.960 --> 0:32:09.280
<v Speaker 1>entire movie, because Angelica Houston is acted down okay, and

0:32:09.320 --> 0:32:12.880
<v Speaker 1>she's like and and then the queen is like, oh, like,

0:32:12.960 --> 0:32:15.840
<v Speaker 1>if there's nobody here to defend you, like, it's over

0:32:15.880 --> 0:32:19.000
<v Speaker 1>for you girl. And then she's like, oh, everybody's out

0:32:19.040 --> 0:32:23.240
<v Speaker 1>of town, which great. Un She's like, She's like, yeah,

0:32:23.280 --> 0:32:25.040
<v Speaker 1>there there must be a lot of people out of town.

0:32:25.040 --> 0:32:28.680
<v Speaker 1>And then here comes Danielle and she's like, I'm gonna

0:32:28.760 --> 0:32:30.480
<v Speaker 1>let you know that I'm never gonna thank of you

0:32:30.560 --> 0:32:32.560
<v Speaker 1>again at for this moment, but you won't think of

0:32:32.600 --> 0:32:35.360
<v Speaker 1>me every day for the rest of your life. What

0:32:35.520 --> 0:32:39.040
<v Speaker 1>to read? First of all, he read her hard Miranda's

0:32:39.120 --> 0:32:42.080
<v Speaker 1>and then she was like how long will that be?

0:32:42.440 --> 0:32:44.479
<v Speaker 1>And Danielle was like, I'm just gonna give you the

0:32:44.520 --> 0:32:46.800
<v Speaker 1>same creement that you gave me. And it is just

0:32:47.000 --> 0:32:50.200
<v Speaker 1>I just love this scene so much that I feel

0:32:50.240 --> 0:32:54.800
<v Speaker 1>like I felt I felt justified, like he was Melanie

0:32:54.880 --> 0:32:57.280
<v Speaker 1>Lindskey over here, just minding her business, not in it

0:32:57.320 --> 0:33:02.480
<v Speaker 1>at all. And then like the two most terrible people

0:33:03.000 --> 0:33:04.880
<v Speaker 1>were not the most but like two of the terrible

0:33:04.880 --> 0:33:09.200
<v Speaker 1>people to Danielle actually get what they deserve. Although personally

0:33:09.240 --> 0:33:13.960
<v Speaker 1>I wanted to see them fist fight. I wanted Danielle

0:33:14.000 --> 0:33:19.280
<v Speaker 1>to fist fight bargay like that would have been perfect,

0:33:19.400 --> 0:33:22.520
<v Speaker 1>it would have fit right, like when she punched her.

0:33:22.560 --> 0:33:24.880
<v Speaker 1>I think the first time that I watched it as

0:33:24.920 --> 0:33:27.640
<v Speaker 1>a kid, I like we wound it so many times

0:33:27.720 --> 0:33:35.360
<v Speaker 1>because even then I was like, yes, she deserved what

0:33:35.400 --> 0:33:37.920
<v Speaker 1>was coming to her. She really did. Yeah, that wholes

0:33:38.200 --> 0:33:41.400
<v Speaker 1>like the baroness gets her come up and chunk at

0:33:41.440 --> 0:33:45.640
<v Speaker 1>the end, is so satisfying. Yeah, my god, I think

0:33:45.760 --> 0:33:50.480
<v Speaker 1>maybe the most satisfying of the adaptations that Yeah covered,

0:33:51.120 --> 0:33:55.200
<v Speaker 1>because it's like a weighted blanket. I feel like I'm like, yes,

0:33:55.280 --> 0:33:58.280
<v Speaker 1>I want to rest here for a while. You see

0:33:58.280 --> 0:34:01.800
<v Speaker 1>what happened, because it's like wild. I think for me

0:34:01.920 --> 0:34:05.640
<v Speaker 1>that they do that is really smart is they have

0:34:05.880 --> 0:34:10.279
<v Speaker 1>small moments where they're trying to like humanize her, you know,

0:34:10.320 --> 0:34:13.440
<v Speaker 1>when she's like kind to Danielle, but like for two

0:34:13.480 --> 0:34:16.680
<v Speaker 1>seconds and then it's over. I think it's so smart

0:34:16.719 --> 0:34:19.440
<v Speaker 1>because then they're like, oh, no, she kind of is

0:34:19.520 --> 0:34:22.279
<v Speaker 1>nice to her, but not really because and I think

0:34:22.280 --> 0:34:26.319
<v Speaker 1>it is because when the dad died, he turned to

0:34:26.400 --> 0:34:28.640
<v Speaker 1>daniel and said I love you, and she was sick

0:34:28.640 --> 0:34:31.400
<v Speaker 1>about it and had been sick about it ever since. Yeah.

0:34:31.520 --> 0:34:34.600
<v Speaker 1>I do like the way that the stepmother character. Her

0:34:34.640 --> 0:34:39.120
<v Speaker 1>behavior is contextualized more than in other adaptations. I think

0:34:39.160 --> 0:34:42.160
<v Speaker 1>that was like really effective, but still doesn't like I

0:34:42.480 --> 0:34:45.200
<v Speaker 1>like the idea that let's like they contextualize her behavior,

0:34:45.239 --> 0:34:47.520
<v Speaker 1>but they don't excuse it, which I feel like it's

0:34:47.560 --> 0:34:50.200
<v Speaker 1>a tough needle to thread that this movie does really well.

0:34:50.600 --> 0:34:54.120
<v Speaker 1>For sure, Let's take a quick break and then we'll

0:34:54.160 --> 0:35:04.839
<v Speaker 1>come back and discuss it further and we're back, all right,

0:35:04.920 --> 0:35:08.760
<v Speaker 1>we actually we start there's so much to talk about

0:35:08.760 --> 0:35:11.880
<v Speaker 1>with this movie. Well, we were just talking about Angeloicia

0:35:11.960 --> 0:35:16.840
<v Speaker 1>Houston's stepmother arc. Maybe maybe we can start there, because

0:35:16.880 --> 0:35:22.040
<v Speaker 1>I think that it's a really interesting approach to the character.

0:35:22.320 --> 0:35:24.360
<v Speaker 1>That again, it's like so much of what this movie

0:35:24.440 --> 0:35:27.759
<v Speaker 1>is doing seems like so built into the story that

0:35:27.840 --> 0:35:30.600
<v Speaker 1>it doesn't feel forced, and it makes it even more

0:35:30.719 --> 0:35:34.880
<v Speaker 1>kind of like why don't more adaptations attempt this? Because

0:35:35.560 --> 0:35:39.359
<v Speaker 1>we see that I mean in terms of like what

0:35:39.400 --> 0:35:43.600
<v Speaker 1>the stepmother's predicament is, I feel like sometimes a Cinderella story, unfortunately,

0:35:43.680 --> 0:35:46.839
<v Speaker 1>is an example of this. Her predicament is presented very

0:35:46.920 --> 0:35:50.120
<v Speaker 1>much in a void and there's no context to like

0:35:50.600 --> 0:35:54.640
<v Speaker 1>why is she mean, what is her social status? Like what?

0:35:54.800 --> 0:35:58.120
<v Speaker 1>Or like and so because of the era, like the

0:35:58.120 --> 0:36:00.120
<v Speaker 1>time and place this movie takes place in it, it's

0:36:00.239 --> 0:36:04.160
<v Speaker 1>very very clear that like this is her option. Marrying

0:36:04.880 --> 0:36:09.239
<v Speaker 1>Danielle's dad is her way to secure a life for

0:36:10.120 --> 0:36:13.279
<v Speaker 1>her and her daughters. And it seems to me, I mean,

0:36:13.280 --> 0:36:15.880
<v Speaker 1>I'm curious of what you both think. It felt like

0:36:15.960 --> 0:36:19.560
<v Speaker 1>to me that the context for why she is so

0:36:19.800 --> 0:36:23.320
<v Speaker 1>cruel to Danielle in this adaptation is that, like, it

0:36:23.360 --> 0:36:26.400
<v Speaker 1>almost seems like Danielle is like this triggering presence for

0:36:26.480 --> 0:36:30.560
<v Speaker 1>her that she wants to like suppress, and she she's

0:36:30.600 --> 0:36:33.080
<v Speaker 1>so upset that she's kind of like when when her

0:36:33.160 --> 0:36:35.680
<v Speaker 1>husband dies. She views this as like, well, now I'm

0:36:35.719 --> 0:36:38.440
<v Speaker 1>stuck here and now I'm fucked, and I'm going to

0:36:38.600 --> 0:36:41.440
<v Speaker 1>punish any reminder of the fact that this is how

0:36:41.520 --> 0:36:44.360
<v Speaker 1>I feel, and so she kind of weaponizes those feelings

0:36:44.880 --> 0:36:48.880
<v Speaker 1>against Danielle. Yeah, yeah, I see that as well. I

0:36:48.920 --> 0:36:51.640
<v Speaker 1>think the thing that I find really interesting is the

0:36:51.680 --> 0:36:55.799
<v Speaker 1>fact that she seemed to genuinely like him, right, Yeah,

0:36:55.880 --> 0:36:59.640
<v Speaker 1>Because oftentimes in these adaptations, the stop mom doesn't seem

0:36:59.640 --> 0:37:02.640
<v Speaker 1>to care that much about the person who died, you know,

0:37:02.800 --> 0:37:05.000
<v Speaker 1>And I think in this one, you get little pieces

0:37:05.040 --> 0:37:08.799
<v Speaker 1>of that, which is a nice juxtaposition between the King

0:37:08.840 --> 0:37:11.720
<v Speaker 1>and the Queen Andy and these parents who don't seem

0:37:11.760 --> 0:37:15.000
<v Speaker 1>to like each other at all. Whereas, like you see

0:37:15.160 --> 0:37:18.080
<v Speaker 1>in the very beginning when when the dad dies, she's like, well,

0:37:18.239 --> 0:37:21.600
<v Speaker 1>don't leave me here, like they're they're flirty like before

0:37:21.640 --> 0:37:23.919
<v Speaker 1>he gets to leave there like flirting with each other,

0:37:24.640 --> 0:37:28.160
<v Speaker 1>and and like he leaves and she's devastated. But I

0:37:28.200 --> 0:37:31.600
<v Speaker 1>think because she takes it out on Danielle, because Danielle

0:37:31.640 --> 0:37:33.360
<v Speaker 1>was the last person he said I love you too.

0:37:33.640 --> 0:37:35.960
<v Speaker 1>It's sort of the gates that love that she has,

0:37:36.440 --> 0:37:38.480
<v Speaker 1>you know, but it's me that it's there. It's just

0:37:38.520 --> 0:37:42.840
<v Speaker 1>like none of it matters because you're trashed this little

0:37:42.880 --> 0:37:45.759
<v Speaker 1>girl who was just like eight, You're just mean her immediately.

0:37:46.040 --> 0:37:48.880
<v Speaker 1>It's I think it's like really really well done of

0:37:49.000 --> 0:37:52.000
<v Speaker 1>like yeah, like you are. You do get why she

0:37:52.120 --> 0:37:55.280
<v Speaker 1>is upset, but like every choice she makes is cruel

0:37:55.480 --> 0:37:58.600
<v Speaker 1>and wrong, and I don't know, I's like that's more

0:37:58.680 --> 0:38:02.560
<v Speaker 1>nuanced than you get in most of these adaptations. I really,

0:38:02.640 --> 0:38:05.760
<v Speaker 1>I really liked it. Also, I was kind of curious

0:38:05.760 --> 0:38:08.920
<v Speaker 1>of like there's always this I don't know, and I

0:38:08.960 --> 0:38:12.920
<v Speaker 1>guess that no real Cinderella story like really takes a

0:38:12.960 --> 0:38:15.520
<v Speaker 1>look at this. But I mean, we're at the beginning

0:38:15.560 --> 0:38:19.520
<v Speaker 1>of every Cinderella adaptation, we're presented with like two sets

0:38:19.560 --> 0:38:22.719
<v Speaker 1>of single parents, and it's always implied like the single

0:38:22.800 --> 0:38:25.480
<v Speaker 1>dad is doing an amazing job. Um, which I think

0:38:25.560 --> 0:38:27.440
<v Speaker 1>is cool in one way because there's not a lot

0:38:27.440 --> 0:38:32.560
<v Speaker 1>of single dads in movies at all, especially single dads

0:38:32.560 --> 0:38:34.960
<v Speaker 1>of daughters. But then but then on the other hand,

0:38:35.000 --> 0:38:38.240
<v Speaker 1>it's like presenting a single moms as like a single

0:38:38.320 --> 0:38:42.600
<v Speaker 1>mom will raise her daughters to be vain and social

0:38:42.640 --> 0:38:46.839
<v Speaker 1>climate and she sucks. I don't really, I mean, that's

0:38:46.880 --> 0:38:48.839
<v Speaker 1>just something. Maybe it's just because we've watched so many

0:38:48.840 --> 0:38:52.359
<v Speaker 1>of these so close together, but yeah, I'm sure there

0:38:52.400 --> 0:38:55.600
<v Speaker 1>are there are plenty of exceptions to that, but yeah,

0:38:55.880 --> 0:38:59.960
<v Speaker 1>for sure. But it is something that the other Cinderella adaptation,

0:39:00.880 --> 0:39:04.239
<v Speaker 1>including the two we covered on the Matreon, they do

0:39:04.320 --> 0:39:09.319
<v Speaker 1>this thing where their context or their explanation for why

0:39:09.440 --> 0:39:15.200
<v Speaker 1>the stepmother is awful is that she's extremely vain and

0:39:15.600 --> 0:39:20.040
<v Speaker 1>obsessed with looking young and jealous of Cinderella and her

0:39:20.760 --> 0:39:26.719
<v Speaker 1>youthful beauty because that's just how older women are, rather

0:39:26.760 --> 0:39:31.160
<v Speaker 1>than examining anything more thoughtfully than that, and this movie

0:39:31.239 --> 0:39:35.840
<v Speaker 1>doesn't take that route, which I appreciated. Yeah, I don't know.

0:39:35.880 --> 0:39:40.040
<v Speaker 1>I like there's I think it is partly Angelica Houston's

0:39:40.080 --> 0:39:46.279
<v Speaker 1>performance and her amazing eyebrow acting and just like the

0:39:46.320 --> 0:39:49.919
<v Speaker 1>presence she commands on screen and then also do yeah,

0:39:50.000 --> 0:39:53.360
<v Speaker 1>just the way that character was written worked way better

0:39:53.440 --> 0:39:58.560
<v Speaker 1>for me than most other Cinderella adaptations. The thing that

0:39:58.640 --> 0:40:02.360
<v Speaker 1>I think is interesting why there when she calls Danielle

0:40:02.400 --> 0:40:05.480
<v Speaker 1>into her room to brush her hair, she talks about

0:40:05.520 --> 0:40:08.480
<v Speaker 1>like how her mom made her brush her hair a

0:40:08.480 --> 0:40:10.719
<v Speaker 1>bunch of times, and like there's a hint of like,

0:40:10.719 --> 0:40:13.000
<v Speaker 1>oh my mom never thought I was good enough, And

0:40:13.040 --> 0:40:16.320
<v Speaker 1>it's like you're pouring that onto Danielle, who was literally

0:40:16.320 --> 0:40:19.880
<v Speaker 1>again just a child when you met her. And I

0:40:19.960 --> 0:40:23.120
<v Speaker 1>just find it to be interesting because angelo Ka Houston

0:40:23.200 --> 0:40:26.759
<v Speaker 1>really does give this character depth in a way that

0:40:26.800 --> 0:40:29.640
<v Speaker 1>we haven't seen even in you know, My Beloved Rogers

0:40:29.640 --> 0:40:33.800
<v Speaker 1>and Hamberstein Cinderella. The most we got out of Bernard

0:40:33.840 --> 0:40:36.520
<v Speaker 1>that Peters is a nice song, you know, but I

0:40:36.520 --> 0:40:39.000
<v Speaker 1>think it's a really good song, you know. Don't get

0:40:39.000 --> 0:40:42.080
<v Speaker 1>me wrong, but I do find that, like Drew did

0:40:42.120 --> 0:40:43.880
<v Speaker 1>a really good job I don't know who wrote it,

0:40:43.920 --> 0:40:45.520
<v Speaker 1>but I know that she that was like one of

0:40:45.560 --> 0:40:48.759
<v Speaker 1>her first films for the production, but she did a

0:40:48.760 --> 0:40:51.520
<v Speaker 1>really good job of like humanizing her in a way.

0:40:51.560 --> 0:40:54.840
<v Speaker 1>And I remember reading an interview where she said people

0:40:54.920 --> 0:40:56.960
<v Speaker 1>kept calling her not to do it. They didn't want

0:40:56.960 --> 0:40:59.120
<v Speaker 1>her to do the movie at all. They said that

0:40:59.160 --> 0:41:01.799
<v Speaker 1>it was a really bad were move, and I was like, well,

0:41:01.840 --> 0:41:05.319
<v Speaker 1>thank god you didn't listen. But yeah, I just I

0:41:05.360 --> 0:41:08.280
<v Speaker 1>think that this movie is really smart because it gives

0:41:08.360 --> 0:41:11.480
<v Speaker 1>depth to characters that we are at this point I've

0:41:11.520 --> 0:41:15.799
<v Speaker 1>already seen as like caricatures of themselves really and of

0:41:15.880 --> 0:41:19.920
<v Speaker 1>this idea of a person, and it lets them just

0:41:20.160 --> 0:41:26.640
<v Speaker 1>be people. And that spans across basically all the major characters.

0:41:26.680 --> 0:41:28.560
<v Speaker 1>The last thing I wanted to say about the Baroness

0:41:28.760 --> 0:41:33.240
<v Speaker 1>was that I also found it fascinating that she targets

0:41:33.239 --> 0:41:38.040
<v Speaker 1>her cruelness depending on who she's talking to and based

0:41:38.080 --> 0:41:43.480
<v Speaker 1>on how she perceives that person can elevate her status

0:41:43.560 --> 0:41:45.880
<v Speaker 1>or elevate her situation in some way. Because she's like

0:41:46.920 --> 0:41:50.440
<v Speaker 1>very supportive of her daughter Marguerite, because she perceives Marguerite

0:41:50.480 --> 0:41:54.320
<v Speaker 1>as someone who's gonna help her move to the palace

0:41:54.440 --> 0:41:59.600
<v Speaker 1>or just like she's whatever, yeah, Whereas the Baroness is

0:42:00.000 --> 0:42:04.120
<v Speaker 1>extremely cruel to her other daughter, Jacqueline Melanie Lynsky's character.

0:42:04.880 --> 0:42:07.799
<v Speaker 1>One thing that she continually does to her is like

0:42:08.320 --> 0:42:13.200
<v Speaker 1>body and food shame her, where she tries to restrict

0:42:13.920 --> 0:42:17.120
<v Speaker 1>Jacqueline's food intake. She implies that she is not pretty

0:42:17.239 --> 0:42:21.000
<v Speaker 1>enough to warrant the attention of this is someone like

0:42:21.040 --> 0:42:23.680
<v Speaker 1>a prince um. She says that she's only going to

0:42:23.760 --> 0:42:26.920
<v Speaker 1>the ball for the food. And I appreciate that the

0:42:26.960 --> 0:42:31.400
<v Speaker 1>movie frames this behavior as despicable, which is something that

0:42:31.440 --> 0:42:36.040
<v Speaker 1>most movies of the late nineties weren't doing, because so

0:42:36.160 --> 0:42:40.520
<v Speaker 1>much of the media from this era is like very

0:42:40.640 --> 0:42:44.680
<v Speaker 1>body shamy, very fat shamy, not at all challenging that

0:42:44.719 --> 0:42:48.120
<v Speaker 1>type of normative thinking when it comes to bodies. It

0:42:48.239 --> 0:42:51.719
<v Speaker 1>was just like a given, yeah, I did, yeah, my

0:42:51.840 --> 0:42:53.759
<v Speaker 1>last that on on the Baroness, and then maybe we

0:42:53.800 --> 0:42:56.640
<v Speaker 1>should just go into the step sister stuff as well

0:42:56.640 --> 0:43:00.200
<v Speaker 1>while we're in this area. But I again, just with

0:43:00.320 --> 0:43:04.440
<v Speaker 1>the amount of like nuance and subtlety that is very

0:43:04.520 --> 0:43:06.439
<v Speaker 1>effortless to this movie, it doesn't feel like you're being

0:43:06.560 --> 0:43:08.359
<v Speaker 1>you know, bashed over the head with it at all.

0:43:09.040 --> 0:43:12.800
<v Speaker 1>Which sometimes updated fairy tales can feel and this one doesn't.

0:43:12.960 --> 0:43:16.160
<v Speaker 1>Um but I like that. Yeah, I mean going back

0:43:16.200 --> 0:43:19.920
<v Speaker 1>to what you were saying, Kia about the Baroness implying

0:43:20.000 --> 0:43:23.400
<v Speaker 1>that her mother was cruel to her, and like getting

0:43:23.880 --> 0:43:29.359
<v Speaker 1>that context and seeing that Danielle you know, that registers

0:43:29.400 --> 0:43:33.200
<v Speaker 1>for her and she knows like okay, like maybe there's

0:43:33.239 --> 0:43:36.600
<v Speaker 1>a moment of empathy, but also in that same moment,

0:43:37.120 --> 0:43:40.320
<v Speaker 1>the Baroness is you know, weaponizing that same behavior against Danielle,

0:43:40.360 --> 0:43:43.600
<v Speaker 1>and I like that. In the end, there's that other

0:43:43.640 --> 0:43:47.560
<v Speaker 1>scene where you know, it's whatever very end of second act,

0:43:47.560 --> 0:43:51.440
<v Speaker 1>all is lost, but Danielle like turns to the Baroness

0:43:51.440 --> 0:43:53.560
<v Speaker 1>and it's like did you ever love me at all?

0:43:53.640 --> 0:43:57.279
<v Speaker 1>And like it makes sense. I feel like sometimes with

0:43:57.400 --> 0:44:01.680
<v Speaker 1>like these like feminist updates of classic characters, they're not

0:44:01.719 --> 0:44:06.400
<v Speaker 1>allowed those moments of like emotional vulnerability that is so

0:44:06.760 --> 0:44:10.200
<v Speaker 1>human and it's like it's almost like they're emotionally marry

0:44:10.239 --> 0:44:12.400
<v Speaker 1>suing where they're like, yeah, I can experience all the

0:44:12.400 --> 0:44:16.440
<v Speaker 1>trauma in the world and like it doesn't affect at all,

0:44:17.000 --> 0:44:19.359
<v Speaker 1>or it's like in that moment, it's it's a small thing,

0:44:19.440 --> 0:44:21.640
<v Speaker 1>but it's like Yeah, of course Danielle would feel like this.

0:44:21.719 --> 0:44:24.440
<v Speaker 1>She's lived with this woman for you know, decades and

0:44:24.520 --> 0:44:28.759
<v Speaker 1>never experienced affection, and of course that's traumatic, and of course,

0:44:28.840 --> 0:44:31.080
<v Speaker 1>you know, deep down a lot of people would want

0:44:31.120 --> 0:44:35.080
<v Speaker 1>to believe that there was some love there and and

0:44:35.320 --> 0:44:38.560
<v Speaker 1>I like that all of that happens, and Danielle does

0:44:38.600 --> 0:44:41.720
<v Speaker 1>seem to understand the context of her stepmother and still

0:44:42.040 --> 0:44:45.560
<v Speaker 1>is like, well, I don't forgive you. Like that's another

0:44:45.640 --> 0:44:47.399
<v Speaker 1>huge thing that I feel. I feel like, I mean,

0:44:47.520 --> 0:44:51.000
<v Speaker 1>it's very character to character, and the idea of forgiveness

0:44:51.080 --> 0:44:54.319
<v Speaker 1>is so you know, there's just so much to talk about,

0:44:54.360 --> 0:44:56.400
<v Speaker 1>and I feel like there's ways you can forgive people

0:44:56.440 --> 0:44:58.480
<v Speaker 1>that are good for your mental health. But it's like

0:44:58.560 --> 0:45:02.000
<v Speaker 1>Danielle's like, no, I don't forgive you. It's like, I

0:45:02.000 --> 0:45:05.680
<v Speaker 1>don't even do that to the brig. Yeah, it's agree

0:45:05.960 --> 0:45:08.719
<v Speaker 1>because I think even in that moment that you're talking

0:45:08.760 --> 0:45:11.279
<v Speaker 1>about specifically where she asks her like, was there ever

0:45:11.320 --> 0:45:14.600
<v Speaker 1>a moment you can see something this is Angelica Houston

0:45:14.680 --> 0:45:17.640
<v Speaker 1>again just being so good at her job, where like

0:45:18.120 --> 0:45:21.880
<v Speaker 1>something in her eye changes for like a millisecond and

0:45:21.880 --> 0:45:24.080
<v Speaker 1>then she's like no, I mean, how can anybody a

0:45:24.120 --> 0:45:27.879
<v Speaker 1>pebble in their shoe, but it's like for a millisecond

0:45:27.920 --> 0:45:30.600
<v Speaker 1>you can tell she like even when and she does it.

0:45:30.800 --> 0:45:33.120
<v Speaker 1>She does it twice in the movie, I think, once

0:45:33.160 --> 0:45:35.520
<v Speaker 1>in that scene where like she like looks at her

0:45:35.560 --> 0:45:38.600
<v Speaker 1>like kind of but also, I'm not gonna let you

0:45:38.640 --> 0:45:41.400
<v Speaker 1>know that before she tells her about the pebble on

0:45:41.440 --> 0:45:44.080
<v Speaker 1>the shoe, and then again when she's brushing her hair

0:45:44.120 --> 0:45:46.440
<v Speaker 1>and she's like, come here, child, like, let me look

0:45:46.480 --> 0:45:49.000
<v Speaker 1>at you. And she looks at her and her face

0:45:49.040 --> 0:45:51.920
<v Speaker 1>softens for like again a tenth of a second, and

0:45:51.920 --> 0:45:55.440
<v Speaker 1>then she's right back to being horrible. Yeah. Oh that

0:45:55.520 --> 0:45:57.840
<v Speaker 1>was so effective to me because she's like, oh, you

0:45:57.880 --> 0:46:02.320
<v Speaker 1>have so much of your father in you. And Danielle

0:46:02.360 --> 0:46:05.120
<v Speaker 1>is very clearly touched by this and takes it as

0:46:05.160 --> 0:46:07.680
<v Speaker 1>a as a great compliment. And as soon as the

0:46:07.719 --> 0:46:12.239
<v Speaker 1>Baroness realizes that that she has done something to like

0:46:12.800 --> 0:46:18.359
<v Speaker 1>accidentally compliment Danielle, she does a one eighty and she's like, well, yeah,

0:46:18.400 --> 0:46:21.880
<v Speaker 1>it's because you have such masculine features, and you know,

0:46:21.960 --> 0:46:25.120
<v Speaker 1>you being raised by a man made it so that

0:46:25.160 --> 0:46:29.000
<v Speaker 1>you're built for hard labor and all this mean stuff.

0:46:29.200 --> 0:46:32.239
<v Speaker 1>Just like anytime she starts to have a feeling, she

0:46:32.440 --> 0:46:35.520
<v Speaker 1>turns mean and like goes to the extent of like

0:46:35.800 --> 0:46:38.800
<v Speaker 1>I'm having a feeling and so I'm going to sell

0:46:39.480 --> 0:46:45.000
<v Speaker 1>you to a molester, Like she is truly evil, And

0:46:45.040 --> 0:46:47.320
<v Speaker 1>I liked. I do like that that the movie doesn't

0:46:47.560 --> 0:46:52.799
<v Speaker 1>shy away from like how awful she can be. Yeah,

0:46:52.880 --> 0:46:54.480
<v Speaker 1>and I love that. The whole thing was like, oh

0:46:54.520 --> 0:46:58.200
<v Speaker 1>my god, you ride to the Queen about Danielle being

0:46:58.280 --> 0:47:01.759
<v Speaker 1>like so Badariel being shipped away that was the big

0:47:02.280 --> 0:47:04.960
<v Speaker 1>egregious name for them. It's like you lied to the

0:47:05.040 --> 0:47:08.720
<v Speaker 1>queen somebody like safer from being shipped after the inher

0:47:08.920 --> 0:47:12.279
<v Speaker 1>does And I'm like, she's done so much worse than

0:47:12.440 --> 0:47:17.759
<v Speaker 1>lie to you like about daniel being shipped away, like

0:47:17.800 --> 0:47:20.920
<v Speaker 1>she beat her, Like they don't show it on the

0:47:21.680 --> 0:47:25.680
<v Speaker 1>on the version where they're streaming, they skip past it,

0:47:26.080 --> 0:47:29.399
<v Speaker 1>But on the DVD, if I can find it, they

0:47:29.480 --> 0:47:33.240
<v Speaker 1>actually like you can hear her being beat oh, because

0:47:33.280 --> 0:47:36.480
<v Speaker 1>you see the aftermath of her getting lashed and like

0:47:36.880 --> 0:47:38.880
<v Speaker 1>the wounds that she has on her back. So in

0:47:38.920 --> 0:47:42.400
<v Speaker 1>the DVD version you actually see that. You can't see it,

0:47:42.440 --> 0:47:44.920
<v Speaker 1>but you hear you hear Oh, I see okay, here yeah,

0:47:45.040 --> 0:47:51.640
<v Speaker 1>which makes it even worse. Yes, she's wrong. This movie

0:47:52.200 --> 0:47:58.480
<v Speaker 1>goes there, much like Degrassive it goes there. Sorry, I

0:47:58.520 --> 0:48:04.160
<v Speaker 1>love it was beautiful to all the Degraphy fans. I

0:48:04.200 --> 0:48:10.440
<v Speaker 1>remember that tagline from two thousand and five six to Gussie,

0:48:10.480 --> 0:48:15.600
<v Speaker 1>it goes there. Um, okay, let's get because we're kind

0:48:15.600 --> 0:48:17.719
<v Speaker 1>of in this area of the story. Anyways, let's talk

0:48:17.719 --> 0:48:20.560
<v Speaker 1>a little bit about Marguerite and Jacqueline. I don't really

0:48:20.560 --> 0:48:24.120
<v Speaker 1>know how much there is to talk about Margarite. Like,

0:48:24.640 --> 0:48:27.560
<v Speaker 1>I think it's interesting that in all of these adaptations

0:48:27.600 --> 0:48:31.360
<v Speaker 1>there's always like the alpha stepsister and the beta step

0:48:31.400 --> 0:48:34.960
<v Speaker 1>sister as it's presented to us and Marguerite. I think

0:48:34.960 --> 0:48:39.840
<v Speaker 1>that what is like more clearly telegraphed in Marguerite's case

0:48:40.080 --> 0:48:43.400
<v Speaker 1>is that, yes, she is the favorite daughter by her mother.

0:48:43.520 --> 0:48:46.399
<v Speaker 1>But like you were saying, Caitlin, it's just because her

0:48:46.440 --> 0:48:48.600
<v Speaker 1>mother sees her as a means to an end. It's

0:48:48.640 --> 0:48:53.480
<v Speaker 1>not actually like I love my daughter so much and

0:48:53.520 --> 0:48:57.080
<v Speaker 1>I hate my other daughter. Like it's clear that the

0:48:57.120 --> 0:49:02.240
<v Speaker 1>Baroness is going to be kind to anyone she finds useful,

0:49:02.400 --> 0:49:07.279
<v Speaker 1>and Marguerite is the daughter she finds useful, and you

0:49:07.320 --> 0:49:11.600
<v Speaker 1>can already see like there's just like this wild generational

0:49:11.640 --> 0:49:13.920
<v Speaker 1>trauma story going on with them, because you can already

0:49:13.920 --> 0:49:17.919
<v Speaker 1>see Marguerite taking on those negative qualities that her mother

0:49:18.000 --> 0:49:22.440
<v Speaker 1>has to get through her life. So I have so

0:49:22.520 --> 0:49:29.160
<v Speaker 1>many thoughts. Okay, so Marguerite the acter she plays Marguerite,

0:49:29.200 --> 0:49:31.520
<v Speaker 1>I wish her the best in life. I hope that

0:49:31.560 --> 0:49:35.440
<v Speaker 1>she's prospering. But Marguerite the character, oh, I want the worst.

0:49:35.680 --> 0:49:37.920
<v Speaker 1>I have never in my life. I was like, if

0:49:37.920 --> 0:49:40.600
<v Speaker 1>I could jump into this TV and cite her, I

0:49:40.640 --> 0:49:43.640
<v Speaker 1>would do it because I find that like the thing

0:49:43.719 --> 0:49:46.720
<v Speaker 1>that I find the most interesting about the two step

0:49:46.800 --> 0:49:50.480
<v Speaker 1>sisters is that the Baroness looks the most like Jacky

0:49:50.800 --> 0:49:53.719
<v Speaker 1>right to me, it looks nothing like Marguerite. And I

0:49:53.760 --> 0:49:57.359
<v Speaker 1>think that's on purpose, because I think it's basically a

0:49:57.400 --> 0:50:01.319
<v Speaker 1>commentary about how the aaronas wants to be so far

0:50:01.440 --> 0:50:05.600
<v Speaker 1>removed from herself that it makes sense that she has

0:50:05.640 --> 0:50:08.080
<v Speaker 1>this idea of who she should be and what her

0:50:08.120 --> 0:50:10.200
<v Speaker 1>life should be like. And Marguarite is closer to that

0:50:11.239 --> 0:50:16.279
<v Speaker 1>than Jacqueline is, because she's sort of the like Jacqueline

0:50:16.320 --> 0:50:19.080
<v Speaker 1>is sort of a mirror to her physically of what

0:50:19.280 --> 0:50:23.200
<v Speaker 1>like she is now and Marguarite can be the thing

0:50:23.239 --> 0:50:26.759
<v Speaker 1>that she's after. But I do find very interesting is

0:50:26.800 --> 0:50:32.080
<v Speaker 1>the relationship between Marguarite and Jacqueline. Like Margarite is so

0:50:32.200 --> 0:50:34.719
<v Speaker 1>nasty to her in like small ways, you know, not

0:50:34.800 --> 0:50:37.480
<v Speaker 1>only is the mom calling her fat and saying she's

0:50:37.520 --> 0:50:40.400
<v Speaker 1>only there for the food, Margarite is laughing and like

0:50:40.440 --> 0:50:42.799
<v Speaker 1>going along with it. And there's also a point in

0:50:42.800 --> 0:50:44.560
<v Speaker 1>the movie that I don't think we talked about where

0:50:45.360 --> 0:50:49.239
<v Speaker 1>Danielle is like hungover and the mom's like, go make

0:50:49.400 --> 0:50:51.960
<v Speaker 1>us breakfast or eggs or whatever. It was like approach

0:50:52.040 --> 0:50:54.360
<v Speaker 1>take something, and she's like, you have two hands, go

0:50:54.520 --> 0:50:58.000
<v Speaker 1>do it yourself. And they made Jacqueline go do it.

0:50:58.719 --> 0:51:00.799
<v Speaker 1>She's like, oh, go boil the water like you though,

0:51:01.239 --> 0:51:04.719
<v Speaker 1>And Jack was like, so what about Danielle, which I

0:51:04.760 --> 0:51:07.439
<v Speaker 1>think was like a moment for her, But I still

0:51:07.440 --> 0:51:10.359
<v Speaker 1>love her to pieces because I think she showed up

0:51:10.360 --> 0:51:12.080
<v Speaker 1>for her what she needed to. But I also find

0:51:12.080 --> 0:51:15.120
<v Speaker 1>it really funny how immediately with Danielle was like I'm

0:51:15.160 --> 0:51:16.880
<v Speaker 1>not getting up, don't make me do it. She was

0:51:16.920 --> 0:51:19.160
<v Speaker 1>like okay, well, Jaquil, and you know what you have

0:51:19.239 --> 0:51:20.880
<v Speaker 1>to do. I get in the kitchen, you know, go

0:51:21.000 --> 0:51:23.480
<v Speaker 1>brow the water. And I just think that that's so

0:51:23.560 --> 0:51:27.200
<v Speaker 1>funny because even though that it's often the tropher is

0:51:27.280 --> 0:51:30.879
<v Speaker 1>like there's one good daughter and one bad one. It's

0:51:30.960 --> 0:51:35.120
<v Speaker 1>interesting how immediately she's treated as close to Danielle as

0:51:35.160 --> 0:51:40.040
<v Speaker 1>possible when Danielle was like predisposed or not there or something,

0:51:41.360 --> 0:51:46.200
<v Speaker 1>which I think also bonds both Danielle and Jacqueline. I

0:51:46.239 --> 0:51:50.360
<v Speaker 1>love every word of that's honestly, I hadn't considered the

0:51:50.640 --> 0:51:54.719
<v Speaker 1>specific but but it totally tracks like I hadn't considered

0:51:55.640 --> 0:52:00.759
<v Speaker 1>why the Baroness is so particularly aggressive to its Jacqueline,

0:52:00.760 --> 0:52:03.919
<v Speaker 1>and that totally scans for me as to like why

0:52:04.000 --> 0:52:06.000
<v Speaker 1>she would turn on And I think if that's something

0:52:06.000 --> 0:52:08.319
<v Speaker 1>that happens in real life all the time, where it's like,

0:52:09.120 --> 0:52:13.200
<v Speaker 1>you know, emotionally unhealthy people tend to lash out against

0:52:13.239 --> 0:52:15.520
<v Speaker 1>people who remind them of themselves if they're a self

0:52:15.520 --> 0:52:18.799
<v Speaker 1>clathing person, which clearly the Baroness has a lot of

0:52:18.840 --> 0:52:23.560
<v Speaker 1>issues with. I mean, you know, it's medieval France and

0:52:23.600 --> 0:52:27.400
<v Speaker 1>they're not going to therapy is so all those emotions

0:52:27.400 --> 0:52:31.520
<v Speaker 1>are just getting sharp blasted out at every other woman

0:52:31.600 --> 0:52:36.960
<v Speaker 1>in the area. Um. I believe that's a medical term

0:52:37.000 --> 0:52:39.799
<v Speaker 1>and Jacqueline is getting I mean, Danielle and Jacqueline are

0:52:39.800 --> 0:52:48.800
<v Speaker 1>getting sprayed with the most shart. So with that in mind, uh,

0:52:48.840 --> 0:52:51.360
<v Speaker 1>but I do like and and this is the only

0:52:51.520 --> 0:52:54.239
<v Speaker 1>I think. Let me know if I'm missing here, but

0:52:54.600 --> 0:52:58.760
<v Speaker 1>I think that this is the only adaptation that gives

0:52:59.440 --> 0:53:03.879
<v Speaker 1>the quote un quote beta sister a story and and

0:53:03.960 --> 0:53:06.200
<v Speaker 1>not just a story, but an arc that ends with

0:53:06.320 --> 0:53:10.360
<v Speaker 1>her better off and like gone on this emotional journey

0:53:10.520 --> 0:53:14.319
<v Speaker 1>where she's rejecting, you know, the cruel behavior of her

0:53:14.360 --> 0:53:17.960
<v Speaker 1>own mother. I thought it was really great, and it's

0:53:18.000 --> 0:53:20.399
<v Speaker 1>like I feel like it's also I don't know, I mean,

0:53:20.640 --> 0:53:22.960
<v Speaker 1>I feel like it's implied at the end of like, well,

0:53:23.040 --> 0:53:26.560
<v Speaker 1>Jacqueline and Danielle aren't going to be like best friends,

0:53:26.960 --> 0:53:30.560
<v Speaker 1>but they're not. And but they're not gonna like hang

0:53:30.600 --> 0:53:33.319
<v Speaker 1>out because why you know, right, Like I wouldn't want

0:53:33.320 --> 0:53:34.680
<v Speaker 1>to hear out what they're either. But I feel like

0:53:35.320 --> 0:53:38.040
<v Speaker 1>they set it up really well because Jacqueline is the

0:53:38.040 --> 0:53:40.600
<v Speaker 1>one that tends to her after her mom beats her.

0:53:41.480 --> 0:53:44.399
<v Speaker 1>Jacqueline is the one that's like, I'll never forget how

0:53:44.440 --> 0:53:48.799
<v Speaker 1>Marguerite's legs throw up between like that, and they're like laughing. Well,

0:53:48.880 --> 0:53:52.040
<v Speaker 1>she's taking care of her. And I think that, aside

0:53:52.080 --> 0:53:55.480
<v Speaker 1>from the two older lady servants that Dannielle was closest to,

0:53:56.040 --> 0:53:59.759
<v Speaker 1>no one takes care of Daniel right aside from those

0:53:59.760 --> 0:54:01.840
<v Speaker 1>two and like goose stuff. And I think it was

0:54:01.920 --> 0:54:04.319
<v Speaker 1>really smart of them to do that so that by

0:54:04.360 --> 0:54:07.279
<v Speaker 1>the time we get to a place where Okay, we're

0:54:07.280 --> 0:54:11.279
<v Speaker 1>gonna punish Marguerite and the baroness, like what do we

0:54:11.320 --> 0:54:13.719
<v Speaker 1>do with Jacqueline, It's like, oh, it makes sense to

0:54:13.920 --> 0:54:16.120
<v Speaker 1>just pop her off on the side. She has her

0:54:16.120 --> 0:54:19.080
<v Speaker 1>own little maybe romance. There's a lot of nods to that,

0:54:19.160 --> 0:54:21.319
<v Speaker 1>which I thought was really sweet. I thought I thought

0:54:21.320 --> 0:54:24.640
<v Speaker 1>that was fun. And I just think that I think

0:54:24.640 --> 0:54:27.680
<v Speaker 1>that their relationship to each other is more like, I'm

0:54:27.680 --> 0:54:29.960
<v Speaker 1>gonna let you go of your life, have your fun

0:54:30.040 --> 0:54:33.200
<v Speaker 1>with you know, my man's right hand man, do whatever

0:54:33.280 --> 0:54:35.719
<v Speaker 1>y'all want. I'm just gonna go live happily and right after.

0:54:36.239 --> 0:54:38.239
<v Speaker 1>But your sister and your mom are not going to

0:54:38.320 --> 0:54:43.560
<v Speaker 1>get the same treatment. Yeah, I both step sisters. The

0:54:43.600 --> 0:54:48.319
<v Speaker 1>way they're characterized, I thought was really well done in

0:54:48.360 --> 0:54:52.680
<v Speaker 1>the sense that Marguerite was the type of shitty person

0:54:52.800 --> 0:54:57.319
<v Speaker 1>that that is who benefits from her mother favoring her

0:54:57.600 --> 0:55:02.480
<v Speaker 1>over her sister, and a shitty person will revel in

0:55:02.520 --> 0:55:05.319
<v Speaker 1>that rather than make any attempt to like stand up

0:55:05.320 --> 0:55:09.839
<v Speaker 1>for her sister who's being abused and mistreated. And that's

0:55:09.880 --> 0:55:13.399
<v Speaker 1>just the type of person that Marguerite is, And there

0:55:13.400 --> 0:55:15.520
<v Speaker 1>are plenty of people like that in real life, so

0:55:15.560 --> 0:55:18.719
<v Speaker 1>it doesn't seem like a stretcher. Doesn't seem like, you know, oh,

0:55:18.800 --> 0:55:22.320
<v Speaker 1>no one is this cruel in real life. These people exist.

0:55:22.840 --> 0:55:29.080
<v Speaker 1>And then with Jacqueline, she is used to this upscale

0:55:29.120 --> 0:55:33.960
<v Speaker 1>life of coming from noble blood, so she's still like

0:55:34.160 --> 0:55:39.680
<v Speaker 1>in a station above Danielle, but is being similarly mistreated

0:55:40.239 --> 0:55:43.839
<v Speaker 1>by her mother and her sister, and we just kind

0:55:43.880 --> 0:55:48.000
<v Speaker 1>of see how that is chipping away at her. So

0:55:48.040 --> 0:55:51.279
<v Speaker 1>even though like, I don't know, like that worked for

0:55:51.320 --> 0:55:54.360
<v Speaker 1>me as far as she isn't as quick to like

0:55:54.480 --> 0:55:58.720
<v Speaker 1>jump to Danielle's defense at first, because again she's also

0:55:58.760 --> 0:56:02.240
<v Speaker 1>benefiting from this life of more of like higher class

0:56:02.440 --> 0:56:05.880
<v Speaker 1>and noble blood and all of that stuff. But then

0:56:05.960 --> 0:56:09.680
<v Speaker 1>as time goes on and like the way she's mistreated

0:56:10.360 --> 0:56:15.120
<v Speaker 1>makes her kind of realize, oh, I'm actually royal blood.

0:56:15.160 --> 0:56:21.520
<v Speaker 1>Wise i am quote unquote elevated above Danielle. But as

0:56:21.560 --> 0:56:24.680
<v Speaker 1>far as like the way I'm treated, we're basically peers.

0:56:24.880 --> 0:56:27.600
<v Speaker 1>So it actually makes sense for me to ally myself

0:56:27.719 --> 0:56:31.279
<v Speaker 1>with Danielle and try to like get out of this

0:56:31.719 --> 0:56:34.759
<v Speaker 1>abusive situation. And this is all done with like relatively

0:56:34.840 --> 0:56:36.759
<v Speaker 1>little screen time to like I feel like it's like

0:56:36.800 --> 0:56:39.960
<v Speaker 1>she's characterized so effectively and such. I feel like at

0:56:39.960 --> 0:56:41.840
<v Speaker 1>the time we've spent talking about her is maybe the

0:56:41.920 --> 0:56:45.959
<v Speaker 1>amount of time she's on screen for the whole Yeah,

0:56:46.000 --> 0:56:48.840
<v Speaker 1>I mean, and it's like whatever that I I really

0:56:49.000 --> 0:56:52.880
<v Speaker 1>enjoy the like the couple of you know, nineties movie

0:56:52.920 --> 0:56:55.439
<v Speaker 1>one liners you get towards the end of the movie

0:56:55.560 --> 0:56:57.840
<v Speaker 1>and she gets one of them where you know, the

0:56:57.840 --> 0:57:01.200
<v Speaker 1>Baroness turns to her and then you Jacqueline says, I'm

0:57:01.239 --> 0:57:03.640
<v Speaker 1>only here for the food, and then you're like, okay.

0:57:03.719 --> 0:57:06.440
<v Speaker 1>So she got her mic drop moment. Danielle gets her

0:57:06.520 --> 0:57:10.160
<v Speaker 1>mic drop moment, like everyone's dropping their little microphones against

0:57:10.200 --> 0:57:12.560
<v Speaker 1>the baroness and then the baroness like the floor opens

0:57:12.640 --> 0:57:15.480
<v Speaker 1>up and she goes to work, you know, for the

0:57:15.480 --> 0:57:19.120
<v Speaker 1>first time in her life. Um, but it's satisfied. Yeah,

0:57:19.120 --> 0:57:23.920
<v Speaker 1>I thought, like, there's so much more to the stepmother

0:57:23.960 --> 0:57:27.440
<v Speaker 1>and stepsisters in a way that is effective and also

0:57:27.560 --> 0:57:31.840
<v Speaker 1>doesn't let them get away with their ship, which not

0:57:31.960 --> 0:57:34.960
<v Speaker 1>easy to do. I thought it was awesome. Yeah, yeah,

0:57:35.000 --> 0:57:37.160
<v Speaker 1>I think so too. And I feel like a lot

0:57:37.200 --> 0:57:39.960
<v Speaker 1>of movies in general, but a lot of Cinderella movies

0:57:40.000 --> 0:57:43.360
<v Speaker 1>now are like we have to redeem you know, the

0:57:43.400 --> 0:57:46.320
<v Speaker 1>stepmom and make them like likable and and I'm like,

0:57:46.440 --> 0:57:50.640
<v Speaker 1>I like, I I prefer when we have movies in

0:57:50.680 --> 0:57:53.200
<v Speaker 1>general where like you just like it would be bad

0:57:53.320 --> 0:57:56.200
<v Speaker 1>without having to feel like, oh, let me redeem them,

0:57:56.240 --> 0:57:59.200
<v Speaker 1>Like I think I felt that way about the movie Coulola.

0:58:00.040 --> 0:58:02.000
<v Speaker 1>I felt like we didn't really need to. We don't

0:58:02.000 --> 0:58:05.960
<v Speaker 1>need to redeem her. And I think that like, just

0:58:06.040 --> 0:58:08.200
<v Speaker 1>let her be bad, like either way, Like I'm sorry

0:58:08.200 --> 0:58:13.000
<v Speaker 1>that her mom died because dalmatians attacked her, like were

0:58:13.040 --> 0:58:15.040
<v Speaker 1>winning because she didn't get out of the way. But

0:58:15.240 --> 0:58:19.480
<v Speaker 1>that happens, I haven't seen it. That's so goofy. We

0:58:19.480 --> 0:58:23.120
<v Speaker 1>don't want to swallow you. Then I'm sorry. No, that

0:58:23.200 --> 0:58:26.440
<v Speaker 1>just makes me laugh so much? Is it? Is? It

0:58:26.600 --> 0:58:29.080
<v Speaker 1>like there's and they're serious about it. They're like, she

0:58:29.120 --> 0:58:32.640
<v Speaker 1>has dalmatian related trauma. They're so serious about it like

0:58:32.680 --> 0:58:37.720
<v Speaker 1>maybe the most serious so funn I mean, when someone

0:58:37.760 --> 0:58:40.640
<v Speaker 1>goes that one to one, I'm like, you know what,

0:58:41.080 --> 0:58:42.880
<v Speaker 1>I guess I gotta hand it to you because that

0:58:43.160 --> 0:58:46.520
<v Speaker 1>is like a level of ridiculous that wouldn't have even

0:58:46.560 --> 0:58:49.120
<v Speaker 1>occurred to me, right, And so I like, yeah, I

0:58:49.200 --> 0:58:50.920
<v Speaker 1>think about what you said Kate were where it's like

0:58:51.720 --> 0:58:54.200
<v Speaker 1>they're allowed to be evil without Daniel being like, well,

0:58:54.200 --> 0:58:56.480
<v Speaker 1>I forgive you, you know, because life's too short, Like yeah,

0:58:56.480 --> 0:59:00.080
<v Speaker 1>maybe it is, but just let people be like, but

0:59:00.760 --> 0:59:04.000
<v Speaker 1>it's okay for people to not forgive someone who has

0:59:04.080 --> 0:59:05.960
<v Speaker 1>hurt them as much as and then this is like

0:59:06.120 --> 0:59:07.920
<v Speaker 1>years and years and years are built that hurt you.

0:59:08.000 --> 0:59:10.400
<v Speaker 1>And they're like, no, you don't have to forgive her.

0:59:10.440 --> 0:59:13.080
<v Speaker 1>You don't have to be like, oh, you know, she

0:59:13.240 --> 0:59:15.640
<v Speaker 1>learned her lesson and blah blah blah blah blah. But

0:59:15.760 --> 0:59:18.120
<v Speaker 1>also I think that something really important to note about

0:59:18.400 --> 0:59:23.440
<v Speaker 1>Margarite is that immediately Margorite was like, what have you done? Mother?

0:59:23.600 --> 0:59:27.320
<v Speaker 1>Like I can't believe you. The queen looks like, you know,

0:59:27.400 --> 0:59:29.320
<v Speaker 1>like you're gonna be shaped up for the Americas, Like

0:59:29.400 --> 0:59:31.560
<v Speaker 1>I can't believe that you all did this to this girl.

0:59:32.000 --> 0:59:35.640
<v Speaker 1>And to like me specifically the Queen speaking of course,

0:59:35.960 --> 0:59:37.800
<v Speaker 1>and it's just like so funny to me because it

0:59:37.840 --> 0:59:41.440
<v Speaker 1>does show how different Margarite is to Jacquillen, where it's like,

0:59:41.760 --> 0:59:45.120
<v Speaker 1>I'm gonna immediately turn on you and hopes that something

0:59:45.200 --> 0:59:46.840
<v Speaker 1>is going to happen that will be better for me,

0:59:46.920 --> 0:59:49.120
<v Speaker 1>and then they end up in the same spot and

0:59:49.240 --> 0:59:52.120
<v Speaker 1>the Baroness is like, I'm royalty or something. When she

0:59:52.160 --> 0:59:55.920
<v Speaker 1>tells her to go do something, I'm management. Yeah, management,

0:59:55.960 --> 0:59:59.400
<v Speaker 1>that's what she's like. No, you're not. You're the same

0:59:59.440 --> 1:00:05.240
<v Speaker 1>as me, nobody. It's just really smartly done. Yeah, I

1:00:05.280 --> 1:00:08.320
<v Speaker 1>love it. Let's take a quick break and then we'll

1:00:08.320 --> 1:00:18.160
<v Speaker 1>come back for a more discussion and we're back. Should

1:00:18.160 --> 1:00:21.520
<v Speaker 1>we get into Danielle. Let's talk about Danielle. Let's just

1:00:21.600 --> 1:00:24.120
<v Speaker 1>do it. The first thing that stood out to I mean,

1:00:24.160 --> 1:00:27.480
<v Speaker 1>there's a lot we've we've obviously been discussing her the

1:00:27.520 --> 1:00:31.280
<v Speaker 1>whole episode, but something that I again just like adaptation

1:00:31.360 --> 1:00:37.360
<v Speaker 1>wise and character wise. I really like that this script

1:00:37.600 --> 1:00:41.920
<v Speaker 1>updates the Cinderella character to like she saves herself. She

1:00:42.240 --> 1:00:46.000
<v Speaker 1>is I think, like very intelligent and capable in a

1:00:46.000 --> 1:00:48.320
<v Speaker 1>way that isn't Mary suing her we don't see her

1:00:48.360 --> 1:00:51.680
<v Speaker 1>suddenly knowing how to sword fight when there'd be no

1:00:51.760 --> 1:00:54.280
<v Speaker 1>reason that you know how to sword fight stuff like that.

1:00:55.000 --> 1:00:59.960
<v Speaker 1>But also, like, something that is so tricky about adapting

1:01:00.120 --> 1:01:05.480
<v Speaker 1>this fairy tale is that there's a core gentleness and

1:01:05.600 --> 1:01:09.479
<v Speaker 1>kindness attributed to Cinderella that I think is a little

1:01:09.520 --> 1:01:13.240
<v Speaker 1>at odds with how a lot of nineties heroines were presented.

1:01:13.280 --> 1:01:16.720
<v Speaker 1>But this movie like has it all of the ways

1:01:16.840 --> 1:01:18.760
<v Speaker 1>in a way that I thought was like really unusual

1:01:18.840 --> 1:01:24.520
<v Speaker 1>and cool. Of like, Danielle is very motivated, she's very empathetic,

1:01:24.640 --> 1:01:28.640
<v Speaker 1>she is very active, she liberates herself, but also she

1:01:28.840 --> 1:01:34.560
<v Speaker 1>has a very patient and gentle and kind nature but

1:01:34.760 --> 1:01:37.360
<v Speaker 1>is also strong. I just thought it was like really

1:01:37.600 --> 1:01:39.640
<v Speaker 1>cool and well done, and you just don't see a

1:01:39.640 --> 1:01:43.160
<v Speaker 1>lot of characters that can embody all of those things

1:01:43.160 --> 1:01:46.280
<v Speaker 1>when there's so many people who are like totally yeah.

1:01:46.280 --> 1:01:50.600
<v Speaker 1>And I also really really love her relationship with but

1:01:51.120 --> 1:01:54.400
<v Speaker 1>I think the addition of that is so special because

1:01:54.400 --> 1:01:57.200
<v Speaker 1>she's like, first of all, here's this man, no interest,

1:01:57.280 --> 1:02:00.800
<v Speaker 1>we have no there's no tension between us. It's romantic.

1:02:01.280 --> 1:02:04.520
<v Speaker 1>He's just my friend. I can like talk to him

1:02:04.560 --> 1:02:07.800
<v Speaker 1>about this prince. But also you know, tease him about

1:02:07.840 --> 1:02:11.080
<v Speaker 1>like you know, beating him up or beating him at games,

1:02:11.200 --> 1:02:14.600
<v Speaker 1>and like even when they're like their kids. And the

1:02:14.680 --> 1:02:17.080
<v Speaker 1>reason that her outfit is messed up in the beginnings

1:02:17.160 --> 1:02:20.320
<v Speaker 1>because she was playing with him and hanging out and

1:02:20.480 --> 1:02:25.680
<v Speaker 1>like he supported her decisions throughout, like when she was like,

1:02:25.720 --> 1:02:29.440
<v Speaker 1>I'm going to go into town and like get more respect,

1:02:29.480 --> 1:02:32.800
<v Speaker 1>and he was like, I wouldn't suggested, but I'm also

1:02:32.960 --> 1:02:35.840
<v Speaker 1>not gonna, you know, keep you from doing it. Here,

1:02:35.920 --> 1:02:37.800
<v Speaker 1>let me fix your hair. Like I just think that

1:02:38.320 --> 1:02:41.560
<v Speaker 1>the addition of him is so nice because she literally

1:02:41.600 --> 1:02:44.880
<v Speaker 1>at this point has no one else, you know, except

1:02:44.920 --> 1:02:47.200
<v Speaker 1>for like the two older ladies. And in the same way,

1:02:47.240 --> 1:02:50.280
<v Speaker 1>it's like I feel like sometimes with the Gustav character

1:02:50.760 --> 1:02:54.320
<v Speaker 1>or like whatever, the when people who are not the

1:02:54.360 --> 1:02:56.840
<v Speaker 1>same gender are best friends, it's always implied that one

1:02:56.880 --> 1:02:59.680
<v Speaker 1>of them is like pining for the other, and it's

1:02:59.720 --> 1:03:03.920
<v Speaker 1>like your soul made is and it's like Gustav is like, no,

1:03:04.040 --> 1:03:07.120
<v Speaker 1>this is my friend, like my friend. I will support

1:03:07.160 --> 1:03:10.840
<v Speaker 1>her if she hits the fan, I will bring Leonardo

1:03:10.880 --> 1:03:19.320
<v Speaker 1>da Vinci into the equation as a friend. It's nice, Yeah,

1:03:19.360 --> 1:03:22.240
<v Speaker 1>I like that, And that's just like an un it

1:03:22.280 --> 1:03:24.440
<v Speaker 1>doesn't even need to be addressed because it's just like

1:03:24.480 --> 1:03:29.000
<v Speaker 1>it's clearly a strong friendship. I love it. Yeah, I agree,

1:03:29.200 --> 1:03:31.600
<v Speaker 1>And I like that that like kind of her kindness

1:03:31.760 --> 1:03:36.160
<v Speaker 1>and her empathetic nature is used in this story to

1:03:36.920 --> 1:03:41.720
<v Speaker 1>address class concerns where which I think is like such

1:03:41.760 --> 1:03:45.280
<v Speaker 1>a good use of that, like classically Cinderella quality that

1:03:45.360 --> 1:03:47.600
<v Speaker 1>I feel like is used in other adaptations to make

1:03:47.640 --> 1:03:51.520
<v Speaker 1>her very demurred and to kind of flatten out her personality,

1:03:51.800 --> 1:03:54.360
<v Speaker 1>but in this the way it's used in this screenplay,

1:03:54.560 --> 1:03:58.120
<v Speaker 1>like it completely elevates her and gives her this mission

1:03:58.560 --> 1:04:02.320
<v Speaker 1>that is completely you know, unrelated to a relationship, and

1:04:02.320 --> 1:04:06.000
<v Speaker 1>it makes total sense because she is being treated like

1:04:06.160 --> 1:04:11.880
<v Speaker 1>garbage by a stepparent who is very fixated on class

1:04:11.920 --> 1:04:13.960
<v Speaker 1>in a very negative way. So of course these are

1:04:13.960 --> 1:04:16.800
<v Speaker 1>concerns and her and the main people that she interacts

1:04:16.840 --> 1:04:20.480
<v Speaker 1>with our servants, who are being actively oppressed. And so

1:04:20.560 --> 1:04:24.800
<v Speaker 1>it's like I thought that the class unlike the well

1:04:24.920 --> 1:04:29.760
<v Speaker 1>meaning but pretty clunky attempt to address class in Ella Enchanted,

1:04:29.800 --> 1:04:32.880
<v Speaker 1>which is the other adaptation where it comes up, I

1:04:33.200 --> 1:04:35.640
<v Speaker 1>felt like the way that class issues and the way

1:04:35.640 --> 1:04:40.600
<v Speaker 1>that Danielle approaches class issues in this movie was really

1:04:40.960 --> 1:04:44.000
<v Speaker 1>clear and for the most part, like really really effective.

1:04:44.560 --> 1:04:49.840
<v Speaker 1>I completely agree. Danielle is like a leftist president of

1:04:49.880 --> 1:04:52.600
<v Speaker 1>her local chapter of the d s A. Like, yeah,

1:04:52.680 --> 1:04:58.280
<v Speaker 1>she's medieval friends d s A. She's like her various monologues.

1:04:58.440 --> 1:05:01.360
<v Speaker 1>I wrote a lot of them down because I was

1:05:01.400 --> 1:05:05.160
<v Speaker 1>just like, good, this is some good stuff. She's saying

1:05:05.160 --> 1:05:08.240
<v Speaker 1>stuff like, you know, you can't deny people access to

1:05:08.640 --> 1:05:12.480
<v Speaker 1>education and a means to survive and then punish them

1:05:12.520 --> 1:05:15.600
<v Speaker 1>when they have no choice but to become thieves. And

1:05:15.600 --> 1:05:19.400
<v Speaker 1>then Henry is like, wow, I see your point. I'll

1:05:19.440 --> 1:05:23.760
<v Speaker 1>release this Maurice guy. And then she's like, yeah, okay,

1:05:23.800 --> 1:05:25.880
<v Speaker 1>well you released him, but did you even give a

1:05:25.920 --> 1:05:29.320
<v Speaker 1>second thought to the several other people who had you

1:05:29.400 --> 1:05:32.720
<v Speaker 1>had imprisoned and like what about them? And I was like,

1:05:32.760 --> 1:05:35.120
<v Speaker 1>holy sh it, Like I wasn't expecting that at all.

1:05:35.600 --> 1:05:39.280
<v Speaker 1>I love it. She basically is like she's like performative.

1:05:40.360 --> 1:05:45.240
<v Speaker 1>More more, she tells him she's like, you've been born

1:05:45.320 --> 1:05:49.040
<v Speaker 1>with privilege when with that comes specific obligations, which is

1:05:49.080 --> 1:05:51.200
<v Speaker 1>the same thing that his mother said to him earlier.

1:05:51.320 --> 1:05:55.360
<v Speaker 1>But his mother meant, your obligation is to marry royalty

1:05:55.400 --> 1:05:58.680
<v Speaker 1>and become a king Danielle. When she says it, she

1:05:58.760 --> 1:06:02.800
<v Speaker 1>means that you have to use your elevated status and

1:06:02.880 --> 1:06:06.280
<v Speaker 1>your position of privilege to do good in the world,

1:06:06.720 --> 1:06:10.120
<v Speaker 1>which is why I don't hate that. Like at the

1:06:10.160 --> 1:06:12.640
<v Speaker 1>end of the movie, after she's like been, you know,

1:06:13.160 --> 1:06:19.160
<v Speaker 1>monologueing about leftist issues and class inequality, that she then

1:06:19.240 --> 1:06:22.480
<v Speaker 1>becomes a princess, I'm like, Okay, well, at least she's

1:06:22.480 --> 1:06:27.040
<v Speaker 1>probably going to use her new station to enact change

1:06:27.200 --> 1:06:30.040
<v Speaker 1>and do good in the world. I mean, that's what

1:06:30.080 --> 1:06:34.240
<v Speaker 1>they all say. But best I think she might go

1:06:34.520 --> 1:06:37.960
<v Speaker 1>because she got him to invite the thieves to the

1:06:38.040 --> 1:06:42.280
<v Speaker 1>ball and like, didn't they implement like a library that

1:06:42.360 --> 1:06:46.560
<v Speaker 1>everybody could go to. Some stuff was happening even before

1:06:46.640 --> 1:06:51.520
<v Speaker 1>she became I'm biased, obviously, but even before she's good,

1:06:51.880 --> 1:06:55.800
<v Speaker 1>she's great. She's everything he does. Prince Henry does say like,

1:06:55.960 --> 1:06:58.280
<v Speaker 1>I have this this great idea, I'm going to start

1:06:58.280 --> 1:07:01.840
<v Speaker 1>a university that anyone can tend, regardless of their station

1:07:01.880 --> 1:07:05.080
<v Speaker 1>in life, and then he tells Danielle about it and

1:07:05.120 --> 1:07:08.439
<v Speaker 1>says that she inspired him. So he's like acknowledging that

1:07:09.080 --> 1:07:13.880
<v Speaker 1>her ideology is influencing him, not enough that he doesn't

1:07:14.040 --> 1:07:16.480
<v Speaker 1>scream at her to get out of his face when

1:07:16.520 --> 1:07:19.680
<v Speaker 1>she's outed as a servant and a commoner at the ball,

1:07:20.360 --> 1:07:24.560
<v Speaker 1>which is like, okay, sir, did you learn nothing? We

1:07:24.640 --> 1:07:29.000
<v Speaker 1>all have some growing to do. It's so like, I

1:07:29.040 --> 1:07:32.880
<v Speaker 1>think it's interesting how because I that's maybe like like

1:07:32.960 --> 1:07:36.760
<v Speaker 1>maybe that's too real where but I like like the

1:07:36.840 --> 1:07:40.160
<v Speaker 1>issue of class and the fact that Danielle is very

1:07:40.200 --> 1:07:43.840
<v Speaker 1>confident and passionate about her views on class is part

1:07:43.920 --> 1:07:47.560
<v Speaker 1>of what attracts the prince to her. But it first

1:07:47.680 --> 1:07:51.320
<v Speaker 1>it's in this way that is like, oh god, it

1:07:51.360 --> 1:07:53.480
<v Speaker 1>doesn't feel good to see on screen, where it's like

1:07:54.000 --> 1:07:55.840
<v Speaker 1>he's drawn to her because he's like, oh, you're so

1:07:55.920 --> 1:07:58.880
<v Speaker 1>passionate about this, this and this. That's so hot to

1:07:58.960 --> 1:08:02.280
<v Speaker 1>me that you care about something. But then it's like

1:08:02.560 --> 1:08:05.760
<v Speaker 1>it's hot to him to an extent, like you know,

1:08:05.880 --> 1:08:09.720
<v Speaker 1>like once it becomes intrusive to his life, he shuts

1:08:09.760 --> 1:08:12.240
<v Speaker 1>down and like once he's like, oh, you're not like

1:08:12.600 --> 1:08:14.880
<v Speaker 1>a rich girl that cares about the poor, You're a

1:08:14.920 --> 1:08:18.080
<v Speaker 1>poor girl that cares about the poor. Fuck you, Like

1:08:18.720 --> 1:08:21.479
<v Speaker 1>I don't know, like I it just I I thought

1:08:21.479 --> 1:08:23.799
<v Speaker 1>that there was a lot going on with the Prince's

1:08:24.560 --> 1:08:26.960
<v Speaker 1>you know, class awakening, which I would argue is not

1:08:27.000 --> 1:08:30.000
<v Speaker 1>fully complete by the end of the movie, and it's

1:08:30.000 --> 1:08:33.000
<v Speaker 1>not supposed to be. You needed to happen earlier in

1:08:33.000 --> 1:08:36.400
<v Speaker 1>the movie, or they needed to find a way to

1:08:36.439 --> 1:08:38.080
<v Speaker 1>add something on the end of it to where it

1:08:38.080 --> 1:08:40.599
<v Speaker 1>made sense that he was like, all right, my dad,

1:08:40.680 --> 1:08:44.560
<v Speaker 1>I was wild. And basically what I mean is that

1:08:44.880 --> 1:08:47.920
<v Speaker 1>everybody should should, you know, be much more equal, and

1:08:48.000 --> 1:08:51.840
<v Speaker 1>we should have opportunities to everyone. Because just ending it on,

1:08:52.000 --> 1:08:54.840
<v Speaker 1>like I love you and I'm gonna love you and

1:08:54.880 --> 1:08:59.920
<v Speaker 1>I'm just gonna deal with you. Love it, you know

1:09:00.000 --> 1:09:02.000
<v Speaker 1>what I mean, right right, Like it's like, oh, this

1:09:02.080 --> 1:09:04.519
<v Speaker 1>is a cute quality of my wife's that I like,

1:09:04.920 --> 1:09:07.559
<v Speaker 1>she gives a shit about poor people. Like it's like,

1:09:07.680 --> 1:09:11.440
<v Speaker 1>all right, which is you know, classic rich guy behavior.

1:09:12.400 --> 1:09:17.160
<v Speaker 1>I don't love it anyways. Uh yeah him him said, like,

1:09:17.640 --> 1:09:19.800
<v Speaker 1>I confess the plight of the everyday rustic bores me.

1:09:19.800 --> 1:09:22.360
<v Speaker 1>Blah blah blah. What I do like, even though I

1:09:22.400 --> 1:09:26.280
<v Speaker 1>think that, yeah, the decision for him to really publicly

1:09:26.560 --> 1:09:29.599
<v Speaker 1>humiliate her when he finds out that she is not

1:09:30.560 --> 1:09:33.360
<v Speaker 1>missus upper middle class or whatever the funk he thought

1:09:33.400 --> 1:09:35.800
<v Speaker 1>she was. I was just like, if you're gonna make

1:09:35.800 --> 1:09:38.600
<v Speaker 1>that choice, he's got to really give a spectacular apology,

1:09:38.720 --> 1:09:42.360
<v Speaker 1>which doesn't really happen. But I do like that. It's

1:09:42.400 --> 1:09:44.800
<v Speaker 1>not like I was a little worried because I feel

1:09:44.840 --> 1:09:47.280
<v Speaker 1>like this is kind of like an ell enchanted thing too.

1:09:47.760 --> 1:09:53.559
<v Speaker 1>Of you know, Danielle is definitely the strongest character in

1:09:53.640 --> 1:09:57.759
<v Speaker 1>terms of like turning his head to the clear class issues.

1:09:57.800 --> 1:10:01.200
<v Speaker 1>And I mean there's like another great quote from her

1:10:01.439 --> 1:10:04.120
<v Speaker 1>where she's like, you claim to love this land, but

1:10:04.160 --> 1:10:06.519
<v Speaker 1>you don't love the people who make it what it is,

1:10:06.680 --> 1:10:09.120
<v Speaker 1>Like what the fuck? What are you talk like? The

1:10:09.160 --> 1:10:12.639
<v Speaker 1>working classes makes the land what it is. But there

1:10:12.680 --> 1:10:15.120
<v Speaker 1>are like I was worried that it's like, oh, it's

1:10:15.240 --> 1:10:17.679
<v Speaker 1>just her that's gonna wake him up to this stuff,

1:10:17.880 --> 1:10:19.560
<v Speaker 1>which kind of like I feel like feeds into a

1:10:19.640 --> 1:10:22.840
<v Speaker 1>narrative of like I'm fixing him. But there's also other

1:10:22.920 --> 1:10:25.519
<v Speaker 1>elements that are bringing Like I feel like that's how

1:10:25.520 --> 1:10:28.040
<v Speaker 1>the da Vinci character is used pretty effectively. It's like

1:10:28.080 --> 1:10:33.360
<v Speaker 1>there's the Princes encountering class issues because he's just out

1:10:33.400 --> 1:10:36.360
<v Speaker 1>in the world for the first time Jasmine style, and

1:10:36.439 --> 1:10:39.760
<v Speaker 1>like Danielle is a huge part of that. But She's

1:10:39.760 --> 1:10:41.720
<v Speaker 1>not the only part of that, so it's like he's

1:10:41.760 --> 1:10:44.559
<v Speaker 1>kind of on this whole side quest journey. And I

1:10:44.600 --> 1:10:47.200
<v Speaker 1>like that it was characterized of like it's not just her,

1:10:47.439 --> 1:10:51.400
<v Speaker 1>but she's a part of it. Yeah, that's what doesn't

1:10:51.439 --> 1:10:56.200
<v Speaker 1>work for me quite so well, is that I do

1:10:56.240 --> 1:10:59.919
<v Speaker 1>appreciate that what he likes about her is her passion

1:11:00.040 --> 1:11:05.080
<v Speaker 1>and intelligence and conviction, which is more than you can

1:11:05.120 --> 1:11:09.879
<v Speaker 1>say for most romantic storylines in most movies across genres

1:11:09.920 --> 1:11:11.720
<v Speaker 1>where you're we talked about this all the time on

1:11:11.760 --> 1:11:14.360
<v Speaker 1>the podcast, where it's like we're not sure why they

1:11:14.400 --> 1:11:16.519
<v Speaker 1>like each other aside from the fact that they are

1:11:16.640 --> 1:11:20.800
<v Speaker 1>near each other and they're both attractive people. So at

1:11:20.840 --> 1:11:26.280
<v Speaker 1>least we get more about why he likes her. I'm

1:11:26.320 --> 1:11:30.040
<v Speaker 1>not really sure why she likes him, especially because he

1:11:30.240 --> 1:11:33.519
<v Speaker 1>is a pompous asshole for most of the movie and

1:11:33.560 --> 1:11:35.960
<v Speaker 1>the part where she's like she's trying to like tell

1:11:36.040 --> 1:11:39.559
<v Speaker 1>him that she is a commoner and like, you know,

1:11:40.040 --> 1:11:43.519
<v Speaker 1>reveal her truth, she says something like, oh, why did

1:11:43.560 --> 1:11:46.160
<v Speaker 1>you have to be so wonderful? And I'm thinking, like,

1:11:46.760 --> 1:11:52.160
<v Speaker 1>was he so wonderful at any point? Caitlan, Listen, you

1:11:52.160 --> 1:11:58.120
<v Speaker 1>can be a leftist and be addicted to dating pompous assholes. Yeah,

1:11:58.160 --> 1:12:01.479
<v Speaker 1>I'm not pulling, but she said that though. When he

1:12:01.960 --> 1:12:05.519
<v Speaker 1>like right after, she's beaten up because I feel like, okay,

1:12:05.760 --> 1:12:08.800
<v Speaker 1>I'm going to be an apologist for a second, but

1:12:08.840 --> 1:12:13.519
<v Speaker 1>ignorant for it. So basically when she says that to him,

1:12:13.560 --> 1:12:16.479
<v Speaker 1>it's like whatever, she gets beat up because she was

1:12:16.520 --> 1:12:20.120
<v Speaker 1>like gone the whole night with him, right, and like, yeah,

1:12:20.120 --> 1:12:23.600
<v Speaker 1>he's a jerk, but like he wasn't a jerk, like

1:12:23.760 --> 1:12:26.639
<v Speaker 1>for that whole time that night, right, So she probably

1:12:27.040 --> 1:12:29.000
<v Speaker 1>on the high of that, right, because he was really

1:12:29.040 --> 1:12:32.160
<v Speaker 1>laid it down, you know, he was sick, and she

1:12:32.280 --> 1:12:34.760
<v Speaker 1>was like, I am into it, right. I mean they

1:12:34.840 --> 1:12:37.400
<v Speaker 1>also banter with each other, they go back and forth,

1:12:37.520 --> 1:12:40.200
<v Speaker 1>and they like, you know, that's a vibe as well.

1:12:40.400 --> 1:12:44.280
<v Speaker 1>So an apologist, I feel like, you know, based off

1:12:44.320 --> 1:12:48.479
<v Speaker 1>of the whole night that they spend with the thieves,

1:12:49.400 --> 1:12:51.599
<v Speaker 1>you know, when they're like drinking and playing a game

1:12:51.800 --> 1:12:55.679
<v Speaker 1>which is like basically rock paper shoot, I think, yeah,

1:12:56.560 --> 1:12:59.160
<v Speaker 1>you know, it's a vibe. So like that's why that's

1:12:59.160 --> 1:13:02.160
<v Speaker 1>why that's why she liked him. I think I think

1:13:02.200 --> 1:13:05.240
<v Speaker 1>it's also because she can see his potential you know,

1:13:05.439 --> 1:13:07.439
<v Speaker 1>it's like he's not all the way there yet, but

1:13:07.520 --> 1:13:09.640
<v Speaker 1>like she's not trying. I don't think she has to

1:13:09.680 --> 1:13:12.360
<v Speaker 1>fix him. I think she just just like bringing out

1:13:12.560 --> 1:13:15.640
<v Speaker 1>the things that she thinks are already there. I don't know.

1:13:15.760 --> 1:13:18.479
<v Speaker 1>I feel like I'm just obviously biased because this is

1:13:18.520 --> 1:13:21.120
<v Speaker 1>like one of my favorite movies in the entire world.

1:13:21.120 --> 1:13:24.559
<v Speaker 1>But I just feel like I see why she likes him.

1:13:24.600 --> 1:13:26.240
<v Speaker 1>But I do think that he has a lot of

1:13:26.240 --> 1:13:29.640
<v Speaker 1>what to do. Yeah, I agree with that. Like I

1:13:30.040 --> 1:13:33.400
<v Speaker 1>think that like in terms of like because this is

1:13:33.439 --> 1:13:35.760
<v Speaker 1>a kids movie and it's like showing you how to

1:13:35.960 --> 1:13:37.960
<v Speaker 1>you know, you do have to be careful of like

1:13:38.000 --> 1:13:40.439
<v Speaker 1>how you model relationships and movies like this, and I

1:13:40.439 --> 1:13:42.679
<v Speaker 1>don't think it's perfect in that way. And like I

1:13:42.720 --> 1:13:47.160
<v Speaker 1>totally see what you're saying, Caitlin, of like telegraphing the children.

1:13:47.240 --> 1:13:49.479
<v Speaker 1>That's like, well, sometimes the guy is a real fix

1:13:49.560 --> 1:13:53.240
<v Speaker 1>her upper. But it's like that, like it gets a

1:13:53.240 --> 1:13:58.160
<v Speaker 1>little muddy. Somebody calls hip in Joanna like it all

1:13:58.200 --> 1:14:00.080
<v Speaker 1>it all gets a little messy, and I wish it

1:14:00.240 --> 1:14:03.640
<v Speaker 1>were a little more clear cut for that reason. But

1:14:03.680 --> 1:14:06.080
<v Speaker 1>I also agree with you Kia that it's like she

1:14:06.160 --> 1:14:09.040
<v Speaker 1>does I think that that is maybe what we're supposed

1:14:09.040 --> 1:14:11.280
<v Speaker 1>to believe is like she sees potential in him and

1:14:12.000 --> 1:14:14.519
<v Speaker 1>he It's interesting. I feel like his arc is not

1:14:14.680 --> 1:14:17.080
<v Speaker 1>complete really at the end of the movie, but it's

1:14:17.120 --> 1:14:22.400
<v Speaker 1>like he's started a journey that I hope continues. I

1:14:22.439 --> 1:14:26.000
<v Speaker 1>don't know, like it's tricky, but also it's like, yeah,

1:14:26.040 --> 1:14:28.120
<v Speaker 1>I don't know. It seems like Pickens are slim in

1:14:28.160 --> 1:14:31.880
<v Speaker 1>this neighborhood. She can now use she can like you know,

1:14:32.040 --> 1:14:34.280
<v Speaker 1>like we were talking about, she can leverage the power

1:14:34.320 --> 1:14:37.960
<v Speaker 1>and influence she now has to advance her own causes,

1:14:38.720 --> 1:14:41.960
<v Speaker 1>and you know, hopefully her husband will stop, you know,

1:14:42.040 --> 1:14:45.680
<v Speaker 1>Will will unlearn a lot of the behaviors he was

1:14:45.720 --> 1:14:48.200
<v Speaker 1>brought up with, although you know, we all know how

1:14:48.240 --> 1:14:53.000
<v Speaker 1>that story ends every single time. He did start that

1:14:53.080 --> 1:14:56.800
<v Speaker 1>university though, because the framing device mentions at the end

1:14:56.920 --> 1:15:00.640
<v Speaker 1>like and this portrait by Leonardo da Vinci of Danielle

1:15:00.680 --> 1:15:04.720
<v Speaker 1>to Barbarak hung in the university until the French Revolution,

1:15:04.800 --> 1:15:11.480
<v Speaker 1>when it presumably was ripped down and burned by the proletariat,

1:15:12.360 --> 1:15:17.519
<v Speaker 1>which I get, but also like it's such a pretty

1:15:17.560 --> 1:15:19.680
<v Speaker 1>it's fair. I kind of want that would be like

1:15:19.720 --> 1:15:22.000
<v Speaker 1>a very fun. I love when people have like subtle

1:15:22.520 --> 1:15:25.920
<v Speaker 1>fans stuff in their apartments like that. Having that painting

1:15:25.960 --> 1:15:31.519
<v Speaker 1>would be fun as an ever after shout out, because

1:15:31.520 --> 1:15:36.600
<v Speaker 1>that's a real painting. Yeah right, yeah, yeah, yeah, I do.

1:15:38.200 --> 1:15:40.920
<v Speaker 1>This is like grasping at straws here. But I do

1:15:41.000 --> 1:15:44.479
<v Speaker 1>appreciate that he apologizes at the end, which, as we've

1:15:44.520 --> 1:15:48.360
<v Speaker 1>discussed on a number of other episodes, oftentimes in a

1:15:48.760 --> 1:15:53.000
<v Speaker 1>story that involves a hetero romantic relationship where the man

1:15:53.280 --> 1:15:57.760
<v Speaker 1>has wronged the woman in some way, there's often not

1:15:58.240 --> 1:16:01.040
<v Speaker 1>any apology, or if it is, it's a very kind

1:16:01.080 --> 1:16:04.680
<v Speaker 1>of empty one that is not satisfying. I would say

1:16:04.720 --> 1:16:08.400
<v Speaker 1>that this apology, at least he says like I offered

1:16:08.400 --> 1:16:11.120
<v Speaker 1>you the world, and at the first test of honor,

1:16:11.200 --> 1:16:15.479
<v Speaker 1>I betrayed your trust. So he acknowledges that he sucked

1:16:15.560 --> 1:16:19.599
<v Speaker 1>up real bad. I do think that he sucked up

1:16:19.640 --> 1:16:23.360
<v Speaker 1>too bad, and that her coming around on his apology

1:16:23.400 --> 1:16:26.720
<v Speaker 1>happens way too fast. But as to say, like I

1:16:26.720 --> 1:16:29.320
<v Speaker 1>I don't oppose it happening. I just wish there was

1:16:29.360 --> 1:16:33.000
<v Speaker 1>like a little less end of movie rushed. Yeah, yeah,

1:16:33.080 --> 1:16:34.920
<v Speaker 1>did it felt rushed? If they would have done it

1:16:34.920 --> 1:16:37.479
<v Speaker 1>a little faster, like I think they could have cut

1:16:38.280 --> 1:16:42.160
<v Speaker 1>the scene where he plays Kennis. If they cut that

1:16:42.200 --> 1:16:45.600
<v Speaker 1>scene where he plays Kennis and pushed everything up, it

1:16:45.640 --> 1:16:48.800
<v Speaker 1>would have made yeah and given her more time to

1:16:49.200 --> 1:16:53.479
<v Speaker 1>like to digest or even talk with another character about

1:16:53.560 --> 1:17:00.080
<v Speaker 1>it and that like face masks or something. Yeah. I

1:17:00.120 --> 1:17:03.320
<v Speaker 1>do like that. Da Vinci shows up to the princess

1:17:03.520 --> 1:17:08.400
<v Speaker 1>like you mother fucker. She's perfect and you hurt her

1:17:08.439 --> 1:17:11.120
<v Speaker 1>and you've sucked up so bad. I was like, yeah,

1:17:11.320 --> 1:17:16.000
<v Speaker 1>da Vinci, Yeah, then you don't deserve her. And even

1:17:16.120 --> 1:17:18.360
<v Speaker 1>he just like takes her shoe and he's like, here

1:17:18.760 --> 1:17:20.880
<v Speaker 1>have it. It's in the rain. It's ruined though, but

1:17:21.000 --> 1:17:27.759
<v Speaker 1>just symbolically, here's the most ingenious creative decision made of

1:17:27.800 --> 1:17:31.240
<v Speaker 1>all time. Is Da Vinci as fairy Godmother? Sort of?

1:17:31.760 --> 1:17:35.080
<v Speaker 1>I love it so much. It's great and I feel

1:17:35.080 --> 1:17:37.519
<v Speaker 1>like I have to say this before anything else happens.

1:17:37.600 --> 1:17:40.280
<v Speaker 1>But and I'm biased again, but Drew Barrymore was in

1:17:40.400 --> 1:17:44.320
<v Speaker 1>her broken bag. Okay, she was acting down. She's so

1:17:44.360 --> 1:17:47.880
<v Speaker 1>good at being endearing and loving and you just root

1:17:47.960 --> 1:17:51.280
<v Speaker 1>for her and you're like, why is this character not

1:17:51.400 --> 1:17:55.439
<v Speaker 1>getting all the things that she deserves? Like who would

1:17:55.439 --> 1:17:58.840
<v Speaker 1>you mean to her? She's perfect. And I just want

1:17:58.840 --> 1:18:00.519
<v Speaker 1>to say, Drew, if your list man, I love you

1:18:00.520 --> 1:18:03.800
<v Speaker 1>with my entire heart. Please know that you really did

1:18:03.840 --> 1:18:08.719
<v Speaker 1>what you had to do. Oh Drew's listening. I feel

1:18:08.720 --> 1:18:11.559
<v Speaker 1>like Drew Barrymore would listen to a podcast. I feel

1:18:11.560 --> 1:18:14.519
<v Speaker 1>like I think she would just to sort of put

1:18:14.600 --> 1:18:18.000
<v Speaker 1>a bow in the Danielle stuff. I liked how again,

1:18:18.040 --> 1:18:21.679
<v Speaker 1>how this movie um gives you like the nineties heroine

1:18:22.280 --> 1:18:26.400
<v Speaker 1>stuff without Mary suing her. She's a very physically active character.

1:18:26.680 --> 1:18:29.920
<v Speaker 1>She's going on quests, their quests of her own. She's

1:18:29.960 --> 1:18:34.360
<v Speaker 1>not the sidekick in any capacity. There is a fight

1:18:34.479 --> 1:18:39.080
<v Speaker 1>that the prince participates in that she, you know, characterwise

1:18:39.479 --> 1:18:43.479
<v Speaker 1>doesn't participate in, but then she picks him up. In

1:18:43.600 --> 1:18:48.479
<v Speaker 1>that incredible shot, she picks him up. She gets into

1:18:48.479 --> 1:18:51.920
<v Speaker 1>a fist fight with her step sister. She is like,

1:18:52.120 --> 1:18:56.439
<v Speaker 1>she's about to get pepe lapew like, right, she fucking

1:18:56.560 --> 1:19:01.439
<v Speaker 1>knife's pepe lapew. Possibly. Um. I just I liked that

1:19:01.600 --> 1:19:06.080
<v Speaker 1>she was very physically active and capable without being you know,

1:19:06.240 --> 1:19:12.040
<v Speaker 1>pandery Mary so decisions. I thought it was good. She

1:19:12.040 --> 1:19:15.360
<v Speaker 1>who happens to the plot point doesn't happen to her exactly,

1:19:15.800 --> 1:19:20.240
<v Speaker 1>but she's very yeah, he said, she's very active, always

1:19:20.400 --> 1:19:23.120
<v Speaker 1>doing something. It's really that's really nice to see because

1:19:23.200 --> 1:19:26.040
<v Speaker 1>usually it's like they're just sitting and waiting for the ball.

1:19:26.120 --> 1:19:29.560
<v Speaker 1>They're like hanging out, usually at the pie table, like

1:19:29.720 --> 1:19:32.920
<v Speaker 1>is it the ball yet? Especially in like fairy tale

1:19:33.280 --> 1:19:38.240
<v Speaker 1>stories and even like modern adaptations of fairy tale stories,

1:19:38.240 --> 1:19:42.719
<v Speaker 1>a lot of them don't really make the princess character

1:19:43.360 --> 1:19:47.080
<v Speaker 1>that active or they damsel her. But like was mentioned,

1:19:47.520 --> 1:19:50.599
<v Speaker 1>she at no point really has to be saved by

1:19:50.800 --> 1:19:54.519
<v Speaker 1>a man. She saves Prince Henry from the band of

1:19:54.800 --> 1:19:58.200
<v Speaker 1>thieves by carrying him off, and then at the end

1:19:58.439 --> 1:20:01.360
<v Speaker 1>this was also mentioned, but when Prince Henry comes to

1:20:01.400 --> 1:20:06.840
<v Speaker 1>rescue her from Monsieur qu she has already rescued herself,

1:20:06.880 --> 1:20:09.120
<v Speaker 1>and they like just meet outside and she's like, what

1:20:09.160 --> 1:20:11.719
<v Speaker 1>are you doing here? I love it. Yeah, Like it's

1:20:11.720 --> 1:20:15.679
<v Speaker 1>so and it's not like I mean, it is kind

1:20:15.680 --> 1:20:18.920
<v Speaker 1>of that's a big deal, but it's also like I

1:20:18.960 --> 1:20:22.880
<v Speaker 1>did like the Prince's reaction where he wasn't like what

1:20:23.800 --> 1:20:29.000
<v Speaker 1>like he was just like, oh great, like go back

1:20:29.040 --> 1:20:32.120
<v Speaker 1>inside so I can rescue you. Right. I thought that

1:20:32.120 --> 1:20:34.519
<v Speaker 1>that was a really sweet moment um. Getting it to

1:20:34.720 --> 1:20:36.400
<v Speaker 1>just really quick. I wanted to just like touch on

1:20:36.439 --> 1:20:38.680
<v Speaker 1>the creepy benefactor character one more time. I feel like

1:20:38.720 --> 1:20:41.160
<v Speaker 1>we we talked about it at the top a little bit,

1:20:41.240 --> 1:20:43.880
<v Speaker 1>but just to like I was again, And I don't

1:20:43.920 --> 1:20:45.439
<v Speaker 1>mean this is like a good or bad thing. I

1:20:45.479 --> 1:20:50.720
<v Speaker 1>just was like surprised that this movie went there to

1:20:51.000 --> 1:20:53.760
<v Speaker 1>the extent of like Danielle is being treated as her

1:20:53.800 --> 1:20:58.040
<v Speaker 1>stepmother's property. She is essentially sold to this creepy guy

1:20:58.080 --> 1:21:01.840
<v Speaker 1>who we've seen attempt to prey on her before, and

1:21:02.160 --> 1:21:05.840
<v Speaker 1>there's a real threat of rape in this scene, like

1:21:05.880 --> 1:21:10.160
<v Speaker 1>he's repeatedly threatening to assault her. And then she's like

1:21:10.439 --> 1:21:12.120
<v Speaker 1>I belong to no and at least of all you,

1:21:12.200 --> 1:21:15.280
<v Speaker 1>and like saves herself. But I was I just wasn't expecting.

1:21:15.320 --> 1:21:17.960
<v Speaker 1>I was expecting her to maybe get herself out of

1:21:18.040 --> 1:21:21.439
<v Speaker 1>the tower, but Da Vinci gets her out of the tower,

1:21:21.520 --> 1:21:24.200
<v Speaker 1>and then she has to save herself from something far

1:21:24.360 --> 1:21:28.320
<v Speaker 1>more terrifying, and I just wasn't expecting it. But I

1:21:28.360 --> 1:21:30.880
<v Speaker 1>thought that the way that the story handled it was

1:21:30.920 --> 1:21:36.439
<v Speaker 1>pretty effective. Yeah, but espos because you know, like she's sold,

1:21:36.720 --> 1:21:40.880
<v Speaker 1>like the stepman sold all the candlesticks, all the stuff

1:21:40.920 --> 1:21:44.320
<v Speaker 1>that went missing to this man when I feel like,

1:21:44.600 --> 1:21:47.800
<v Speaker 1>you know, it's not explicitly said, but it's implied, like

1:21:48.160 --> 1:21:52.080
<v Speaker 1>she understands how gross he is to Danny, like what

1:21:52.240 --> 1:21:57.200
<v Speaker 1>he's always implying, what he's hoping for with a child basically,

1:21:57.920 --> 1:22:00.360
<v Speaker 1>and she's just like, I don't care, like still us.

1:22:00.400 --> 1:22:02.640
<v Speaker 1>You know, here's the candle things give me money, Like

1:22:02.720 --> 1:22:05.799
<v Speaker 1>here's this since in exchange for you know, a person,

1:22:05.920 --> 1:22:08.840
<v Speaker 1>but also all my items that my husband had, but

1:22:08.920 --> 1:22:11.360
<v Speaker 1>I'm supposed to care about, Like, I don't care what

1:22:11.479 --> 1:22:13.360
<v Speaker 1>any of that. I just want the thing that's going

1:22:13.400 --> 1:22:16.519
<v Speaker 1>to propel me forward, which makes her even more evil

1:22:17.280 --> 1:22:20.160
<v Speaker 1>then before under that context where you're like, you know,

1:22:20.280 --> 1:22:23.320
<v Speaker 1>this man is creepy. He comes to the market every week.

1:22:23.760 --> 1:22:26.840
<v Speaker 1>It's on daniel and you're just like, all right, cool,

1:22:26.960 --> 1:22:31.080
<v Speaker 1>say lest I'm just gonna, you know, let that ride. Yeah,

1:22:31.200 --> 1:22:33.280
<v Speaker 1>I mean, it really just doubles down on how evil

1:22:33.360 --> 1:22:36.080
<v Speaker 1>she is. And I think it's also part of the

1:22:36.080 --> 1:22:41.320
<v Speaker 1>class commentary where she's so irresponsible with her money, like

1:22:41.439 --> 1:22:44.839
<v Speaker 1>Danielle points out that she ignores the manner she blames

1:22:44.880 --> 1:22:47.559
<v Speaker 1>the servants for her debt. She sells the servants to

1:22:47.600 --> 1:22:50.800
<v Speaker 1>pay her taxes and her debts pretends to have money

1:22:50.800 --> 1:22:53.080
<v Speaker 1>to burn because there's a scene where like she's buying

1:22:53.160 --> 1:22:56.640
<v Speaker 1>a brooch for Marguerite, and then yeah, all those like

1:22:56.720 --> 1:23:01.000
<v Speaker 1>household things go missing, and she's accusing the servants of

1:23:01.080 --> 1:23:05.920
<v Speaker 1>being thieves and like garnishes their wages until they're returned,

1:23:06.080 --> 1:23:09.040
<v Speaker 1>knowing that she's the one who's selling those items off.

1:23:09.640 --> 1:23:12.240
<v Speaker 1>But it's very much like the shitty things that like

1:23:12.479 --> 1:23:17.799
<v Speaker 1>shitty rich people do, blaming poor people for their problems.

1:23:17.880 --> 1:23:20.200
<v Speaker 1>There are things that they're doing wrong. Yeah, and then

1:23:20.280 --> 1:23:23.040
<v Speaker 1>and then punishing the working class in order like as

1:23:23.080 --> 1:23:25.120
<v Speaker 1>a part of her scheme to fake it until she

1:23:25.200 --> 1:23:30.679
<v Speaker 1>makes it, like she is actively punishing and treating people

1:23:30.880 --> 1:23:34.120
<v Speaker 1>like they're her property. I hate it, but the movie

1:23:34.160 --> 1:23:37.080
<v Speaker 1>hates it too, So there you go. I wanted to

1:23:37.080 --> 1:23:42.000
<v Speaker 1>just give some quick contact on the production of this movie. Kia.

1:23:42.080 --> 1:23:44.920
<v Speaker 1>You mentioned that Drew Barrymore produced this movie and like

1:23:44.960 --> 1:23:47.519
<v Speaker 1>really had to advocate for it being made, which is

1:23:47.560 --> 1:23:50.680
<v Speaker 1>something she's repeatedly done throughout her career to you know,

1:23:51.040 --> 1:23:53.200
<v Speaker 1>very you know, we you can listen to our Charlie's

1:23:53.200 --> 1:23:55.200
<v Speaker 1>Angels episode if you want. We don't need to go

1:23:55.240 --> 1:23:58.160
<v Speaker 1>there today. But I just thought this is a movie

1:23:58.320 --> 1:24:02.680
<v Speaker 1>that was champion and brought to life by women and

1:24:02.760 --> 1:24:07.000
<v Speaker 1>queer people. So there you go. Directed by Andy Tennant,

1:24:07.640 --> 1:24:10.800
<v Speaker 1>who was I believe out and married at the time

1:24:10.840 --> 1:24:14.599
<v Speaker 1>this movie came out, but he also directed It Takes Two.

1:24:14.720 --> 1:24:19.960
<v Speaker 1>He later direct Hitch. He's another example, along with Rob

1:24:20.000 --> 1:24:24.160
<v Speaker 1>Marshall of The Dancer and Kenny Ortega. Oh my God,

1:24:25.120 --> 1:24:28.439
<v Speaker 1>for The Dancer to Director Pipeline, one of my favorite

1:24:28.439 --> 1:24:32.840
<v Speaker 1>Pipelines because he's I mean, I could talk about him

1:24:32.840 --> 1:24:35.920
<v Speaker 1>for a long time, but his debut was he was

1:24:35.960 --> 1:24:39.599
<v Speaker 1>He's a background dancer in the original Greece and then

1:24:39.800 --> 1:24:43.040
<v Speaker 1>like slowly worked as I don't know how The Dancer

1:24:43.080 --> 1:24:45.920
<v Speaker 1>to Director Pipeline. I don't understand it, but I'm thrilled

1:24:45.960 --> 1:24:51.479
<v Speaker 1>it exists. He co writes the screenplay with two other writers,

1:24:51.479 --> 1:24:54.479
<v Speaker 1>one of whom I forgot to look up, but he

1:24:54.520 --> 1:24:57.200
<v Speaker 1>co writes it with Susannah Grant and another writer named

1:24:57.280 --> 1:25:00.840
<v Speaker 1>Rick Parks. Susannah Grant is of particul Killer interest here

1:25:00.840 --> 1:25:05.400
<v Speaker 1>because obviously she's the only credited female screenwriter, but Susannah

1:25:05.439 --> 1:25:08.160
<v Speaker 1>Grant had previously written I mean, she read a lot

1:25:08.200 --> 1:25:14.160
<v Speaker 1>of nineties heroines, and her debut is Pocahontas, which we

1:25:14.240 --> 1:25:16.479
<v Speaker 1>will do an episode with down the line. That's a

1:25:16.560 --> 1:25:19.519
<v Speaker 1>whole thing. But she she would go on to write

1:25:19.520 --> 1:25:23.320
<v Speaker 1>Aaron Brockovich. So we've covered Susannah Grant movie before with

1:25:23.360 --> 1:25:28.920
<v Speaker 1>Alfred Molina. With Alfred Molina, she wrote other movies that

1:25:28.960 --> 1:25:33.639
<v Speaker 1>I've seen, including In Her Shoes anyone remember that one? Yes?

1:25:35.720 --> 1:25:38.000
<v Speaker 1>And then she also she wrote a series that came out.

1:25:38.040 --> 1:25:41.839
<v Speaker 1>I mean she's still very much working. Um. She wrote

1:25:41.880 --> 1:25:46.400
<v Speaker 1>that Netflix I think limited series Unbelievable. Um that came

1:25:46.400 --> 1:25:49.760
<v Speaker 1>out a couple of years that was really Yeah. So

1:25:49.800 --> 1:25:54.000
<v Speaker 1>she's like a really you know, talented writer who seems

1:25:54.040 --> 1:26:00.400
<v Speaker 1>like throughout her career has prioritized telling women's stories, so that,

1:26:00.560 --> 1:26:02.320
<v Speaker 1>you know, good for her. And then it was also

1:26:02.400 --> 1:26:06.720
<v Speaker 1>produced by two young producers that are both women. The

1:26:06.760 --> 1:26:10.880
<v Speaker 1>two top credited producers are Morrel Saraya I hope I'm

1:26:10.880 --> 1:26:14.559
<v Speaker 1>saying that right and Tracy Trench. So yeah, it was

1:26:14.640 --> 1:26:17.840
<v Speaker 1>just a movie that it sounds like, um, like you

1:26:17.880 --> 1:26:21.280
<v Speaker 1>were saying, Kia that Drew Barrymore pushing for this movie

1:26:21.320 --> 1:26:23.920
<v Speaker 1>to be made was one of in her like using

1:26:23.920 --> 1:26:26.840
<v Speaker 1>her star power for good is a huge reason that

1:26:26.880 --> 1:26:29.320
<v Speaker 1>this movie exists. And then it was very successful. I

1:26:29.320 --> 1:26:31.519
<v Speaker 1>mean it made whatever. I had a twenty six million

1:26:31.520 --> 1:26:36.479
<v Speaker 1>dollar budget and made nine million dollars at the box offices. So,

1:26:37.560 --> 1:26:41.040
<v Speaker 1>you know, thrilled for everyone involved. And I would love

1:26:41.120 --> 1:26:45.560
<v Speaker 1>to read someone's thesis on the Dancer to director Pipeline

1:26:46.320 --> 1:26:50.759
<v Speaker 1>what's going on there? And somebody's got to write it, whoever,

1:26:50.920 --> 1:26:53.120
<v Speaker 1>whoever has written it or will write it, Please let

1:26:53.200 --> 1:26:58.400
<v Speaker 1>Jamie know, please. Uh. The last thing I wanted to

1:26:59.080 --> 1:27:04.840
<v Speaker 1>mention about this movie, something that doesn't hold up as

1:27:04.840 --> 1:27:06.679
<v Speaker 1>well as most of the other stuff in the movie,

1:27:07.000 --> 1:27:11.759
<v Speaker 1>is the portrayal of Romani people, uh in the movie,

1:27:11.840 --> 1:27:16.080
<v Speaker 1>which is a very stereotypical depiction of the way Romani

1:27:16.200 --> 1:27:19.679
<v Speaker 1>people are often portrayed in media, which is they are thieves,

1:27:19.680 --> 1:27:23.360
<v Speaker 1>they are criminals, their bandits, that kind of thing, which

1:27:23.400 --> 1:27:27.719
<v Speaker 1>this movie completely reinforces and doesn't challenge in any way. Yeah,

1:27:27.760 --> 1:27:30.839
<v Speaker 1>that's a big that's a big bulge of this movie.

1:27:30.920 --> 1:27:34.040
<v Speaker 1>Like what does I love it? I'm like, no, that's terrible,

1:27:34.120 --> 1:27:39.280
<v Speaker 1>stop it, stop it stop. Um. Does anyone have any

1:27:39.320 --> 1:27:43.919
<v Speaker 1>other thoughts about ever after? Um? Just that it's that horrible,

1:27:44.000 --> 1:27:49.400
<v Speaker 1>terrible thing aside a masterpiece, and that I feel like

1:27:49.920 --> 1:27:52.639
<v Speaker 1>I want to see more. I want us to bring

1:27:52.720 --> 1:27:58.920
<v Speaker 1>back the era of like letting female characters not forgive

1:27:59.000 --> 1:28:03.439
<v Speaker 1>people who are them, Like, let's bring up back, let's

1:28:03.960 --> 1:28:06.760
<v Speaker 1>let's let's keep going with that, please and thank you, Like, yes,

1:28:06.800 --> 1:28:10.320
<v Speaker 1>I know I believe forgiven it blah blah blah. But also,

1:28:10.520 --> 1:28:15.880
<v Speaker 1>let's let's normalize punching steps in the face, right We've

1:28:16.280 --> 1:28:18.960
<v Speaker 1>I've been circling around this idea for a while. I

1:28:19.120 --> 1:28:22.560
<v Speaker 1>it first like really bothered me a toy story for

1:28:23.040 --> 1:28:25.479
<v Speaker 1>but of like this trend right now, like we need

1:28:25.520 --> 1:28:27.719
<v Speaker 1>to humanize all of our villains to the point where

1:28:27.720 --> 1:28:29.600
<v Speaker 1>we forgive them by the end. And I'm like, m

1:28:30.240 --> 1:28:32.439
<v Speaker 1>I do kind of miss pushing the villain off a cliff.

1:28:32.760 --> 1:28:37.240
<v Speaker 1>Like I like the idea of not leaning on stereotypes

1:28:37.360 --> 1:28:42.160
<v Speaker 1>and weaponizing a lot of identity against a villain, which

1:28:42.160 --> 1:28:45.639
<v Speaker 1>obviously happens in fairy tales and Disney movies all the time.

1:28:46.400 --> 1:28:49.519
<v Speaker 1>But I also am like, if someone is behaving evil,

1:28:49.680 --> 1:28:52.200
<v Speaker 1>you can have the context for it and you can

1:28:52.200 --> 1:28:54.160
<v Speaker 1>push them off a cliff, or you can push them

1:28:54.160 --> 1:28:58.280
<v Speaker 1>in the face. Some people are so awful that they

1:28:58.400 --> 1:29:03.160
<v Speaker 1>don't deserve a dedemption, or they don't deserve forgiveness, and

1:29:03.240 --> 1:29:07.320
<v Speaker 1>I would say that, especially the Baroness and Marguerite, their

1:29:07.320 --> 1:29:11.599
<v Speaker 1>behavior in this movie does not warrant redemption. So it's

1:29:11.640 --> 1:29:13.719
<v Speaker 1>fine that they end up in a tub of purple

1:29:13.800 --> 1:29:18.920
<v Speaker 1>dye and turn purple and which is I was like,

1:29:19.000 --> 1:29:21.959
<v Speaker 1>this is totally a little sillier than I was expecting.

1:29:22.280 --> 1:29:24.599
<v Speaker 1>I like that if I'd be a big fat liar

1:29:25.920 --> 1:29:28.000
<v Speaker 1>it literally I was like, I was like, this is

1:29:28.040 --> 1:29:34.559
<v Speaker 1>giving me like Charlie and the Chocolate Factory violent. But yeah,

1:29:34.640 --> 1:29:36.960
<v Speaker 1>I feel like that's my thing is that I wish

1:29:37.000 --> 1:29:39.600
<v Speaker 1>that people would either read the script or watch the

1:29:39.680 --> 1:29:43.960
<v Speaker 1>movie in terms of crafting villains where it's like you

1:29:44.000 --> 1:29:46.280
<v Speaker 1>give them back story and you give them context, but

1:29:46.400 --> 1:29:49.479
<v Speaker 1>you don't necessarily have to make them somehow a better

1:29:49.600 --> 1:29:52.800
<v Speaker 1>person by the time that the ninety minutes or now

1:29:52.840 --> 1:29:59.200
<v Speaker 1>at this point three hour movies o H. And this

1:29:59.240 --> 1:30:04.639
<v Speaker 1>movie us past the factal test with flying colors. There's

1:30:04.840 --> 1:30:07.800
<v Speaker 1>so I mean, I think that the majority of interactions,

1:30:07.800 --> 1:30:12.599
<v Speaker 1>with the exception of Danielle and Prince Henry, are between women,

1:30:12.840 --> 1:30:17.240
<v Speaker 1>and unless they are about Prince Henry, usually just about

1:30:17.479 --> 1:30:19.760
<v Speaker 1>what women are doing or how women are treating each other.

1:30:20.560 --> 1:30:22.920
<v Speaker 1>I feel like the stepmother is sometimes the third party

1:30:22.960 --> 1:30:25.639
<v Speaker 1>being discussed in a lot of the things. Sometimes it's

1:30:25.720 --> 1:30:30.280
<v Speaker 1>class issues, sometimes it's personal issues between women, Like there's

1:30:30.360 --> 1:30:34.680
<v Speaker 1>no shortage of I think like almost every combination of

1:30:34.760 --> 1:30:38.120
<v Speaker 1>women in this movie that could talk do for the

1:30:38.160 --> 1:30:41.960
<v Speaker 1>most party. Yeah, yeah, I think so. And then as

1:30:42.000 --> 1:30:45.679
<v Speaker 1>far as our nipple scale zero to five nipples based

1:30:45.720 --> 1:30:48.519
<v Speaker 1>on how well the movie fares looking at it through

1:30:48.600 --> 1:30:53.759
<v Speaker 1>an intersectional feminist lens, I think I would go four

1:30:54.280 --> 1:30:58.280
<v Speaker 1>on this one. Um, there's a lot of things that

1:30:58.320 --> 1:31:01.200
<v Speaker 1>the movie does that I think are very effective and

1:31:01.880 --> 1:31:05.960
<v Speaker 1>a good example of how to modernize and update a

1:31:06.200 --> 1:31:10.719
<v Speaker 1>fairy tale story which usually have problems baked into them,

1:31:11.040 --> 1:31:14.920
<v Speaker 1>but knowing how to do an adaptation effectively in a

1:31:14.960 --> 1:31:17.839
<v Speaker 1>way that you're staying somewhat true to the source material

1:31:17.920 --> 1:31:23.840
<v Speaker 1>but also putting a modern and even feminist spin on

1:31:24.160 --> 1:31:29.280
<v Speaker 1>the tail where we do have a strongly motivated character

1:31:29.360 --> 1:31:34.160
<v Speaker 1>who has leftist politics and is very passionate about them,

1:31:34.520 --> 1:31:37.600
<v Speaker 1>and is not motivated by like wanting to find a

1:31:37.640 --> 1:31:42.920
<v Speaker 1>handsome prince. She is motivated by wanting to do good

1:31:42.920 --> 1:31:47.360
<v Speaker 1>by her fellow human being. The way the romance unfolds,

1:31:47.680 --> 1:31:52.719
<v Speaker 1>especially with Henry being a bit too pompous for most

1:31:52.760 --> 1:31:56.559
<v Speaker 1>of the movie and then treating her like trash in

1:31:56.600 --> 1:31:59.840
<v Speaker 1>the third act and then being like, oops, I saw

1:31:59.840 --> 1:32:03.679
<v Speaker 1>her about that and she's like, that's okay, let's get married.

1:32:04.520 --> 1:32:07.640
<v Speaker 1>Didn't work super well for me. But um, it is

1:32:08.040 --> 1:32:12.920
<v Speaker 1>a fairy tale movie, so I guess I'll suspend my disbelief. Um,

1:32:13.000 --> 1:32:15.760
<v Speaker 1>the movie does only have white people in it, and

1:32:15.800 --> 1:32:19.280
<v Speaker 1>I don't know what the demographics of like rural Renaissance

1:32:19.320 --> 1:32:22.960
<v Speaker 1>era France was, but it's a fantasy movie. Like it

1:32:23.080 --> 1:32:27.240
<v Speaker 1>is a fantasy movie, you can make those changes as well, exactly.

1:32:28.120 --> 1:32:32.000
<v Speaker 1>So there's that, uh. And then the representation of Romani

1:32:32.080 --> 1:32:37.280
<v Speaker 1>people is very stereotypical and harmful. But yeah, I think

1:32:37.320 --> 1:32:40.000
<v Speaker 1>there's a lot to really love about this movie. And

1:32:40.360 --> 1:32:42.879
<v Speaker 1>I again, I think it like sets a good example

1:32:43.200 --> 1:32:48.680
<v Speaker 1>of a modern retelling of a problematic fairy tale that

1:32:49.360 --> 1:32:51.879
<v Speaker 1>does so much in the adaptation to make it actually

1:32:51.920 --> 1:32:56.680
<v Speaker 1>like a feminist film. Yeah, i'd say I'd say that

1:32:56.720 --> 1:32:58.920
<v Speaker 1>as well, who are you going to give your nipples to?

1:32:59.320 --> 1:33:05.280
<v Speaker 1>I'll give one to Leonardo da Vinci, I'll give one

1:33:06.040 --> 1:33:10.880
<v Speaker 1>to the apple that gets thrown at Prince Henry. I'll

1:33:10.880 --> 1:33:14.519
<v Speaker 1>give one to the Da Vinci code being Apple, and

1:33:17.040 --> 1:33:22.800
<v Speaker 1>my final nipple to Angelica Houston's eyebrow acting love it.

1:33:23.320 --> 1:33:27.559
<v Speaker 1>I'll meet you four. Um. I I agree with the

1:33:27.720 --> 1:33:32.840
<v Speaker 1>glaring issue of the treatment of Romani people, the plot

1:33:32.840 --> 1:33:37.240
<v Speaker 1>point of having Henry be extremely classes until two seconds

1:33:37.240 --> 1:33:41.440
<v Speaker 1>before the movie is over. It wasn't my favorite. Um.

1:33:41.880 --> 1:33:46.639
<v Speaker 1>There could have been a plenty more racial and body

1:33:46.680 --> 1:33:50.120
<v Speaker 1>diversity in particular this movie, which I think was like

1:33:50.160 --> 1:33:56.120
<v Speaker 1>a huge miss, But there's so much being done right.

1:33:56.560 --> 1:34:00.280
<v Speaker 1>I love that there are a lot of women hind

1:34:00.320 --> 1:34:03.800
<v Speaker 1>this project to get it made. That makes perfect sense

1:34:03.840 --> 1:34:06.639
<v Speaker 1>to me given what the movie is, and I love

1:34:06.720 --> 1:34:11.080
<v Speaker 1>that it was successful and and really like, I don't know,

1:34:11.360 --> 1:34:14.720
<v Speaker 1>it's my I think it's tied with Brandy Cinderella for

1:34:14.920 --> 1:34:19.840
<v Speaker 1>my favorite adaptation of Cinderella. Now, so Kia is just

1:34:20.080 --> 1:34:22.559
<v Speaker 1>spreading the good word. I'm so glad I saw the

1:34:22.560 --> 1:34:27.280
<v Speaker 1>spoofy Danielle forever. I hope her d s A chapter flourishes.

1:34:27.439 --> 1:34:33.360
<v Speaker 1>So I'll go four nipples, one to Danielle, one to Jacqueline,

1:34:33.920 --> 1:34:40.439
<v Speaker 1>one to Da Vinci for sure, and let's see, I'll

1:34:40.479 --> 1:34:43.040
<v Speaker 1>give my last one to Gustav because he was he

1:34:43.120 --> 1:34:46.120
<v Speaker 1>was a real one. He was a good friend, he

1:34:46.280 --> 1:34:48.759
<v Speaker 1>was a writer guy. He was he really was. Really

1:34:49.600 --> 1:34:52.960
<v Speaker 1>what about you? I'm gonna echo your four because even

1:34:53.000 --> 1:34:55.519
<v Speaker 1>though again it's my I love it with my whole heart,

1:34:55.640 --> 1:34:58.160
<v Speaker 1>like I give it ten stars in my heart, but

1:34:58.320 --> 1:35:03.200
<v Speaker 1>reality for nipples because of the same exact reasons, like

1:35:03.280 --> 1:35:08.160
<v Speaker 1>the lack of diversity, which just so funny because you're

1:35:08.160 --> 1:35:11.040
<v Speaker 1>still right, the lack of diversity, the way it treats

1:35:11.040 --> 1:35:15.320
<v Speaker 1>the Romani people. And I hear what you're saying about Henry,

1:35:15.360 --> 1:35:18.280
<v Speaker 1>but I feel like there were bits and pieces in

1:35:18.320 --> 1:35:20.880
<v Speaker 1>there that like makes sense to me, but I get

1:35:20.920 --> 1:35:24.519
<v Speaker 1>the vibe. So basically, four nipples. I'm going to give

1:35:24.600 --> 1:35:27.719
<v Speaker 1>my first nipple, as always to Danielle Drew Barry where

1:35:27.720 --> 1:35:30.479
<v Speaker 1>we love you and you were in your bag. My

1:35:30.600 --> 1:35:33.400
<v Speaker 1>second nipple will go to Angelica Houston because she was

1:35:33.479 --> 1:35:37.080
<v Speaker 1>also in her bag. My third nipple will go specifically

1:35:37.080 --> 1:35:39.640
<v Speaker 1>to the scene at the Very Young when there's the

1:35:39.680 --> 1:35:45.080
<v Speaker 1>confrontation between the Queen, the King, the baroness and everybody

1:35:45.080 --> 1:35:47.880
<v Speaker 1>else in the town. And then my final nipple will

1:35:47.880 --> 1:35:51.160
<v Speaker 1>go to Leonardo da Vinci because what like the second

1:35:53.439 --> 1:35:58.559
<v Speaker 1>is just absolutely bonkers and I'm so just amazing, Like

1:35:58.640 --> 1:36:01.960
<v Speaker 1>it is just the best. I love it so much.

1:36:02.040 --> 1:36:04.920
<v Speaker 1>If you want to see a movie where a lot

1:36:04.960 --> 1:36:07.760
<v Speaker 1>of things happen in a very short time, this is

1:36:07.800 --> 1:36:14.120
<v Speaker 1>the movie for you to watch. It so amazing. Uh,

1:36:14.560 --> 1:36:17.639
<v Speaker 1>and that's that's ever After, fox Kia. Thank you so

1:36:17.720 --> 1:36:20.599
<v Speaker 1>much for for coming back and for bringing us this movie.

1:36:20.640 --> 1:36:24.360
<v Speaker 1>The Cinderella tradition holds strong. Yes, listen, thank you for

1:36:24.400 --> 1:36:27.080
<v Speaker 1>having me back. First of all, and I'll have to

1:36:27.120 --> 1:36:30.160
<v Speaker 1>think of another movie that I'm just obsessed with. Besides,

1:36:30.200 --> 1:36:33.160
<v Speaker 1>I want to remember what you've already done. Then I'll

1:36:33.160 --> 1:36:35.719
<v Speaker 1>come back for that's their movie that I'll just figure

1:36:35.760 --> 1:36:38.519
<v Speaker 1>it out. But yes, I'm glad to have introduced you

1:36:38.600 --> 1:36:42.240
<v Speaker 1>to ever After, the American classic. It's really ever After,

1:36:42.600 --> 1:36:47.040
<v Speaker 1>a Cinderella story, but also a story about like shouting

1:36:47.120 --> 1:36:51.400
<v Speaker 1>on one persons and she's kind of good to the end.

1:36:51.640 --> 1:36:53.880
<v Speaker 1>Thank you. I think that that did need to come back.

1:36:53.960 --> 1:37:00.919
<v Speaker 1>Before the end of the episode. Kalen hates sharts, which, yeah,

1:37:01.000 --> 1:37:04.639
<v Speaker 1>I guess, sorry to shame anyone who's sharts sting right now.

1:37:04.960 --> 1:37:07.519
<v Speaker 1>We have listeners who are charting right now, Caitlin, so

1:37:07.600 --> 1:37:13.960
<v Speaker 1>can you chill out so you can starting but you're right,

1:37:13.960 --> 1:37:18.360
<v Speaker 1>You're right. Um, where can we Where can we find you? Online? Um?

1:37:18.360 --> 1:37:23.639
<v Speaker 1>I'm to online everywhere. I'm on Twitter and Instagram at

1:37:23.760 --> 1:37:29.800
<v Speaker 1>Kia k h Underscore Maria m A. I'm also on

1:37:29.880 --> 1:37:33.120
<v Speaker 1>Tracebook at the Kia Brown. You can also see my

1:37:33.200 --> 1:37:36.599
<v Speaker 1>work at Kia brown dot com. And I also again

1:37:37.120 --> 1:37:41.000
<v Speaker 1>have a chicken's book coming out in August called Sam's

1:37:41.160 --> 1:37:44.040
<v Speaker 1>Super Seeds, which I please, please please, would love for

1:37:44.080 --> 1:37:48.280
<v Speaker 1>you to preorder because they're vital for authors and I

1:37:48.320 --> 1:37:50.080
<v Speaker 1>feel like, if you have a kid in your life,

1:37:50.520 --> 1:37:53.720
<v Speaker 1>you're gonna love this book. I love this book. I'm biased,

1:37:53.760 --> 1:37:57.920
<v Speaker 1>but it's really good. Yes, I know I wrote it,

1:37:58.000 --> 1:38:02.400
<v Speaker 1>so it's like we're so stuked. I'm like, I'm so

1:38:02.439 --> 1:38:05.719
<v Speaker 1>thrilled to I'm literally going to preorder it right now.

1:38:05.760 --> 1:38:11.000
<v Speaker 1>I'm so excited. Adore you. And then you can follow

1:38:11.120 --> 1:38:15.400
<v Speaker 1>us on social media at bechtel Cast on Twitter and Instagram.

1:38:15.680 --> 1:38:19.679
<v Speaker 1>You can subscribe to our Patreon ak Matreon, where again,

1:38:19.800 --> 1:38:24.680
<v Speaker 1>we very recently covered two other Cinderella adaptations, Ella Enchanted

1:38:24.880 --> 1:38:29.320
<v Speaker 1>and a Cinderella Story. Those can be found at patreon

1:38:29.439 --> 1:38:33.000
<v Speaker 1>dot com slash becketel Cast. It's five dollars a month

1:38:33.160 --> 1:38:38.000
<v Speaker 1>and you get access to all the past backlog of episodes.

1:38:38.320 --> 1:38:41.439
<v Speaker 1>So scoot on over to the Patreon and and have

1:38:41.560 --> 1:38:44.519
<v Speaker 1>a ball. And you can get merch at t public

1:38:44.560 --> 1:38:48.680
<v Speaker 1>dot com slash the Bechtel Cast if that is uh

1:38:48.720 --> 1:38:53.920
<v Speaker 1>lined up with your personal desires. Okay, and with that

1:38:54.560 --> 1:39:03.440
<v Speaker 1>genius outro um, let's go and live. They lived, We lived.