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Speaker 1: On the Beck dol Cast, the questions asked if movies

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

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Speaker 1: and husbands, or do they have individualism the patriarchy? Zef

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Speaker 1: in best start changing it with the Bechdel Cast. Hello,

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Speaker 1: and welcome to the Bechdel Cast. My name's Jamie Loftus,

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Speaker 1: my name is Kaitlin Durante, and this is our show

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Speaker 1: where we examine movies through an intersectional feminist lens, using

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Speaker 1: the Bechdel Test as a jumping off point. That's Stan Ray.

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Speaker 1: Have you ever heard of it? I haven't heard of it,

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Speaker 1: which is really embarrassing at this point. I don't and

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Speaker 1: I've been bluffing my way for over half a decade now. Yeah,

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Speaker 1: we've been doing the show for six years, James, really

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Speaker 1: really a long time. It is March, which means it's

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Speaker 1: International Women's History Month. I honestly don't know why international

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Speaker 1: has to be like specified, because if you eliminate it,

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Speaker 1: the meaning is much the same. But anyways, true, we

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Speaker 1: wanted to make sure we were featuring women directors this month, obviously,

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Speaker 1: and we had in the works an episode on The

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Speaker 1: Women King that we'll be coming out, but it won't

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Speaker 1: be coming out until April because of a bunch of

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Speaker 1: scheduling stuff, so we wanted to make sure we were

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Speaker 1: featuring women directors this month. Yeah, and that is why

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Speaker 1: this week we are unlocking a Patreon aka Matreon episode

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Speaker 1: that I'm rather proud of. Honestly, we did so much

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Speaker 1: homework for this one, and by that I mean we

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Speaker 1: read a book. But for a movie podcast reading a book,

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Speaker 1: it's not easy. Extra credit. It's hard. Yeah, it's hard,

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Speaker 1: and reading is hard. No, but yes, this is part

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Speaker 1: of our Matreon theme January aka Austin August aka Jane

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Speaker 1: Austen month. Yes on the Matreon. We did it. Last

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Speaker 1: year we also covered the Joe Wright Pride and Prejudice

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Speaker 1: adaptation with Kiera Knightley and Tom from Succession. However, Joe

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Speaker 1: Wright is famously a man, so he doesn't qualify it

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Speaker 1: for this and so what we are unlocking is the

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Speaker 1: twenty twenty adaptation of Emma starring Annya Taylor Jolie that's

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Speaker 1: directed by Autumn deWilde, also written by a woman, Eleanor Katon,

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Speaker 1: which we will discuss in the episode as well, but

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Speaker 1: too great in my opinion, too great. Jane Austen adaptations.

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Speaker 1: Is it and is it? Clueless grade greatness? Nothing is

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Speaker 1: that's the best adaptation of Emma. However, this is my

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Speaker 1: second favorite and we really enjoyed the movie and we

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Speaker 1: think that you will too. If you haven't seen it,

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Speaker 1: should check it out. Yeah, go watch it? She wi

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Speaker 1: is what are you doing? Also, one other quick housekeeping thing.

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Speaker 1: If if you are listening to us for the first

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Speaker 1: time right now because you found us through Apple Podcasts, Welcome,

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Speaker 1: We're the back too. Hello, Hello, Hello, Hi. We're being

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Speaker 1: featured on Apple Podcasts this month. We're highlighted as featured creators.

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Speaker 1: So if you happen to find us through the podcast

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Speaker 1: search feature, Welcome. We've been around for a while. We've

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Speaker 1: been doing the show forever six years now, and we

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Speaker 1: hope you enjoy the show. We've been you know, learning, growing,

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Speaker 1: and watching a shitload of movies for a long time.

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Speaker 1: It's true. It's all true. It's all true. So welcome.

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Speaker 1: If you're new, Welcome back. If you've been with us

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Speaker 1: for a long time, Welcome medium. If you came kind

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Speaker 1: of recently, but you're like, well, I'm not new. There.

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Speaker 1: It's a spectrum. Listening to something like well, I'm not new,

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Speaker 1: but I wouldn't say I'm old. Well guess what, there's

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Speaker 1: not a word for that. But you're welcome there. Yes,

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Speaker 1: we we appreciate you. We appreciate everyone who's listening right now. Also,

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Speaker 1: if you enjoyed this. If you enjoyed this episode, feel

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Speaker 1: free to check out our patreon akamatreon at patreon dot

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Speaker 1: com slash Beechdel Cast. You'll notice the discussions are a

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Speaker 1: little looser, a little goofier, and normally we have a

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Speaker 1: guest on our main feed, but on the Patreon it's

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Speaker 1: it's just Caitlin and myself shooting the shit and having

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Speaker 1: a nice time. So we hope you enjoy it. Yeah,

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Speaker 1: just to foreshadow a little something on this episode is

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Speaker 1: how much we talk about Pokemon. Really yeah, all right,

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Speaker 1: Well look we were still somewhat locked down when we

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Speaker 1: recorded this, so you may notice that energy present in

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Speaker 1: whatever's going on, all right Pokemon? Fine, yeah, fine, it's

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Speaker 1: not against the lull noise, So please please enjoy this

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Speaker 1: unlocked episode of Emma twenty twenty. Okay, it's still January

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Speaker 1: aka Austin August aka Jane Austen November. Yes it is,

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Speaker 1: and we are closing it out with an episode on

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Speaker 1: Emma Period. I did not know at first that this

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Speaker 1: movie has punctuation. Unnecessary punctuation. Oh in the title, I know.

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Speaker 1: Did you read the reason why too? It's pretty corny.

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Speaker 1: Oh no, no, no, I believe it's autumn. deWilde was like,

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Speaker 1: it's a period piece, so I put it was like,

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Speaker 1: that's kind of funny. It also in any times the

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Speaker 1: director of this movie. I was such a pleasure getting

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Speaker 1: like acquainted with her as a person and an idea

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Speaker 1: because I'm like now fully like just like I will

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Speaker 1: go wherever she takes us forever, like she's so cool.

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Speaker 1: But yeah, because I because maybe it was an interview

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Speaker 1: I was reading with her, but yeah, there's a period

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Speaker 1: in it, because she's like at the period beast put

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Speaker 1: a period at the end. Wow, I'm like, well, of

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Speaker 1: all the reasons to do that, that is at least

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Speaker 1: a pretty funny reason, I allow it. Yeah, right, okay, right, okay.

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Speaker 1: So we're covering Emma Period from twenty twenty. It's one

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Speaker 1: of the last movies that was released in theaters before

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Speaker 1: the COVID nineteen pandemic. Ever heard of it? I remember

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Speaker 1: I almost saw it and then I didn't, and then

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Speaker 1: I experienced regrets. You know what I saw it? What

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Speaker 1: I see instead? Oh you know what I saw Invisible Man?

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Speaker 1: And yeah, same portrait of a lady on fire. It

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Speaker 1: wasn't too you know, I could have done much worse.

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Speaker 1: I liked both of those movies. Yeah. One of the

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Speaker 1: last movies I saw in theaters pre pandemic was Oh,

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Speaker 1: my gosh, what's it called. It's the Pixar movie about

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Speaker 1: the like fairy tale creature people onwards. Oh, the one

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Speaker 1: with the Chris Pratt pants Dad Dad pants, My dad

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Speaker 1: is pants and I'm Chris Pratt right, Yeah, it's just

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Speaker 1: what the fuck was that movie? There's gonna be a

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Speaker 1: million people at the comments like that movie changed my life,

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Speaker 1: And I'm sure, I'm sure it's great, but I only

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Speaker 1: know that movie is like Chris Pratt's Dad is pants.

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Speaker 1: You're like, I just like, I'm sure that. Like most

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Speaker 1: Pixar movies are very heartwarming, this one did make me cry.

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Speaker 1: I'm sure, I mean all, like most Pixar movies, that's

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Speaker 1: like what they're genetically engineered to do. I just like

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Speaker 1: the way this one was marketed specifically. I just thought

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Speaker 1: was so weird. I was like, I don't want to

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Speaker 1: see the Chris Pratt pants Dad movie, and I reserved

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Speaker 1: that right and I and you know, maybe I'll see it.

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Speaker 1: Sometimes I think, did you hear a glass shatter? Am? I? Like?

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Speaker 1: Just now? No? No, things aren't at all? All is

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Speaker 1: not well? There? You know a Stabruary is really bringing

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Speaker 1: out in me? Is I want we should go back

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Speaker 1: to like naming our houses. I know that it's because

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Speaker 1: no one owns property and all these all these books

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Speaker 1: are about rich, but even like middle class families name

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Speaker 1: their house in Jane Austin World, which is also like

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Speaker 1: I'm sure that just happened. Yeah, I didn't realize that

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Speaker 1: was a thing. I mean, I guess I knew from

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Speaker 1: like Downton Abbey because their huge mansion is called Downton Abbey.

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Speaker 1: And then there's like I was like, what's it called?

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Speaker 1: I was like, what's the house called? But then, um,

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Speaker 1: mister Knightley and this story has an abbey as well.

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Speaker 1: I forget what his abbey is called. What constitutes an abbey?

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Speaker 1: Like what I don't When you say abbey, I feel

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Speaker 1: like it means like extra big, but like I'm sure

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Speaker 1: it means something specifically, like there's a mill, or there's

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Speaker 1: like a church, or there's a fawm or something. Right,

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Speaker 1: what's the difference between like an estate and an abbey

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Speaker 1: and a palace and a castle, because all of these

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Speaker 1: structures are big. So I don't know what's what bing bong,

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Speaker 1: I don't know. You know, I'm no fucking clue he's

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Speaker 1: gotten an abbey. I just this, Okay, yeah, so I'm

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Speaker 1: going to start thinking of place. You know. I like

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Speaker 1: that they name the houses, but all the ways that

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Speaker 1: they name the houses stuck. They're like it's like corn

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Speaker 1: wall and you're like, okay, that's just a compound word.

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Speaker 1: I don't know. Let's just work on it, because look,

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Speaker 1: we're never going to own any but I'll you know,

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Speaker 1: I'll name my half of the duplex that I read. Sure,

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Speaker 1: I'll name that. Why not until I'm evicted any day now,

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Speaker 1: I hope not. Well, no, my whatever, But you know

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Speaker 1: they can. I'm on a month to month lease. They

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Speaker 1: can just they try it. Do you remember matrons over

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Speaker 1: the summer of my landlords are like, we're going to

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Speaker 1: sell the house and you'll just kind of be shit

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Speaker 1: out of luck. But like, we don't know when but

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Speaker 1: you could be shit out of luck at any second, right,

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Speaker 1: So I was like, oh, and then they failed to

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Speaker 1: sell the house. Okay, so well I have a home

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Speaker 1: good news for you for now. Just I don't know

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Speaker 1: landlords should just fucking explode in Minecraft, of course, which

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Speaker 1: I know is something that you have to say. Um, well,

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Speaker 1: we're talking about more rich people from England today because

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Speaker 1: we're talking about Jane Austen's Emma period period. Yeah, okay,

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Speaker 1: we're not talking about Gwyneth Paltrow. Did you watch Gwyneth Paltrow?

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Speaker 1: You watch you rewatched Clueless? Right, correct? And I really

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Speaker 1: thought about watching for the first time because I hadn't

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Speaker 1: seen Gwyneth Paltrow's Emma So I was like, yeah, I

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Speaker 1: should watch that just in case it's helpful. But what

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Speaker 1: did I do instead is play Pokemon? Okay, So well, yeah, matrons,

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Speaker 1: we're working really hard for your five dollars over here.

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Speaker 1: Jesus Christ, Kate like you've in my defense, yeah, it's

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Speaker 1: for my mental health. That's not a good excuse. I

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Speaker 1: think it's a great excuse for my mental health. I

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Speaker 1: have to play Pokemon for eighty five hours there is Yeah, sorry,

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Speaker 1: I'm feeling spicy today. It's good. Um Okay. I saw

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Speaker 1: Gwyneth Paltrow. Gwyneth Paltrow Emma. Back in the day, we

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Speaker 1: were talking about this with the Pride and Prejudice episode

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Speaker 1: where it was like, oh, there was like gen X

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Speaker 1: Pride and Prejudice, and then Kiera Knightley is millennial Pride

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Speaker 1: and Prejudice. There's kind of not a millennial Emma. I

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Speaker 1: think that they did gen X was Gwyneth and then

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Speaker 1: this is fully gen z Emma. This is not this

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Speaker 1: does not belong to us, but we're allowed to enjoy

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Speaker 1: it and look at it. But like Anya Taylor Joy,

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Speaker 1: she belongs to them. She does not belonged to us,

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Speaker 1: just because she's so young. Yeah, and just like the

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Speaker 1: aesthetic of this movie. I mean, this movie is so esthetic,

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Speaker 1: it's beautiful. Yeah. Anyways, this is gen Z Emma period

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Speaker 1: and I really like it. What is your experience with

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Speaker 1: the story, Emma in general? Not much. I had seen

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Speaker 1: Clueless a few times. Oh yes, but I don't think

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Speaker 1: I knew the first few times I watched Clueless that

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Speaker 1: it was a Jane Austen adaptation. I definitely didn't the

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Speaker 1: first Yeah, I don't think I knew that until like

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Speaker 1: at least college, right, But I haven't read the book

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Speaker 1: and I haven't seen the Gwyneth Paltrow Emma. Yeah, so

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Speaker 1: this is my first exposure to this story. I've seen

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Speaker 1: it three times now between I had some time between

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Speaker 1: my Pokemon Pokemon hours that I was putting in to

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Speaker 1: watch Emma three times, so I did that. But yeah,

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Speaker 1: I did not read the book for this one. I

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Speaker 1: read Pride and Prejudice, so I filled my book quota

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Speaker 1: of reading one book per year. So I don't have

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Speaker 1: much exposure to Emma. But Jamie, you did read the book.

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Speaker 1: Reread the book. I reread the book, and by that

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Speaker 1: I mean, of course I listened to the audio book

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Speaker 1: at one point five speed. And yeah, I guess I'm

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Speaker 1: like fully too much Emma this week for old Jamie.

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Speaker 1: Too much. But I'm glad I read the book because

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Speaker 1: because the changes of the movie makes is really really

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Speaker 1: really interesting to me. But like I saw Clueless starting

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Speaker 1: in high school, didn't know that it was Jane Austen adaptation,

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Speaker 1: so it's almost like it doesn't really even count in

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Speaker 1: my brain. Sure, And also Clueless is so different in

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Speaker 1: a lot of ways, you know, and I would say

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Speaker 1: many better ways. But I read the book in high school.

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Speaker 1: I saw the Gwyneth Paltrow movie in high school. I

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Speaker 1: think I liked it, I don't really remember. And then

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Speaker 1: I was I think this has also been like you know,

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Speaker 1: miniseries did and all this stuff. But I was really

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Speaker 1: excited for the twenty twenty Emma period because it was,

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Speaker 1: you know, an adaptation that was directed by a woman.

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Speaker 1: It just looked really I don't know, like you know,

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Speaker 1: I was just genuinely excited to see it because sometimes

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Speaker 1: you're like, this movie just looks beautiful, like it just looks, yeah, delicious,

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Speaker 1: and I want to watch it. And it was, you know,

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Speaker 1: like written and directed by women. I like Anya Taylor

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Speaker 1: Joy who. I feel like this was like this movie

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Speaker 1: came out like right before she popped off, because this

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Speaker 1: was pre Chess Netflix. Am I talking about Queen scam Bit. Yes,

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Speaker 1: Chess Netflix. That's so funny. I feel like I should

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Speaker 1: be dating a guy named Chess Netflix. Oh my gosh,

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Speaker 1: that's a great character. Please write something. Yeah, Chess Netflix.

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Speaker 1: It's like my new rich boyfriend. I'm like, guys, this

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Speaker 1: is Chess Chess Netflix. We met at a party. I

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Speaker 1: don't know. He just slid into my dams and now

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Speaker 1: it's been four months. Congrats. Speaking of mister Chess, Emma

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Speaker 1: or mister Netflix, I guess Emma actually hooked us up.

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Speaker 1: She she does these things sometimes, she's a matchmaker like that.

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Speaker 1: I'm her Harriet, and she hooked me up with Chess Netflix.

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Speaker 1: He's awful. Um Okay, So anyways, I like Annya Taylor Joy.

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Speaker 1: I had only known her in The Vivich I think,

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Speaker 1: and I hadn't even seen it at that point, but

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Speaker 1: I'm like, oh, it's the the vivic girl that has

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Speaker 1: those big old eyes and oh oh. I was mostly

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Speaker 1: excited to see this movie because fucking Bill of I

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Speaker 1: Frankenstein Fame is in it, so that was There's that.

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Speaker 1: I feel like we texted about it when we both

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Speaker 1: first saw the trailer because there's that great trailer moment

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Speaker 1: slash movie moment in general where Bill Nigh hops down

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Speaker 1: the stairs. It goes like, dude, I caught like best

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Speaker 1: part of the movie, and I really like to the movie,

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Speaker 1: but it's like the best part of the movie absolutely,

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Speaker 1: So I was very stoked to see the movie. I

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Speaker 1: watched it on HBO when it was on HBO, and

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Speaker 1: then I was excited to revisit it for this. I

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Speaker 1: think it's an it's a good adaptation. I really like

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Speaker 1: what they changed because the book is very bizarre. I'm

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Speaker 1: excited to talk about that a little bit as well.

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Speaker 1: The book is like it's it's good and like the

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Speaker 1: literary sense and you know, whatever changed the shape of

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Speaker 1: the novel forever blah blah blah, like I get it. Sure,

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Speaker 1: bookheads don't come for me, but just like this, the

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Speaker 1: way the story plays out is interesting to me because

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Speaker 1: I feel like and then I frantically googled my own

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Speaker 1: opinion to see if I was you know, if your

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Speaker 1: opinion was correct. Yeah, to see if my opinion had

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Speaker 1: been corroborated by someone who knows who can read a book,

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Speaker 1: and it has been corroborated. Is I think the emma

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Speaker 1: of the book look ends up regressing by the end

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Speaker 1: of the story. But the way that it's been adapted

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Speaker 1: for twenty twenty, which I think is smart in terms

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Speaker 1: of like you want as a moviegoer to get some

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Speaker 1: payoff and feel like the character has grown in the book.

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Speaker 1: I don't think that she really grows very much because

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Speaker 1: the ending is different and by the end you're just

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Speaker 1: like it just is sort of one of those I

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Speaker 1: feel like this is like a Victorian novel or just

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Speaker 1: like sometimes a novel thing in general, where like things

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Speaker 1: move slow, slow, slow, slow slow, and then it's like

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Speaker 1: whatever the protagonist is at their slow they're at the whatever.

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Speaker 1: The second act, end of the second act of a

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Speaker 1: novel is the low point. Yeah. But then but then

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Speaker 1: in some but then like things just kind of like

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Speaker 1: very abruptly work out sure, and it has kind of

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Speaker 1: nothing to do with any action that the protagonist takes. Right, Well,

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Speaker 1: let's take a quick break and then we will come

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Speaker 1: back for the recap. Okay, we're back, and here is

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Speaker 1: what happens in the movie Emma Woodhouse. We get some

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Speaker 1: text on screen that she is handsome, clever, and rich

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Speaker 1: and has lived nearly twenty one years in the world

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Speaker 1: with very little to distress or vex her. Woo. We

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Speaker 1: meet her. She's Annie Taylor Joy. Of course, her whole

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Speaker 1: thing is that she loves to match make for other people,

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Speaker 1: and she has just done this for her I wasn't

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Speaker 1: sure exactly who this was at first. I think it

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Speaker 1: was her former governess, Miss Taylor. I also don't know

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Speaker 1: what a governess is, like a like a tutor or

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Speaker 1: like a governess. Yeah, it's like a combo tutor and

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Speaker 1: nanny basically. Okay, yeah, got it. And they like live

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Speaker 1: in so it's like a permanent the house. Yeah right.

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Speaker 1: So Miss Taylor is about to get married and become

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Speaker 1: missus Weston, and she is therefore about to leave the

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Speaker 1: estate where Emma lives with her father, mister Woodhouse, and that,

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Speaker 1: of course is Bill Ni. So at the wedding between

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Speaker 1: Miss Taylor and mister Weston, we meet such people as

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Speaker 1: Miss Bates, who Emma thinks is very tiresome. Can I Yes,

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Speaker 1: there is a thing. And I think it's because we've

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Speaker 1: been doing Jane Austen and Cinderella adaptations. And I say

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Speaker 1: this as a woman with a kind of longish thin head.

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Speaker 1: Anytime in a damn period piece they want to telegraph

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Speaker 1: this woman is annoying and not very smart. They cast

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Speaker 1: someone that has my head shape, and I don't like it.

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Speaker 1: The actors who play there's always one step sister in

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Speaker 1: Cinderella that has my head shape, and then Miss Bates

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Speaker 1: my head there. Look what I'm saying is you can

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Speaker 1: cast me as woman is obviously supposed to be annoying

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Speaker 1: because I have the correct head shape. What is that?

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Speaker 1: I know what it is. We don't need to talk

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Speaker 1: about it, but I'm like, fuck you, it's rude leaf

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Speaker 1: I head alone. Yeah, sorry, Miss Bates. So Miss Bates

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Speaker 1: is there. Mister Elton is there. He is the vicar

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Speaker 1: who marries this couple. And there's also talk of the

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Speaker 1: groom's son, Frank Churchill, coming, but he never shows up.

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Speaker 1: Who do you think is the hottest guy in the movie? Oh,

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Speaker 1: good question? Um, my answer sucks for me. It's probably

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Speaker 1: between mister Mister Martin is pretty cute to me, just

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Speaker 1: as far as looks goes, not personality, but Frank Churchill

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Speaker 1: I would maybe kiss I also, Um, I like the

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Speaker 1: actor who plays mister Weston, and oh he's fun. I

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Speaker 1: like him. I don't know if I would kiss him

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Speaker 1: or not. I would kiss Bill Ni probably. What's do

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Speaker 1: you remember when Bill Nigh he said MW two. Uh yeah,

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Speaker 1: I will never forget the first time I heard Bill

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Speaker 1: Knight say mutwo, I like lost my fucking mind. Well,

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Speaker 1: now that I'm a Pokemon expert after playing five million

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Speaker 1: hours of Pokemon, and I think it's Arcius Arcis Archaius Arka.

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Speaker 1: I don't know, I don't know how it's pronounced. I'm

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Speaker 1: arresting you, but I know I would get just as

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Speaker 1: into it. Wait, I hold on, Okay, I can't stop

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Speaker 1: thinking about him saying it now. But we taught We've

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Speaker 1: talked about this on the Matreon before. I think about

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Speaker 1: how Bill nigh he didn't know anything about Pokemon and

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Speaker 1: then he started playing Pokemon Go, and then he was like,

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Speaker 1: I know that he became a sentient poke dex um

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Speaker 1: and he's just I just love I love that. Okay,

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Speaker 1: think about this. Probably probably on the set of Emma

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Speaker 1: Bill and he played Pokemon Go. Oh yeah, definitely, because

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Speaker 1: he would have been into it by the Yeah. Anyways,

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Speaker 1: when he said mewtwo, he just it's because he said

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Speaker 1: it like a theater actor, and you just never expect

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Speaker 1: to hear someone say it that way. Um, anyways, where

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Speaker 1: are we? Um? Oh? Oh? Who would you kiss? Mister

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Speaker 1: Elton Josh O'Connor. He's also in the Crown. He also

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Speaker 1: plays a fucking He plays young Prince Charles, you know,

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Speaker 1: another famously losery guy. But guess what he's got. He's

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Speaker 1: got a head shape that I like, and he's having Also,

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Speaker 1: I think he's very funny, and he's having such a

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Speaker 1: I think a good time in this movie being the

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Speaker 1: most annoying man to ever live. Oh. Yes, in no sense,

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Speaker 1: I don't. I didn't understand that joke. I'll say it.

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Speaker 1: That joke was in the trailer and I was like,

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Speaker 1: what's the joke. It's just Bill Nickey repeating something. No,

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Speaker 1: he mispronounces it. And then Bill Nile's like, no, it's

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Speaker 1: in a sense he said, mew two. Okay. So those

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Speaker 1: are some of the main characters. We also meet mister Knightley,

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Speaker 1: mister Kiera Knightley. Also, I don't know who that actor is,

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Speaker 1: but I kept thinking referring to him in my head

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Speaker 1: as slightly less hot Heath Ledger. Oh interesting, you know

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Speaker 1: who I think is mister Knightley. And the Gwyneth Paltrow

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Speaker 1: one is ermray Er You will Own McGregor? Were You?

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Speaker 1: Is Nightly? In that one? Which is? I get it?

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Speaker 1: This guy's name, what is his deal? His name is

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Speaker 1: Johnny Flynn. His Wikipedia picture is weird. It looks like

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Speaker 1: it was taken on a fucking point and sheet fifteen

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Speaker 1: years ago. Well, I guess I don't have much to say.

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Speaker 1: He was definitely hot, but I you know, he was

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Speaker 1: too conventionally hot to hold my attention. I want I

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Speaker 1: want a mister Elton. I want to Bill Nile saying

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Speaker 1: me two, give me something interesting. Yeah, yeah, yeah yeah.

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Speaker 1: So mister Knightley visits Emma and her father. Okay, so

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Speaker 1: what is the relationship between Emma and mister Knightley. In

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Speaker 1: the book, they're like brother and sister in law because

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Speaker 1: Emma's sister is married to mister Knightley's brother Emma's I

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Speaker 1: think that that's the case in the movie too. It's

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Speaker 1: confusing because I keep saying we're siblings, but it's because

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Speaker 1: Emma's sister married mister Knightley's brother. So they're in loss

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Speaker 1: no Blood. I wasn't sure if it was the same

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Speaker 1: thing as it was in Clueless, where they were former

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Speaker 1: step siblings no, which I always found really weird. I

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Speaker 1: think it's weirdly less weird in the book from the

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Speaker 1: eighteen hundreds than it is Clueless. I think I kind

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Speaker 1: of forgot yeah that there. It was like a weird

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Speaker 1: like step sibling porn line. They're definitely yeah, no, they're

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Speaker 1: they're in law and they're brother and sister in law. Okay, yeah,

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Speaker 1: that's never made very clear in this movie, right either way,

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Speaker 1: mister Knightley and Emma have a like flirty but like

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Speaker 1: teasing nagging type of banter. Yeah. Emma befriends a young

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Speaker 1: woman named Harriet Smith mia goth fun casting. Emma kind

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Speaker 1: of takes her on as a project and plans to

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Speaker 1: match make for her. Harriet fancies a young man named

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Speaker 1: mister Martin, but Emma doesn't think he's good or interesting

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Speaker 1: enough for Harriet. So Emma tries to encourage Harriet to

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Speaker 1: like mister Elton the vicar, right, he was kind of

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Speaker 1: funny and weird. Is like, so, Harriet's like a local student,

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Speaker 1: but the way that Autumn de Wilde chooses to style

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Speaker 1: the students is like they're in the Handmaid's Tale. So

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Speaker 1: you're like, well, I'm sure that that's like historically accurate,

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Speaker 1: but it's just as a modern viewer quite jarring to

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Speaker 1: be like, oh my god, where are they taking these women?

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Speaker 1: Should we help them? I know I had the same thought,

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Speaker 1: but they're just probably just like, oh, they're just you know,

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Speaker 1: young women who go to a boarding school look like

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Speaker 1: little Red riding Hood slash the women from The Handmaid's

417
00:26:31,119 --> 00:26:35,119
Speaker 1: Tale very weird. Who knows not us. We're not scholars. No,

418
00:26:35,280 --> 00:26:39,520
Speaker 1: we have one brain cell and we have to share it. Okay.

419
00:26:39,640 --> 00:26:44,320
Speaker 1: So Emma and Harriet get closer. They run into miss Bates,

420
00:26:44,800 --> 00:26:48,680
Speaker 1: who is like carrying on about her niece Jane Fairfax.

421
00:26:49,760 --> 00:26:52,720
Speaker 1: We see them hanging out with mister Knightley. They also

422
00:26:52,800 --> 00:26:56,399
Speaker 1: hang out with mister Elton, who loves a painting that

423
00:26:56,480 --> 00:27:00,440
Speaker 1: Emma did of Harriet and it seems like he really

424
00:27:00,480 --> 00:27:05,800
Speaker 1: likes Harriet. Then mister Martin proposes to Harriet via a letter,

425
00:27:06,440 --> 00:27:12,120
Speaker 1: which Harriet reluctantly rejects because of Emma's kind of subtle

426
00:27:12,240 --> 00:27:16,520
Speaker 1: persuasion to not accept his proposal. Every time someone says

427
00:27:16,520 --> 00:27:19,600
Speaker 1: persuasion in this movie, I'm like, that's another Jane Auston buck.

428
00:27:19,720 --> 00:27:23,520
Speaker 1: I know that. Oh that's funny because at least once

429
00:27:23,560 --> 00:27:27,040
Speaker 1: they say prejudice it is I know. I was like,

430
00:27:27,160 --> 00:27:31,320
Speaker 1: I remember that. And then they're also talking about sense

431
00:27:32,119 --> 00:27:36,639
Speaker 1: and maybe sensibility anyway, and they say they boy, did

432
00:27:36,640 --> 00:27:39,240
Speaker 1: they say I'm a lot? And they really say I'm

433
00:27:39,280 --> 00:27:43,720
Speaker 1: a a lot? But there's no mention of Mansfield Park.

434
00:27:44,000 --> 00:27:46,400
Speaker 1: Is that a Jane Austen novel or did I make

435
00:27:46,440 --> 00:27:49,800
Speaker 1: that up? Now? You nailed it? You nailed it. Wow. Yeah,

436
00:27:50,240 --> 00:27:56,200
Speaker 1: I am a scholar after all. Okay, Harriet rejects mister Martin,

437
00:27:56,400 --> 00:28:00,680
Speaker 1: which upsets mister Knightley, especially since it was he who

438
00:28:00,960 --> 00:28:05,280
Speaker 1: encouraged mister Martin to propose to Harriet. I think, right,

439
00:28:05,400 --> 00:28:07,600
Speaker 1: he it is it is and so that's like call

440
00:28:07,680 --> 00:28:10,080
Speaker 1: that more in the book two of like, mister Knightley's like, Emma,

441
00:28:10,160 --> 00:28:12,880
Speaker 1: you shouldn't meddle. I'm like, you literally just came from

442
00:28:12,880 --> 00:28:15,000
Speaker 1: mister Knightley's house to be like, you know who you

443
00:28:15,040 --> 00:28:18,359
Speaker 1: should marry. So he's like meddling with his boys too,

444
00:28:18,400 --> 00:28:23,160
Speaker 1: but whatever calls him out on that good point. Emma's

445
00:28:23,200 --> 00:28:31,480
Speaker 1: sister Isabella visits with her her husband, who is apparently brother. Yes,

446
00:28:31,520 --> 00:28:34,880
Speaker 1: I had no idea, and then their baby, and there's

447
00:28:34,880 --> 00:28:38,240
Speaker 1: also another small child. I think. A bunch of them

448
00:28:38,280 --> 00:28:44,800
Speaker 1: have dinner together, after which mister Elton professes his love

449
00:28:45,280 --> 00:28:49,920
Speaker 1: not for Harriet like Emma is expecting, but his love

450
00:28:50,040 --> 00:28:55,080
Speaker 1: for Emma herself, and she turns him down. She's like,

451
00:28:55,200 --> 00:28:58,040
Speaker 1: I don't want to get married. And he does not

452
00:28:58,120 --> 00:29:02,200
Speaker 1: take this rejection well he like a big baby and

453
00:29:02,800 --> 00:29:06,120
Speaker 1: like dashes out into the snow. He Oh my gosh,

454
00:29:06,160 --> 00:29:11,080
Speaker 1: he's dashing through this now. Fun fun, josh O Connory.

455
00:29:11,640 --> 00:29:14,760
Speaker 1: I like in this movie there's like a few times

456
00:29:14,800 --> 00:29:17,400
Speaker 1: when someone just starts like yelling and you're like, well

457
00:29:17,680 --> 00:29:20,080
Speaker 1: they like just where He's like, oh, by the carriage.

458
00:29:20,240 --> 00:29:24,640
Speaker 1: You're like shit. It really takes you by surprise because

459
00:29:24,800 --> 00:29:28,160
Speaker 1: it normally these rich people are so proper and not

460
00:29:28,440 --> 00:29:33,600
Speaker 1: yelling anyway. So Harriet is disappointed to learn that mister

461
00:29:33,720 --> 00:29:39,040
Speaker 1: Elton never liked her. Then Emma and Harriet spend some

462
00:29:39,120 --> 00:29:43,000
Speaker 1: time with Miss Bates again, the woman that Emma thinks

463
00:29:43,040 --> 00:29:47,960
Speaker 1: is super boring, as well as Miss bates niece Jane Fairfax,

464
00:29:48,120 --> 00:29:51,360
Speaker 1: who Emma is also not fond of and maybe even

465
00:29:51,440 --> 00:29:54,000
Speaker 1: jealous of, which is not as clear in the movie

466
00:29:54,040 --> 00:29:58,000
Speaker 1: as it seems to be in the book. Meanwhile, Harriet

467
00:29:58,120 --> 00:30:03,640
Speaker 1: bumps into mister Martin, hot farmer. She had rejected farmers Only.

468
00:30:06,200 --> 00:30:10,360
Speaker 1: That's that's Harriet, until Emma starts meddling she's on farmers Only,

469
00:30:10,440 --> 00:30:13,320
Speaker 1: and then Emma's like, no, you gotta get on Jane Austin.

470
00:30:13,520 --> 00:30:17,520
Speaker 1: Ye yeah, yeah, wow, Yeah, we've heard of a thing

471
00:30:17,600 --> 00:30:23,440
Speaker 1: or two. So that interaction is super awkward and it's

472
00:30:23,440 --> 00:30:25,480
Speaker 1: clear that they are still in love with each other,

473
00:30:26,600 --> 00:30:28,840
Speaker 1: but they don't do anything about it. And then Emma

474
00:30:28,880 --> 00:30:33,760
Speaker 1: finally meets the elusive Frank Churchill. They make eyes at

475
00:30:33,800 --> 00:30:36,880
Speaker 1: each other, it seems they like each other. And also

476
00:30:37,280 --> 00:30:39,040
Speaker 1: one of the things that I think that this movie

477
00:30:39,040 --> 00:30:41,160
Speaker 1: in this book do very well is that's like I

478
00:30:41,160 --> 00:30:44,760
Speaker 1: feel like you don't see it very often executed effortlessly,

479
00:30:44,840 --> 00:30:48,080
Speaker 1: Like this is like seeing two characters that bring out

480
00:30:48,120 --> 00:30:51,200
Speaker 1: the worst in each other. And that is so Frank

481
00:30:51,240 --> 00:30:55,760
Speaker 1: and Emma where like separately they're like like they still

482
00:30:55,840 --> 00:30:58,680
Speaker 1: kind of suck both as a Frank sucks worst, but

483
00:30:58,720 --> 00:31:01,360
Speaker 1: like they both kind of suck his individuals. But when

484
00:31:01,360 --> 00:31:05,440
Speaker 1: you bring them together, you're like, these two cannot hang

485
00:31:05,480 --> 00:31:08,040
Speaker 1: out together. They're going to like hurt someone's feelings. And

486
00:31:08,040 --> 00:31:11,280
Speaker 1: then they do, and then they do. Yeah, hate them,

487
00:31:11,400 --> 00:31:15,440
Speaker 1: hate them, cancel the friendship. Right Then there's a new

488
00:31:15,520 --> 00:31:19,000
Speaker 1: lady in town. She is the new wife of mister Elton.

489
00:31:19,760 --> 00:31:23,000
Speaker 1: Emma also does not like her. We will come to

490
00:31:23,000 --> 00:31:26,360
Speaker 1: find out that Emma does not like most of the

491
00:31:26,400 --> 00:31:33,480
Speaker 1: women she encounters. Then Frank Churchill's father, mister Weston throws

492
00:31:33,520 --> 00:31:38,520
Speaker 1: a ball in Frank's honor, Emma dances what I thought?

493
00:31:38,560 --> 00:31:40,520
Speaker 1: I was like, he does what? Sorry you meant like?

494
00:31:41,200 --> 00:31:43,120
Speaker 1: I was like, up, he doesn't. I don't see him

495
00:31:43,120 --> 00:31:48,880
Speaker 1: throw a single baseball. Okay, he does not throw any

496
00:31:48,920 --> 00:31:53,320
Speaker 1: poke balls Phil Knight, which is which is a which

497
00:31:53,400 --> 00:31:55,000
Speaker 1: is a shame, because I bet Bill Knight he has

498
00:31:55,040 --> 00:31:58,520
Speaker 1: five hundred at his damn house. I would love what

499
00:31:58,600 --> 00:32:00,600
Speaker 1: if Phil Knight has a poke ball room and that's

500
00:32:00,600 --> 00:32:07,920
Speaker 1: where I keeps all his Pokemon. So too. We should

501
00:32:07,920 --> 00:32:12,880
Speaker 1: cover Detective Pikachu on the podcast. Literally, let's cover I mean,

502
00:32:12,920 --> 00:32:15,160
Speaker 1: I don't know what we really have to Is there

503
00:32:15,160 --> 00:32:19,920
Speaker 1: anything to Actually, there are a couple things to say, okay,

504
00:32:19,960 --> 00:32:23,480
Speaker 1: and I will say them when we cover it. Maybe

505
00:32:23,520 --> 00:32:29,040
Speaker 1: for my birthday this year, maybe I'll do Detective May

506
00:32:29,200 --> 00:32:34,880
Speaker 1: and then we'll do Detective Pikachu and another detective movie

507
00:32:35,040 --> 00:32:39,680
Speaker 1: because every movie is about cops. Yeah, anyway, or we

508
00:32:39,760 --> 00:32:43,040
Speaker 1: could find uh, well, I guess oh I had this,

509
00:32:43,160 --> 00:32:45,160
Speaker 1: Oh God, I had this thought the other day. And

510
00:32:45,160 --> 00:32:47,200
Speaker 1: then do you ever have a thought that you're like,

511
00:32:47,320 --> 00:32:49,640
Speaker 1: I probably don't even want to know the answer, and

512
00:32:50,120 --> 00:32:52,480
Speaker 1: I don't need to go there right now. And so

513
00:32:52,520 --> 00:32:57,440
Speaker 1: in my own for my own protection mentally, I don't

514
00:32:57,440 --> 00:32:59,720
Speaker 1: want to know the answer to the question. Yeah, my

515
00:33:00,080 --> 00:33:07,240
Speaker 1: question was, is Nancy Drew a cop corrob like? Is she?

516
00:33:08,280 --> 00:33:13,720
Speaker 1: Nancy Drew works independently? But I don't remember. I don't remember.

517
00:33:13,880 --> 00:33:16,520
Speaker 1: I feel like she probably then reported to the cops.

518
00:33:17,400 --> 00:33:19,640
Speaker 1: I don't remember either. And I've read so many Nancy

519
00:33:19,760 --> 00:33:25,440
Speaker 1: Drew books. She worked independent twenty five years ago? Uh,

520
00:33:26,080 --> 00:33:31,600
Speaker 1: she like she worked independently, But when she solved the mystery,

521
00:33:31,600 --> 00:33:34,120
Speaker 1: would she tell the cops? I don't remember. Same with

522
00:33:34,200 --> 00:33:37,200
Speaker 1: the same with the mystery team or the mystery mission

523
00:33:37,240 --> 00:33:39,160
Speaker 1: that all those cartoons that got in that car, the

524
00:33:39,160 --> 00:33:43,360
Speaker 1: Scooby Doos, the Scoobies, what were they? God, I can't

525
00:33:43,400 --> 00:33:46,880
Speaker 1: remember a damn thing today. The Scooby did, the Scoobies

526
00:33:47,200 --> 00:33:50,280
Speaker 1: the coalue coalued, that's the word I'm working it. Oh,

527
00:33:50,320 --> 00:33:53,680
Speaker 1: did the Scoobies collued? With? There was there in a

528
00:33:53,760 --> 00:33:57,880
Speaker 1: situation there? You know what, I guess we're just going

529
00:33:57,920 --> 00:34:02,680
Speaker 1: to have to cover scoob No Scoobs or two thousand

530
00:34:02,680 --> 00:34:04,920
Speaker 1: and two Scooby Doo. We should cover two thousand and

531
00:34:04,920 --> 00:34:08,960
Speaker 1: two Scooby Doos. I watched I watched Scoob at a

532
00:34:09,360 --> 00:34:15,200
Speaker 1: low point in my life, and it was stinky, stinky, stinky.

533
00:34:15,440 --> 00:34:19,680
Speaker 1: Not no, no Lillard, right, no Lillard. If it doesn't

534
00:34:19,719 --> 00:34:22,879
Speaker 1: have Lillard in it, I don't care. Trewin Lillard got

535
00:34:22,960 --> 00:34:27,080
Speaker 1: so he got so sad when they recast him. He

536
00:34:27,239 --> 00:34:30,560
Speaker 1: because no one told him. And then they're like, Will

537
00:34:30,640 --> 00:34:33,360
Speaker 1: Fourte voices Shaggy in this one, and I love like

538
00:34:33,400 --> 00:34:36,279
Speaker 1: Will forty is the best, but my love of Will

539
00:34:36,360 --> 00:34:39,879
Speaker 1: Forte is outweighed by my discomfort of the idea of

540
00:34:40,000 --> 00:34:43,520
Speaker 1: Matthew Lillard like having a bad day. So how much

541
00:34:43,560 --> 00:34:46,279
Speaker 1: do I love Will Fourte? I don't know, I really

542
00:34:46,320 --> 00:34:50,400
Speaker 1: love him. Wow. Enough talking about random white guys in

543
00:34:50,440 --> 00:34:58,680
Speaker 1: their forties. Okay, So Frank Churchill's father throws a ball,

544
00:34:58,840 --> 00:35:03,600
Speaker 1: the dancing kind, not the pokemon kind, and at the ball,

545
00:35:03,960 --> 00:35:09,280
Speaker 1: Emma dances with Frank because they're you know, canoodling or whatever.

546
00:35:09,920 --> 00:35:13,160
Speaker 1: But Harriet has no one to dance with, so mister

547
00:35:13,239 --> 00:35:17,239
Speaker 1: Knightley asks her to dance, which Emma thinks is very

548
00:35:17,320 --> 00:35:21,720
Speaker 1: kind and Harriet thinks is very kind. And then Emma

549
00:35:21,840 --> 00:35:24,200
Speaker 1: and mister Knightley says some nice things to each other

550
00:35:24,280 --> 00:35:27,680
Speaker 1: and then they dance together and we're like, oh, what's happened?

551
00:35:28,600 --> 00:35:30,600
Speaker 1: This is another thing I like that the movie does

552
00:35:30,600 --> 00:35:32,480
Speaker 1: that the book doesn't. The book kind of plays out

553
00:35:32,520 --> 00:35:34,840
Speaker 1: more like a detective novel and like who loves who

554
00:35:34,880 --> 00:35:39,200
Speaker 1: you don't know that you can tell on like a

555
00:35:39,320 --> 00:35:43,640
Speaker 1: reread that Nightly clearly likes Emma the whole time, but

556
00:35:43,800 --> 00:35:47,360
Speaker 1: Emma has no idea how she likes mister Knightley until

557
00:35:47,480 --> 00:35:50,520
Speaker 1: like very late in the book. And something that I

558
00:35:50,680 --> 00:35:54,320
Speaker 1: learned about Jane Austen by reading these books and literally

559
00:35:54,360 --> 00:35:56,440
Speaker 1: following along with the spark notes to make sure that

560
00:35:57,040 --> 00:36:02,120
Speaker 1: I was listening correctly, is that, like she has this

561
00:36:02,239 --> 00:36:05,040
Speaker 1: bizarre tendency that I don't even really like. But in

562
00:36:05,120 --> 00:36:07,200
Speaker 1: terms of like adaptation, it opens up a lot of

563
00:36:07,239 --> 00:36:11,239
Speaker 1: creative license for writers or like screenwriters. But like the

564
00:36:11,239 --> 00:36:14,839
Speaker 1: most important moments in the book, she will like summarize

565
00:36:15,080 --> 00:36:19,600
Speaker 1: instead of writing dialogue for characters where it'll be like

566
00:36:19,600 --> 00:36:22,439
Speaker 1: like that whole like mister Darcy, like you've bewitchbe body

567
00:36:22,480 --> 00:36:24,960
Speaker 1: and soul, like that's not in the book. In the book,

568
00:36:25,040 --> 00:36:29,360
Speaker 1: it's like mister Darcy professed his love ardently and Elizabeth

569
00:36:29,440 --> 00:36:34,040
Speaker 1: finally reciprocated, like it's she doesn't say what they're saying.

570
00:36:34,560 --> 00:36:37,839
Speaker 1: Show don't tell Jane Austen, geez, have you never taken

571
00:36:37,880 --> 00:36:42,960
Speaker 1: a screenwriting class? Yeah? Why didn't? Literally, And that's so

572
00:36:43,000 --> 00:36:48,640
Speaker 1: she actually was a bad feminist. She canceled. But anyways,

573
00:36:48,640 --> 00:36:51,400
Speaker 1: because she writes like that, it opens it up for

574
00:36:51,440 --> 00:36:53,600
Speaker 1: a screenwriter to do kind of whatever they want. But

575
00:36:53,600 --> 00:36:56,720
Speaker 1: but I just thought it was funny how that plays

576
00:36:56,760 --> 00:37:00,160
Speaker 1: out with Emma realizing that she loves mister Knightley is

577
00:37:00,160 --> 00:37:03,680
Speaker 1: when Harriet is like, yeah, no, I love mister Knightley.

578
00:37:03,760 --> 00:37:06,200
Speaker 1: I don't feel a damn thing for Frank. Frank kind

579
00:37:06,239 --> 00:37:08,800
Speaker 1: of sucks, which also, like Emma didn't even seem to

580
00:37:08,880 --> 00:37:11,759
Speaker 1: understand Harriet knows that Frank sucks. She's like, no, I

581
00:37:11,800 --> 00:37:15,279
Speaker 1: love mister Knightley. He's awesome, he's cool. And there's a

582
00:37:15,320 --> 00:37:18,880
Speaker 1: single line that's like Emma realized suddenly that mister Knightley

583
00:37:18,920 --> 00:37:21,799
Speaker 1: could marry no one but herself, and like that's how

584
00:37:21,840 --> 00:37:24,279
Speaker 1: you're told that she loves him, Like that's how she

585
00:37:24,400 --> 00:37:27,400
Speaker 1: realizes it. And then she sends Harriet to the dentist

586
00:37:27,480 --> 00:37:31,520
Speaker 1: for a month. I'm just like, oh my god, I

587
00:37:31,560 --> 00:37:33,719
Speaker 1: don't know how long the dentist took back then, but

588
00:37:34,080 --> 00:37:36,719
Speaker 1: not a month. Not a month. I didn't even know

589
00:37:36,760 --> 00:37:40,360
Speaker 1: there wered dentists back then. So that's where I'm a

590
00:37:40,480 --> 00:37:44,960
Speaker 1: stick burn. I actually I wouldn't enough, Like I don't know,

591
00:37:45,040 --> 00:37:47,440
Speaker 1: but she got sent away to the dentist long enough

592
00:37:47,440 --> 00:37:49,719
Speaker 1: that she got engaged. Like that's too long to be

593
00:37:49,760 --> 00:37:57,160
Speaker 1: at the dentist. Oh yeah, weird. Okay, So Emma and

594
00:37:57,360 --> 00:38:04,200
Speaker 1: mister Knightley's relationship is evolving, much like how a Pokemon evolves. Oh,

595
00:38:04,239 --> 00:38:08,200
Speaker 1: she's going Charmander to what's the middle one? Was the

596
00:38:08,239 --> 00:38:11,040
Speaker 1: middle one? Oh? I don't know enough about it yet.

597
00:38:11,719 --> 00:38:14,040
Speaker 1: This is my first Pokemon game. She goes Charming. Okay,

598
00:38:14,080 --> 00:38:16,480
Speaker 1: well I'm gonna skip the middle. Then she's there's that

599
00:38:16,560 --> 00:38:19,000
Speaker 1: shot of him touching her waist where she goes Charmander

600
00:38:19,040 --> 00:38:24,080
Speaker 1: to Charizard like that. She's like, you're like, oh uh oh,

601
00:38:24,360 --> 00:38:27,680
Speaker 1: like it's a good I got. I mean, when there's

602
00:38:27,680 --> 00:38:31,080
Speaker 1: a horny a good horny moment in a period piece,

603
00:38:32,160 --> 00:38:34,760
Speaker 1: it's exciting, it's nice. Oh a touch of the waist

604
00:38:35,239 --> 00:38:38,759
Speaker 1: full Charizard Like, That's that's how I'm gonna that's what

605
00:38:38,760 --> 00:38:45,200
Speaker 1: I'm gonna call boner moments now full ars it hits.

606
00:38:45,239 --> 00:38:48,319
Speaker 1: Yeah it works. I thank god Bill Ni was in

607
00:38:48,880 --> 00:38:52,040
Speaker 1: Detective Pikachu, or we wouldn't be on this gorgeous train

608
00:38:52,080 --> 00:38:54,799
Speaker 1: of thought. Well, it's also thanks to me playing eight

609
00:38:54,840 --> 00:38:59,759
Speaker 1: billion hours. It's true Pokemon Arcius right, they're now a

610
00:38:59,760 --> 00:39:07,239
Speaker 1: fish billable hours. Mew chew, mw chew O so funny.

611
00:39:07,400 --> 00:39:10,719
Speaker 1: So after the ball, mister Knightley runs all the way

612
00:39:10,760 --> 00:39:14,359
Speaker 1: to Emma's estate, presumably to profess his love for her,

613
00:39:14,960 --> 00:39:19,680
Speaker 1: but before he can, Frank Churchill shows up carrying Harriet,

614
00:39:19,719 --> 00:39:24,200
Speaker 1: who is injured. Harriet tells Emma that she's in love again,

615
00:39:24,719 --> 00:39:28,240
Speaker 1: and Emma assumes Harriet means she's in love with Frank,

616
00:39:29,080 --> 00:39:32,160
Speaker 1: and Emma promises not to interfere this time like she's

617
00:39:32,200 --> 00:39:37,480
Speaker 1: done in the past. Then, mister Knightley invites several people

618
00:39:37,560 --> 00:39:42,520
Speaker 1: to his estate for an afternoon, during which Emma lets

619
00:39:42,520 --> 00:39:45,640
Speaker 1: it slip that she thinks Miss Bates is very boring

620
00:39:46,080 --> 00:39:49,359
Speaker 1: to her face to Miss s Bates's face horrible. Mis

621
00:39:49,520 --> 00:39:54,520
Speaker 1: Bates is extremely hurt by this. She all but like

622
00:39:54,640 --> 00:40:01,200
Speaker 1: burst shit like evil, so evil, and mister Knightley is

623
00:40:01,239 --> 00:40:05,719
Speaker 1: also taken aback by Emma's cruelness and confronts Emma about it,

624
00:40:06,040 --> 00:40:11,839
Speaker 1: and she feels awful. Then Emma learns that Frank Churchill

625
00:40:12,000 --> 00:40:16,120
Speaker 1: is engaged to Jane Fairfax and secretly has been for

626
00:40:16,200 --> 00:40:20,640
Speaker 1: quite some time. So Emma feels horrible on Harriet's behalf

627
00:40:20,719 --> 00:40:23,960
Speaker 1: because she knows that Harriet is in love with Frank.

628
00:40:24,239 --> 00:40:28,239
Speaker 1: But then Harriet is like, no, Frank isn't who I'm

629
00:40:28,280 --> 00:40:32,640
Speaker 1: in love with. I love mister Knightley, which like started

630
00:40:32,640 --> 00:40:35,719
Speaker 1: when he asked Harriet to dance at the ball when

631
00:40:35,760 --> 00:40:38,880
Speaker 1: no one else would dance with her. But then Harriet

632
00:40:38,920 --> 00:40:43,600
Speaker 1: realizes that Emma also loves mister Knightley, which drives a

633
00:40:43,680 --> 00:40:48,120
Speaker 1: wedge between them. So when mister Knightley professes his love

634
00:40:48,200 --> 00:40:51,680
Speaker 1: for Emma and proposes to her, She's like, well, we

635
00:40:51,760 --> 00:40:54,919
Speaker 1: can't do anything about it because Harriet loves you and

636
00:40:55,080 --> 00:40:58,680
Speaker 1: I don't want to hurt her anymore. And he's like, okay,

637
00:40:58,760 --> 00:41:01,560
Speaker 1: well I have to go convince mister Martin to propose

638
00:41:01,600 --> 00:41:05,319
Speaker 1: to Harriet again, and Emma's like, no, I have to

639
00:41:05,360 --> 00:41:07,680
Speaker 1: be the one to do it. I have to display

640
00:41:07,840 --> 00:41:12,960
Speaker 1: character growth because the book doesn't do that. Yeah, yeah,

641
00:41:12,719 --> 00:41:16,759
Speaker 1: I will say the addition of Emma's nosebleed makes the

642
00:41:16,880 --> 00:41:20,600
Speaker 1: movie The two Emma's nosebleed and Bill and I he

643
00:41:20,760 --> 00:41:25,200
Speaker 1: hopping down the stairs makes it a must watch for me,

644
00:41:26,520 --> 00:41:29,680
Speaker 1: warts and all. It makes it a must watch. Yes,

645
00:41:30,600 --> 00:41:33,480
Speaker 1: So Emma goes and does this to convince mister Martin

646
00:41:33,560 --> 00:41:37,440
Speaker 1: to propose to Harriet. It works, Harriet accepts his proposal.

647
00:41:38,280 --> 00:41:43,160
Speaker 1: So now Emma and mister Knightley are free to be

648
00:41:43,320 --> 00:41:46,600
Speaker 1: with each other. So they cannoodle, they kiss, and then

649
00:41:46,640 --> 00:41:54,080
Speaker 1: the movie ends with them getting married. The end slurpp. Okay,

650
00:41:54,160 --> 00:41:56,360
Speaker 1: let's take another quick break and then we will come

651
00:41:56,440 --> 00:42:06,799
Speaker 1: right back to discuss, and we're back, okay. So I'm

652
00:42:06,840 --> 00:42:09,920
Speaker 1: gonna be talking about the book and movie back and

653
00:42:09,960 --> 00:42:12,759
Speaker 1: forth throughout this episode, because boy, is this a log

654
00:42:12,880 --> 00:42:16,480
Speaker 1: book and it's got to be worth it for me, okay, please,

655
00:42:16,640 --> 00:42:20,600
Speaker 1: by all means. So, the main difference, and we talked

656
00:42:20,600 --> 00:42:22,719
Speaker 1: about this in the Pride and Prejudice episode two, where

657
00:42:22,719 --> 00:42:26,440
Speaker 1: it's like there's a lot of trimming out excess characters,

658
00:42:26,480 --> 00:42:29,839
Speaker 1: storylines that are just going on forever, stuff like that,

659
00:42:30,200 --> 00:42:33,239
Speaker 1: which makes sense. But the big change at the end

660
00:42:33,960 --> 00:42:38,640
Speaker 1: is in Emma period in twenty twenty, Emma has to

661
00:42:40,680 --> 00:42:44,560
Speaker 1: make things right with Harriet because she has like fucked

662
00:42:44,640 --> 00:42:47,279
Speaker 1: up Harriet's life under the guise of like, I'm such

663
00:42:47,280 --> 00:42:50,640
Speaker 1: a good person. And then it turns out that if

664
00:42:50,680 --> 00:42:53,719
Speaker 1: she had just left Harriet alone, Harriet would have made

665
00:42:53,760 --> 00:42:56,319
Speaker 1: the right decision on her own months ago and would

666
00:42:56,320 --> 00:42:59,040
Speaker 1: have gone through much less emotional distress and gas lighting

667
00:42:59,080 --> 00:43:01,800
Speaker 1: and all the kind of just being fucked around by

668
00:43:02,280 --> 00:43:05,319
Speaker 1: weird rich people. Right, and so in the movie, I

669
00:43:05,360 --> 00:43:08,640
Speaker 1: think it's really smart that Emma has to like atone

670
00:43:08,719 --> 00:43:11,719
Speaker 1: for that. It still is pretty abrupt, but at least

671
00:43:11,760 --> 00:43:14,360
Speaker 1: they have her, you know, she has to say I'm sorry,

672
00:43:14,440 --> 00:43:18,000
Speaker 1: She has to go and apologize for being an asshole.

673
00:43:18,960 --> 00:43:24,760
Speaker 1: In the book, that is not what happens in the book.

674
00:43:25,600 --> 00:43:29,400
Speaker 1: When Nightly proposes to Emma, she says yes right away,

675
00:43:29,960 --> 00:43:34,960
Speaker 1: and then she says, yes, but let's not tell Harriet

676
00:43:35,239 --> 00:43:39,359
Speaker 1: what she's so mean. In the book she says she's like,

677
00:43:39,520 --> 00:43:42,759
Speaker 1: absolutely yes, love you so much, my king, but don't

678
00:43:42,800 --> 00:43:45,879
Speaker 1: tell Harriet because whoopsie daisies she's in love with you.

679
00:43:46,120 --> 00:43:49,160
Speaker 1: And Nightly is like, oh yeah, let's not tell her.

680
00:43:49,400 --> 00:43:54,719
Speaker 1: And then Emma sends Harriet away. Emma is like, Harriet,

681
00:43:54,760 --> 00:43:56,560
Speaker 1: don't you have to go to the dentist. You should

682
00:43:56,560 --> 00:43:58,440
Speaker 1: go to my sister's house in London, like, get the

683
00:43:58,480 --> 00:44:02,799
Speaker 1: fuck out of here. She disappears Harriet so that she

684
00:44:02,920 --> 00:44:07,280
Speaker 1: can tell her society, like I'm engaged to mister Knightley,

685
00:44:07,360 --> 00:44:09,440
Speaker 1: but don't tell Harriet yet. She's going to be so

686
00:44:09,520 --> 00:44:12,279
Speaker 1: pissed off at me, Like she feels guilty about it.

687
00:44:12,280 --> 00:44:15,440
Speaker 1: It's not completely evil, but like she sends Harriet away,

688
00:44:16,160 --> 00:44:19,800
Speaker 1: and then you know, in the movie Emma, she gets

689
00:44:19,800 --> 00:44:24,799
Speaker 1: a noseblade, which is so funny. She gets she gets

690
00:44:24,840 --> 00:44:26,920
Speaker 1: a noseblade, and she's like, I want to marry you,

691
00:44:27,000 --> 00:44:29,120
Speaker 1: but I have to make some things right first, which

692
00:44:29,160 --> 00:44:32,680
Speaker 1: it totally makes more sense for the character demonstrating growth.

693
00:44:32,719 --> 00:44:35,200
Speaker 1: And then she has to go, you know, tail between

694
00:44:35,239 --> 00:44:37,160
Speaker 1: her legs. She has to go to mister Martin and

695
00:44:37,239 --> 00:44:41,600
Speaker 1: say I fucked up. I meddled too much. You and

696
00:44:41,719 --> 00:44:44,839
Speaker 1: Harriet clearly belong together and really care about each other,

697
00:44:44,920 --> 00:44:48,279
Speaker 1: and like make it right. She does not do that

698
00:44:48,320 --> 00:44:50,839
Speaker 1: in the book either, So she sends Harriet away, and

699
00:44:50,880 --> 00:44:53,799
Speaker 1: then just kind of while Harriet's away, she runs into

700
00:44:53,800 --> 00:44:57,719
Speaker 1: mister Martin and is like, hey, do you still love me?

701
00:44:57,760 --> 00:45:00,160
Speaker 1: And he's like yes, and then they get married and

702
00:45:00,200 --> 00:45:03,600
Speaker 1: Emma doesn't find out for like where Emma goes to

703
00:45:03,640 --> 00:45:07,120
Speaker 1: the wedding in the end, but like it just all happens,

704
00:45:07,160 --> 00:45:11,279
Speaker 1: Like Emma doesn't have to do anything. She's like rewarded

705
00:45:11,320 --> 00:45:13,560
Speaker 1: for sending Harry it away because if she hadn't sent

706
00:45:13,640 --> 00:45:16,319
Speaker 1: Harry it away, then how would she have gotten back

707
00:45:16,320 --> 00:45:18,800
Speaker 1: in touch with mister Martin or whatever? Like it sucks.

708
00:45:19,360 --> 00:45:22,480
Speaker 1: And then at the very end of the book, in

709
00:45:22,520 --> 00:45:26,920
Speaker 1: the last like what I find so bizarre about Emma

710
00:45:27,000 --> 00:45:31,120
Speaker 1: And again it's I'm not I'm nowhere near Jane Austen,

711
00:45:31,320 --> 00:45:34,279
Speaker 1: like I don't know even like a fishy, and like

712
00:45:35,440 --> 00:45:38,280
Speaker 1: I'm sure we have listeners who have a better understanding

713
00:45:38,320 --> 00:45:40,480
Speaker 1: of this than I do. But I just found it

714
00:45:40,560 --> 00:45:45,239
Speaker 1: so bizarre that, like in this book versus Pride and Prejudice,

715
00:45:46,160 --> 00:45:49,760
Speaker 1: it's a lot of like Jane Austen reinforcing the class

716
00:45:49,840 --> 00:45:53,560
Speaker 1: status quo. By the end of the book, everyone marries

717
00:45:53,600 --> 00:45:57,480
Speaker 1: within their class, and that was the right and morally upright,

718
00:45:57,680 --> 00:46:00,920
Speaker 1: like is like socially and morally correct that everyone remained

719
00:46:00,960 --> 00:46:04,040
Speaker 1: within their class, whereas in Pride and Prejudice that is

720
00:46:04,080 --> 00:46:07,799
Speaker 1: not the case that that novel pushes against it. It's

721
00:46:07,840 --> 00:46:10,680
Speaker 1: interesting because now that we know that, like Jane Austen

722
00:46:10,760 --> 00:46:14,920
Speaker 1: had a lot of complicated feelings on class and definitely

723
00:46:14,960 --> 00:46:17,560
Speaker 1: some class resentment that comes through in her workmen then

724
00:46:17,600 --> 00:46:20,520
Speaker 1: other times it's like she's kind of reinforcing a status quo.

725
00:46:21,000 --> 00:46:24,080
Speaker 1: We're not scholars, we don't know, but like, I just

726
00:46:24,120 --> 00:46:28,120
Speaker 1: think it's so interesting that, like, because it does feel

727
00:46:28,400 --> 00:46:34,279
Speaker 1: true to like born into wealth kind of richness. That

728
00:46:34,360 --> 00:46:39,880
Speaker 1: it's like all of her problems are extremely temporary, and

729
00:46:40,040 --> 00:46:43,280
Speaker 1: that is like how it plays out in real life

730
00:46:43,400 --> 00:46:46,480
Speaker 1: very often. But it's so frustrating to see it, like

731
00:46:46,480 --> 00:46:48,680
Speaker 1: like it's just Ana Taylor Joys, like, oh I was

732
00:46:48,719 --> 00:46:51,600
Speaker 1: being such an asshole, blah blah blah, and then mister

733
00:46:51,680 --> 00:46:54,600
Speaker 1: Knightley runs up. He's like I love you, and you're like, oh, well,

734
00:46:55,080 --> 00:46:58,360
Speaker 1: I guess it all worked out. Yeah. I feel like

735
00:46:58,360 --> 00:47:01,520
Speaker 1: Emma comments on gender pretty effectively, but I find the

736
00:47:01,520 --> 00:47:05,040
Speaker 1: way it deals with class weird because at the end

737
00:47:05,080 --> 00:47:07,240
Speaker 1: of the book, I think the movie does it better.

738
00:47:07,280 --> 00:47:10,120
Speaker 1: I like the things that the movie does. But in

739
00:47:10,160 --> 00:47:13,600
Speaker 1: the book, at the end, Emma and Harriet do meet

740
00:47:13,680 --> 00:47:16,960
Speaker 1: up one more time. She finds out that Harriet's father

741
00:47:17,160 --> 00:47:22,799
Speaker 1: was like a tradesman in bloody Bloo England. And instead

742
00:47:22,840 --> 00:47:26,440
Speaker 1: of saying like I'm sorry, I love you, you're you

743
00:47:26,520 --> 00:47:30,120
Speaker 1: and mister Martin are welcome at Wallcorn or whatever her

744
00:47:30,120 --> 00:47:36,480
Speaker 1: house is called any time in the book, she says okay,

745
00:47:36,520 --> 00:47:40,759
Speaker 1: well bye, and then in like whatever the narration, Jane

746
00:47:40,800 --> 00:47:44,040
Speaker 1: Austen basically says, like Emma and Harriet quickly fell out

747
00:47:44,080 --> 00:47:46,440
Speaker 1: of touch because it would have been socially improper for

748
00:47:46,480 --> 00:47:48,919
Speaker 1: Emma to hang out with a farmer's wife. That would

749
00:47:48,920 --> 00:47:53,400
Speaker 1: have sucked, and like their friendship ends like they're just

750
00:47:53,480 --> 00:47:56,080
Speaker 1: like within a few months, Emma and Harriet didn't talk

751
00:47:56,200 --> 00:47:59,800
Speaker 1: anymore and that was the correct thing to happen, because

752
00:48:00,239 --> 00:48:03,480
Speaker 1: you know, you can't catch Emma dead like hanging out

753
00:48:03,520 --> 00:48:07,600
Speaker 1: with a farmer's wife and the end. And so there's

754
00:48:07,600 --> 00:48:12,320
Speaker 1: a lot of there have been some schoolers who argue

755
00:48:12,360 --> 00:48:16,000
Speaker 1: that in the book Emma is both like limited in

756
00:48:16,080 --> 00:48:17,880
Speaker 1: a weird it almost kind of reminds me of like

757
00:48:17,960 --> 00:48:22,200
Speaker 1: Belle from Beauty and the Beast, where she has this

758
00:48:22,840 --> 00:48:27,160
Speaker 1: dream of like living and doing all these things she

759
00:48:27,239 --> 00:48:31,000
Speaker 1: wants much more than this provincial life. Perhaps yeah, and

760
00:48:31,040 --> 00:48:33,200
Speaker 1: then she ends up moving four feet from where she

761
00:48:33,280 --> 00:48:37,359
Speaker 1: came from, So why even sing that song if you're

762
00:48:37,360 --> 00:48:39,680
Speaker 1: going to end up getting her married four feet from

763
00:48:39,719 --> 00:48:44,080
Speaker 1: where she lived, she literally still lives in the province,

764
00:48:45,239 --> 00:48:48,440
Speaker 1: So why did that happen? And it's not that Emma

765
00:48:48,640 --> 00:48:51,799
Speaker 1: just like Emma is like set on being with her

766
00:48:51,840 --> 00:48:55,160
Speaker 1: father and like that is I mean, there's gender stuff

767
00:48:55,160 --> 00:48:57,879
Speaker 1: in there, but like she wants to stay with her dad.

768
00:48:57,920 --> 00:49:01,480
Speaker 1: But it just seems like the argument is, like, Emma,

769
00:49:01,600 --> 00:49:04,440
Speaker 1: doesn't you know the only thing that's really changed for

770
00:49:04,520 --> 00:49:06,200
Speaker 1: her at the end of the book is that she's

771
00:49:06,280 --> 00:49:10,640
Speaker 1: now like well married, So her like whole independent I

772
00:49:10,719 --> 00:49:14,279
Speaker 1: never want to get married thing is gone, and she

773
00:49:15,200 --> 00:49:20,560
Speaker 1: is still pretty aggressively classised. So there's a lot of

774
00:49:20,640 --> 00:49:24,120
Speaker 1: arguments for the book Emma to be like, well, she

775
00:49:24,280 --> 00:49:27,200
Speaker 1: learned a lot of lessons, but whether she actually applied

776
00:49:27,239 --> 00:49:32,879
Speaker 1: them to her life is pretty unclear. M it was bizarre. Well,

777
00:49:32,920 --> 00:49:37,120
Speaker 1: I find some things about the way the movie ends

778
00:49:37,560 --> 00:49:40,880
Speaker 1: not as bizarre as what you've described, Yeah, the book ending,

779
00:49:40,920 --> 00:49:44,920
Speaker 1: but still kind of bizarre, where like Emma owes several

780
00:49:44,960 --> 00:49:50,359
Speaker 1: different people apologies that she does not deliver, and yeah,

781
00:49:50,440 --> 00:49:53,640
Speaker 1: just I do. I was wondering about mister Knightley's like

782
00:49:53,880 --> 00:49:57,080
Speaker 1: I have to go find mister Martin and like get

783
00:49:57,200 --> 00:49:59,920
Speaker 1: him to propose to Harriet, and Emma is like, no,

784
00:50:00,280 --> 00:50:03,480
Speaker 1: I've got to do it. Yeah, neither of them do that.

785
00:50:03,560 --> 00:50:06,960
Speaker 1: They're like, um, yeah, send Harriet to the dentist, and

786
00:50:07,000 --> 00:50:10,520
Speaker 1: then Harriet's gone for a month. They're like, they said

787
00:50:10,560 --> 00:50:13,080
Speaker 1: Harriet to the dentist for a whole last month, because

788
00:50:13,120 --> 00:50:17,640
Speaker 1: they like, are too chicken shit to be honest. That said,

789
00:50:17,680 --> 00:50:21,120
Speaker 1: there are more apologies issued in the book than in

790
00:50:21,160 --> 00:50:23,080
Speaker 1: the movie, and I feel like there are some, like

791
00:50:23,280 --> 00:50:28,160
Speaker 1: particularly between Emma and Jane. Jane has a much, much,

792
00:50:28,239 --> 00:50:31,120
Speaker 1: much larger role in the book. Okay, wait, who is

793
00:50:31,560 --> 00:50:36,000
Speaker 1: oh Jane Fairfax? Jane Fairfax who ends up getting married

794
00:50:36,000 --> 00:50:38,920
Speaker 1: to Frank, which I'm just like, fuck, Frank can't stay Frank.

795
00:50:39,560 --> 00:50:42,160
Speaker 1: But at least at least the book, the book very

796
00:50:42,239 --> 00:50:45,960
Speaker 1: much knows that Frank sucks and that he is just

797
00:50:46,200 --> 00:50:49,319
Speaker 1: so like mister Knightley. They kind of do it in

798
00:50:49,320 --> 00:50:50,719
Speaker 1: the movie, but I thought it was funny in the

799
00:50:50,719 --> 00:50:53,600
Speaker 1: book where mister Knightley is constantly and I've always am

800
00:50:53,640 --> 00:50:56,920
Speaker 1: like mister Knightley is much older than them, which maybe

801
00:50:57,000 --> 00:50:59,960
Speaker 1: is not obvious in the movie that age gap is present.

802
00:51:00,200 --> 00:51:02,839
Speaker 1: Between the actors. The actor playing Knightly is thirteen years

803
00:51:02,840 --> 00:51:06,080
Speaker 1: older than Annya Taylor Joy, but in the book it's

804
00:51:06,280 --> 00:51:08,960
Speaker 1: very like Victorian and to the point where it gets

805
00:51:08,960 --> 00:51:12,400
Speaker 1: creepy where he's thirty six in the book, Emma's twenty

806
00:51:12,440 --> 00:51:15,440
Speaker 1: one and he's like, oh, I knew I was in

807
00:51:15,520 --> 00:51:18,439
Speaker 1: love you since you were thirteen, and you're like, that's

808
00:51:18,560 --> 00:51:21,319
Speaker 1: enough of that. Like so they make it out. I mean,

809
00:51:21,320 --> 00:51:23,160
Speaker 1: even though that age gap is more or less present

810
00:51:23,160 --> 00:51:25,359
Speaker 1: in the movie, I feel like there's no attention called

811
00:51:25,400 --> 00:51:28,520
Speaker 1: to it, and the actor in his thirties looks pretty young.

812
00:51:29,480 --> 00:51:32,520
Speaker 1: But yeah, then Nightly in the book they really like Jane.

813
00:51:32,560 --> 00:51:35,840
Speaker 1: Austen is very much pointing out like, oh, she's marrying

814
00:51:35,880 --> 00:51:38,920
Speaker 1: a father figure too, which also just doesn't seem very

815
00:51:39,600 --> 00:51:42,200
Speaker 1: I get why mister Knightley and Emma like each other,

816
00:51:42,680 --> 00:51:46,600
Speaker 1: but I didn't. I didn't love in the book how

817
00:51:46,640 --> 00:51:48,920
Speaker 1: they're just like, yeah, he knew, you know, she was

818
00:51:49,000 --> 00:51:51,560
Speaker 1: a child, that he was a man, and now she's

819
00:51:51,600 --> 00:51:55,279
Speaker 1: a woman and he's still a man. But sometimes the

820
00:51:55,320 --> 00:51:57,160
Speaker 1: point is, and I'm about to say something I like,

821
00:51:57,320 --> 00:52:00,239
Speaker 1: which is so I'm being all over the place. But

822
00:52:00,640 --> 00:52:04,319
Speaker 1: in the book, mister Knightley. He's like at least ten

823
00:52:04,400 --> 00:52:07,239
Speaker 1: years older than all of these, like people in their

824
00:52:07,280 --> 00:52:11,120
Speaker 1: early twenties and like late teens, and so sometimes he'll

825
00:52:11,160 --> 00:52:13,880
Speaker 1: talk about them the way that like a thirty something

826
00:52:14,000 --> 00:52:16,520
Speaker 1: person would talk about a twenty one year old's decisions.

827
00:52:16,560 --> 00:52:21,120
Speaker 1: And he's just like, Frank fucking sucks. I can't believe

828
00:52:21,239 --> 00:52:23,880
Speaker 1: that everything like works out so well for him, because

829
00:52:23,880 --> 00:52:28,279
Speaker 1: he's an asshole to everybody. Jane Fairfax is like way

830
00:52:28,360 --> 00:52:31,160
Speaker 1: too good for him. I don't know what she sees

831
00:52:31,200 --> 00:52:34,560
Speaker 1: in him. He's so lucky that he could treat her

832
00:52:34,640 --> 00:52:38,160
Speaker 1: so poorly and that she would still come like mister

833
00:52:38,239 --> 00:52:41,000
Speaker 1: Knightley does explicitly say all of that stuff, So I'm like, okay,

834
00:52:41,080 --> 00:52:44,720
Speaker 1: Jane Austen knows that this is not how you treat

835
00:52:45,560 --> 00:52:48,680
Speaker 1: a woman who is like intelligent and cool the way

836
00:52:48,680 --> 00:52:52,160
Speaker 1: that Jane Fairfax is, but it still has like it's

837
00:52:52,160 --> 00:52:55,480
Speaker 1: just so bizarre, like it's just a weird book. I mean,

838
00:52:55,520 --> 00:52:58,560
Speaker 1: I really, I don't know. Even though it's like aesthetically

839
00:52:58,640 --> 00:53:03,160
Speaker 1: like whatever and time period wise similar to Pride and Prejudice,

840
00:53:03,200 --> 00:53:07,560
Speaker 1: the stories are are very different. It's weird, and yet

841
00:53:07,840 --> 00:53:11,440
Speaker 1: there are some similarities. Who did you think needed apologies.

842
00:53:11,920 --> 00:53:17,680
Speaker 1: I thought that miss Bates was owed a major apology,

843
00:53:17,800 --> 00:53:20,799
Speaker 1: and even though Emma does bring her like a basket,

844
00:53:21,920 --> 00:53:26,080
Speaker 1: she doesn't really address what she did. Yeah and barely

845
00:53:26,120 --> 00:53:28,400
Speaker 1: says I'm sorry. She gets an apology in the book,

846
00:53:28,600 --> 00:53:31,520
Speaker 1: which is weird. The things scout that back. She apologizes

847
00:53:31,800 --> 00:53:34,600
Speaker 1: profusely in the book. I thought that was going to

848
00:53:34,600 --> 00:53:38,320
Speaker 1: happen in the movie, but instead she's like, here's a basket,

849
00:53:38,680 --> 00:53:41,319
Speaker 1: gotta go. And then miss miss Bates is just like

850
00:53:42,160 --> 00:53:45,160
Speaker 1: you are so you're too kind. You've always been so kind,

851
00:53:45,239 --> 00:53:48,280
Speaker 1: and it's like she just made you cry for saying

852
00:53:48,320 --> 00:53:52,919
Speaker 1: something really mean and insulting to you. Miss Bates, right,

853
00:53:53,080 --> 00:53:55,680
Speaker 1: and Nightly was right, like I'm glad. I am glad

854
00:53:55,680 --> 00:53:58,239
Speaker 1: that Nightly like gave her ship for that, and that's

855
00:53:58,320 --> 00:54:00,719
Speaker 1: like that is such a Jane like and I guess

856
00:54:00,760 --> 00:54:03,800
Speaker 1: maybe just like a Victorian male hero thing in general,

857
00:54:03,840 --> 00:54:07,840
Speaker 1: but it's like the fucking binary in this situation is

858
00:54:07,880 --> 00:54:11,839
Speaker 1: like guy with charisma, dirty liar, don't talk to him,

859
00:54:12,239 --> 00:54:15,480
Speaker 1: guy who's sort of mean to you. Now that's the

860
00:54:15,600 --> 00:54:20,359
Speaker 1: love of your life, like right, And then the other

861
00:54:20,400 --> 00:54:23,920
Speaker 1: major apology that I thought needed to happen that didn't

862
00:54:24,280 --> 00:54:30,040
Speaker 1: really is is Emma apologizing to and maybe maybe this

863
00:54:30,200 --> 00:54:33,959
Speaker 1: does happen better than I remember. But so Emma goes

864
00:54:33,960 --> 00:54:39,000
Speaker 1: and makes things right by approaching mister Martin and convincing

865
00:54:39,080 --> 00:54:44,160
Speaker 1: him to propose again to Harriet, which again I like.

866
00:54:44,200 --> 00:54:45,680
Speaker 1: When I saw that in the movie, I was like,

867
00:54:45,719 --> 00:54:48,920
Speaker 1: that's a very active thing for a female character to

868
00:54:49,000 --> 00:54:52,120
Speaker 1: do in a story written in this time period. It

869
00:54:52,239 --> 00:54:55,360
Speaker 1: seems a little too modern for that to be the case.

870
00:54:55,400 --> 00:55:00,399
Speaker 1: And it turns out, yes, correct, Yeah, they I boss

871
00:55:00,440 --> 00:55:03,040
Speaker 1: that part, But I do like, I do like that

872
00:55:03,200 --> 00:55:06,759
Speaker 1: she I think that's way more effective. Oh definitely, Yeah,

873
00:55:06,760 --> 00:55:08,840
Speaker 1: I don't. I don't. I like the change. I like

874
00:55:08,920 --> 00:55:12,680
Speaker 1: the adaptation change. I like, you know, in general, making

875
00:55:13,200 --> 00:55:17,800
Speaker 1: a female character more active and giving her more agency. Um. Okay,

876
00:55:17,800 --> 00:55:21,359
Speaker 1: So then when she does that, she meddles one last time,

877
00:55:21,680 --> 00:55:24,400
Speaker 1: but it works out and Harriet's and mister Martin's favor

878
00:55:24,840 --> 00:55:28,440
Speaker 1: where they get engaged. Either way, I feel like Emma

879
00:55:28,640 --> 00:55:33,279
Speaker 1: owes Harriet a much more significant apology for meddling in

880
00:55:33,560 --> 00:55:38,279
Speaker 1: Harriet's life and her you know, romantic situation, like her

881
00:55:38,600 --> 00:55:44,319
Speaker 1: romantic life, and Emma does not really give that apology,

882
00:55:44,560 --> 00:55:47,480
Speaker 1: So I feel like, you know, Emma needs to hold

883
00:55:47,480 --> 00:55:54,120
Speaker 1: herself accountable more than she does in general. But yeah,

884
00:55:54,360 --> 00:56:00,759
Speaker 1: that's just me. It's all weird, like if all in

885
00:56:00,800 --> 00:56:04,560
Speaker 1: the book, I thinks I was bummed about that didn't

886
00:56:04,600 --> 00:56:08,239
Speaker 1: make it from the book to the movie mostly, but

887
00:56:08,280 --> 00:56:11,520
Speaker 1: the movie clearly is choosing to focus more on the

888
00:56:12,080 --> 00:56:15,400
Speaker 1: Emma and Harriet friendship, Like there's a lot of emphasis

889
00:56:15,480 --> 00:56:18,719
Speaker 1: given to it, which I do like, and I think

890
00:56:18,719 --> 00:56:22,520
Speaker 1: it's like almost, well, I don't we'll get there. But

891
00:56:22,719 --> 00:56:26,080
Speaker 1: what I was bummed about was I think my favorite

892
00:56:26,160 --> 00:56:29,239
Speaker 1: character in the book is Jane, and Jane does not

893
00:56:29,320 --> 00:56:31,120
Speaker 1: get a lot of playtime in the movie, and I

894
00:56:31,160 --> 00:56:34,000
Speaker 1: wonder if she maybe did in the Gwyneth Paltrow one,

895
00:56:34,040 --> 00:56:37,479
Speaker 1: I'd be curious. But I really really really liked Jane

896
00:56:37,480 --> 00:56:41,279
Speaker 1: in the movie in the book because like you were

897
00:56:41,280 --> 00:56:44,319
Speaker 1: sort of saying, like the people in this movie, like

898
00:56:44,719 --> 00:56:48,359
Speaker 1: in the movie, everyone acts a little silly because it's

899
00:56:48,400 --> 00:56:52,160
Speaker 1: like whatever. Mister Woodhouse is a good example of an

900
00:56:52,360 --> 00:56:56,360
Speaker 1: upper class character who acts very silly. He's a hypochondriac.

901
00:56:56,440 --> 00:57:00,840
Speaker 1: He's very particular, like there's always a draft, there's always

902
00:57:00,840 --> 00:57:04,360
Speaker 1: a draft, and Bill nyghe is like king, like love him.

903
00:57:04,600 --> 00:57:08,319
Speaker 1: So it's not like only people of the lower classes

904
00:57:08,320 --> 00:57:12,680
Speaker 1: are written to be goofy, but it feels more point

905
00:57:12,719 --> 00:57:15,560
Speaker 1: like the way Miss bates Is character is written where

906
00:57:15,640 --> 00:57:17,960
Speaker 1: you do get that moment where it's like, no, of

907
00:57:17,960 --> 00:57:21,840
Speaker 1: course she knows when she's being insulted, yeah, and it

908
00:57:21,920 --> 00:57:24,200
Speaker 1: hurts her. So it's like it's not like those humanizing

909
00:57:24,200 --> 00:57:26,680
Speaker 1: moments aren't there. But I feel like between Harriet and

910
00:57:26,720 --> 00:57:29,720
Speaker 1: miss Bates, you're sort of like led to believe that,

911
00:57:29,760 --> 00:57:33,080
Speaker 1: like women of the lower class are silly and less

912
00:57:33,080 --> 00:57:37,040
Speaker 1: intelligent and like because I would guess, I mean, Tie

913
00:57:37,400 --> 00:57:42,280
Speaker 1: is the Harriet of Clueless, right, And yeah, I feel

914
00:57:42,280 --> 00:57:45,120
Speaker 1: like that is more effectively done and Tie gets more

915
00:57:45,200 --> 00:57:47,520
Speaker 1: humanizing moments than Harriet does, because I do feel like

916
00:57:47,520 --> 00:57:51,520
Speaker 1: it's like, ultimately Harriet is so and also she's a teenager,

917
00:57:51,560 --> 00:57:54,560
Speaker 1: like she's very impressionable. She's being thrown into this world.

918
00:57:55,280 --> 00:57:58,240
Speaker 1: But the I don't know, I don't know, maybe I

919
00:57:58,280 --> 00:58:00,520
Speaker 1: take it back because like missus Elton as a rich

920
00:58:00,600 --> 00:58:05,040
Speaker 1: lady and she's the goofiest woman alive, right, and Elton

921
00:58:05,200 --> 00:58:07,800
Speaker 1: himself is I mean, I guess they're like upper middle

922
00:58:07,880 --> 00:58:11,320
Speaker 1: class like climbered because they're always like my friend mister Knightley,

923
00:58:11,400 --> 00:58:14,680
Speaker 1: and mister Knightley's like rich enough and powerful enough to

924
00:58:14,880 --> 00:58:17,480
Speaker 1: be completely you know, and ask in the way that

925
00:58:17,520 --> 00:58:19,800
Speaker 1: mister Darcy is wearing. I feel like those are very

926
00:58:19,840 --> 00:58:24,360
Speaker 1: similar characters but just very different heroines, which is interesting

927
00:58:24,640 --> 00:58:26,720
Speaker 1: right to the point where I'm like, I don't really know,

928
00:58:26,840 --> 00:58:30,000
Speaker 1: Like I get why he but I'm just like, is

929
00:58:30,040 --> 00:58:33,920
Speaker 1: this a good match? Anyways? What was I gonna say? Oh,

930
00:58:33,920 --> 00:58:36,720
Speaker 1: but Jane Fairfax. So Jane Fairfax, I feel like, is

931
00:58:36,760 --> 00:58:40,800
Speaker 1: a really really good antidote to how Silly Harriet and

932
00:58:40,800 --> 00:58:43,600
Speaker 1: miss Bates are written, because she's from that same class

933
00:58:43,640 --> 00:58:46,360
Speaker 1: and what they get rid of in the movie. I think,

934
00:58:46,480 --> 00:58:48,560
Speaker 1: correct me if this is like referenced in a scene

935
00:58:48,560 --> 00:58:54,400
Speaker 1: in Passing, but that like, Jane's situation is that she

936
00:58:55,040 --> 00:58:59,280
Speaker 1: is firm like she's a Bates, She's of that class,

937
00:58:59,320 --> 00:59:03,840
Speaker 1: she's related to them, but when her parents died, she

938
00:59:04,120 --> 00:59:07,520
Speaker 1: ended up like going to stay with a rich friend

939
00:59:07,560 --> 00:59:10,080
Speaker 1: of her father's and so she grew up in the

940
00:59:10,160 --> 00:59:13,240
Speaker 1: upper class, but she's not of them, and so her

941
00:59:13,280 --> 00:59:18,040
Speaker 1: situation is that she can hang out in the upper class,

942
00:59:18,160 --> 00:59:21,520
Speaker 1: but ultimately, when she turns twenty one, she has to

943
00:59:21,560 --> 00:59:24,080
Speaker 1: become a governess or like she has to have a

944
00:59:24,120 --> 00:59:27,120
Speaker 1: working class job. Do they mention that in the movie,

945
00:59:27,120 --> 00:59:30,480
Speaker 1: because like the stakes are pretty high for her, right,

946
00:59:30,520 --> 00:59:32,960
Speaker 1: So it's like confusing the way she appears in the movie.

947
00:59:33,000 --> 00:59:36,040
Speaker 1: I found a little confusing because it's like in the book,

948
00:59:36,080 --> 00:59:38,960
Speaker 1: her stakes are very high in terms of like she's

949
00:59:39,000 --> 00:59:41,439
Speaker 1: grown up a certain way. It's clear that she doesn't

950
00:59:41,480 --> 00:59:44,680
Speaker 1: want to leave everyone she knows because her parents happened

951
00:59:44,760 --> 00:59:48,360
Speaker 1: to be middle class, but she's going to have to.

952
00:59:48,760 --> 00:59:52,360
Speaker 1: And then you know, she's secretly engaged to Frank for

953
00:59:52,520 --> 00:59:55,760
Speaker 1: most of the book, but Frank treats her so badly

954
00:59:55,840 --> 00:59:58,360
Speaker 1: that she's like at the end, she's like, fuck you,

955
00:59:58,480 --> 01:00:01,280
Speaker 1: I'm going to become a governess. And that is what

956
01:00:01,400 --> 01:00:04,640
Speaker 1: motivates him to Yeah, like all of it, Like, there's

957
01:00:04,680 --> 01:00:06,680
Speaker 1: a lot of Jane's stuff that goes on in the book.

958
01:00:06,920 --> 01:00:08,840
Speaker 1: She and Emma have a lot of scenes together in

959
01:00:08,880 --> 01:00:12,200
Speaker 1: the book that I really liked where Jane you get

960
01:00:12,240 --> 01:00:14,880
Speaker 1: moments of it in the movie. But like Emma is

961
01:00:15,000 --> 01:00:18,880
Speaker 1: jealous of Jane because Jane is just as whatever refined,

962
01:00:18,920 --> 01:00:21,840
Speaker 1: if not more so, is just as talented, if not

963
01:00:21,920 --> 01:00:25,200
Speaker 1: more so, than Emma and is from the middle class,

964
01:00:25,240 --> 01:00:27,720
Speaker 1: and so that's what bothers Emma about it, is like

965
01:00:28,720 --> 01:00:31,800
Speaker 1: Jane doesn't have a lot of the advantages that Emma

966
01:00:31,880 --> 01:00:35,240
Speaker 1: did of birth, but is kind of like better than

967
01:00:35,280 --> 01:00:38,240
Speaker 1: her in a lot of ways. And so Emma kind

968
01:00:38,280 --> 01:00:42,919
Speaker 1: of like weaponizes that insecurity about like how is Jane

969
01:00:43,000 --> 01:00:45,000
Speaker 1: so good at this, this and this, and kind of

970
01:00:45,040 --> 01:00:48,760
Speaker 1: flings it in her face and Jane responds, and like

971
01:00:48,760 --> 01:00:51,800
Speaker 1: there's this interesting tension between them, and by the end,

972
01:00:52,400 --> 01:00:55,240
Speaker 1: Emma grows a little bit and once she realizes like

973
01:00:55,560 --> 01:00:58,320
Speaker 1: Jane was in love with Frank and like Emma was

974
01:00:58,400 --> 01:01:02,680
Speaker 1: totally off about everything, she goes to Jane and gives

975
01:01:02,680 --> 01:01:05,240
Speaker 1: like a really sincere apology and is like, I wish

976
01:01:05,280 --> 01:01:07,760
Speaker 1: that we had been friends all of these years, but

977
01:01:08,320 --> 01:01:10,600
Speaker 1: we were pitted against each other when we were so young.

978
01:01:10,680 --> 01:01:13,840
Speaker 1: And also I was jealous of you, and like I'm sorry,

979
01:01:13,920 --> 01:01:16,600
Speaker 1: and I hope that you have a happy life marrying

980
01:01:16,640 --> 01:01:20,240
Speaker 1: this fucking jerk. But like it was just I thought

981
01:01:20,240 --> 01:01:23,760
Speaker 1: it was a very satisfying. Jane was my favorite, yeah,

982
01:01:23,800 --> 01:01:26,600
Speaker 1: because she just she did what she had to do,

983
01:01:26,640 --> 01:01:29,680
Speaker 1: but she did it with class and she didn't meddle,

984
01:01:30,280 --> 01:01:33,240
Speaker 1: and I just wish she was like ended up with

985
01:01:33,280 --> 01:01:35,920
Speaker 1: someone cooler than Frank, but she loved Frank. So I

986
01:01:35,960 --> 01:01:40,080
Speaker 1: guess sure, fine, Oh, I guess sure. Justice for Jane.

987
01:01:40,320 --> 01:01:44,120
Speaker 1: No no. Yeah. Also, there's too many Janes, because there's

988
01:01:44,240 --> 01:01:47,840
Speaker 1: Jane and Pride and prejudice too, and there's she Jane Austin.

989
01:01:48,520 --> 01:01:51,000
Speaker 1: There were like seven different names back then. I guess

990
01:01:51,360 --> 01:01:54,880
Speaker 1: it's an interesting adaptation because it's been I guess pretty

991
01:01:54,920 --> 01:01:59,560
Speaker 1: thoroughly debated. Whether Jane Austin even likes Emma based on

992
01:01:59,600 --> 01:02:01,360
Speaker 1: the way she written in the book and the fact

993
01:02:01,360 --> 01:02:04,960
Speaker 1: that she Some people view Emma the novel as like

994
01:02:05,040 --> 01:02:08,440
Speaker 1: a full on class satire because Emma learns all these

995
01:02:08,440 --> 01:02:10,720
Speaker 1: things about the world and still acts like a rich

996
01:02:10,800 --> 01:02:13,600
Speaker 1: person at the end of the day. And so like,

997
01:02:13,640 --> 01:02:16,240
Speaker 1: Emma gets everything she wants because of course she does,

998
01:02:16,280 --> 01:02:20,800
Speaker 1: she's fucking rich. Like, no matter how much you force

999
01:02:21,280 --> 01:02:26,160
Speaker 1: onto the like genteel class about the reality of the world,

1000
01:02:26,440 --> 01:02:28,680
Speaker 1: things are still going to work out for them. And like,

1001
01:02:29,360 --> 01:02:32,200
Speaker 1: so there is a way of looking at it from

1002
01:02:32,200 --> 01:02:36,360
Speaker 1: the book of like, yeah, Emma sucks. The author knows that,

1003
01:02:36,480 --> 01:02:41,800
Speaker 1: and like, to some extent, that's the point. But because

1004
01:02:41,800 --> 01:02:45,240
Speaker 1: of how movies work, and are sold you can't really

1005
01:02:45,480 --> 01:02:49,200
Speaker 1: do that, or you can, but like most adaptations choose

1006
01:02:49,200 --> 01:02:53,920
Speaker 1: not to over like having Emma display learning, Like I

1007
01:02:53,920 --> 01:02:56,800
Speaker 1: feel like this movie takes the I don't think this

1008
01:02:56,880 --> 01:02:59,080
Speaker 1: is like unusual, but like this movie takes the route

1009
01:02:59,160 --> 01:03:03,560
Speaker 1: of like she learns about class and successfully applies that

1010
01:03:03,640 --> 01:03:07,320
Speaker 1: to how she lives her life, and she stands as

1011
01:03:07,360 --> 01:03:09,720
Speaker 1: this like symbol that she does in the book as

1012
01:03:09,720 --> 01:03:13,640
Speaker 1: well of like you can have the most privileged it's

1013
01:03:13,680 --> 01:03:17,280
Speaker 1: possible for a woman to have in this time and

1014
01:03:17,400 --> 01:03:21,160
Speaker 1: still be basically fucked, which is which is something that

1015
01:03:21,240 --> 01:03:25,600
Speaker 1: I think is touched on more effectively in Pride and Prejudice. Right, Yeah,

1016
01:03:25,640 --> 01:03:30,240
Speaker 1: so I don't know. I mean, I I don't like Emma,

1017
01:03:30,320 --> 01:03:34,720
Speaker 1: but I like watching Emma, and I'm constantly frustrated by

1018
01:03:34,800 --> 01:03:38,760
Speaker 1: like the lack of consequences she experiences. This movie has

1019
01:03:38,800 --> 01:03:42,560
Speaker 1: to add consequences to get her to a place where

1020
01:03:42,560 --> 01:03:45,280
Speaker 1: it seems like she's grown, and it still feels like

1021
01:03:45,480 --> 01:03:48,640
Speaker 1: she kind of gets off easy for whatever. Right, she

1022
01:03:48,720 --> 01:03:54,080
Speaker 1: doesn't grow or arc as much as I would want

1023
01:03:54,320 --> 01:03:58,800
Speaker 1: to see a character grow. But also, you know, she

1024
01:03:59,360 --> 01:04:03,160
Speaker 1: does come from extremely rich and privileged background, so like

1025
01:04:04,240 --> 01:04:07,200
Speaker 1: kind of what do you expect from someone like that?

1026
01:04:07,280 --> 01:04:09,680
Speaker 1: You kind of just like I would have to like

1027
01:04:09,680 --> 01:04:13,160
Speaker 1: suspend my disbelief more that she does have a significant

1028
01:04:13,360 --> 01:04:15,640
Speaker 1: arc and that she lets go of some of her

1029
01:04:15,840 --> 01:04:21,919
Speaker 1: perhaps prides and prejudices the ha ha. And I think

1030
01:04:21,920 --> 01:04:25,560
Speaker 1: it is more believable that she kind of stays a

1031
01:04:25,640 --> 01:04:30,560
Speaker 1: pretty static character, right, I mean, if it is satire,

1032
01:04:31,200 --> 01:04:33,680
Speaker 1: I mean the movie. I don't think the movie is satire.

1033
01:04:33,800 --> 01:04:36,960
Speaker 1: The movie, I feel like definitely isn't satire. The book

1034
01:04:37,320 --> 01:04:40,320
Speaker 1: arguably could be seen that way, but also we're not

1035
01:04:40,360 --> 01:04:42,160
Speaker 1: talking about the button, but the movie I don't think.

1036
01:04:42,200 --> 01:04:44,320
Speaker 1: I think the movie tries to kind of plays it

1037
01:04:44,400 --> 01:04:47,600
Speaker 1: pretty straight. Yeah, and like adds in moments to give

1038
01:04:47,640 --> 01:04:50,040
Speaker 1: Emma growth. And I thought it was like interesting. I

1039
01:04:50,320 --> 01:04:53,160
Speaker 1: read some and watched some interviews with the director of

1040
01:04:53,200 --> 01:04:57,920
Speaker 1: this movie, who I man, hope she's listening. She I'm like,

1041
01:04:58,160 --> 01:05:01,960
Speaker 1: she's so fucking cool. After Autumn de Wilde, it was

1042
01:05:01,960 --> 01:05:05,400
Speaker 1: her first feature, she directed, her first feature in her

1043
01:05:05,480 --> 01:05:09,640
Speaker 1: late forties. She walks with a cane that has a

1044
01:05:09,680 --> 01:05:13,320
Speaker 1: shot glass built into the cane, which she's just so

1045
01:05:13,400 --> 01:05:17,640
Speaker 1: fucking cool, Like it's unbelievable. And she started as a

1046
01:05:18,600 --> 01:05:22,320
Speaker 1: music video director. She's like of that pipeline, but unlike

1047
01:05:22,920 --> 01:05:25,680
Speaker 1: many male music video directors who I feel like direct,

1048
01:05:25,880 --> 01:05:28,640
Speaker 1: you know, like I'm thinking of like your David Fincher's,

1049
01:05:28,800 --> 01:05:33,280
Speaker 1: your Spike Joneses, who direct a few successful music videos

1050
01:05:33,280 --> 01:05:35,440
Speaker 1: and then are directing movies by the time they're in

1051
01:05:35,480 --> 01:05:38,360
Speaker 1: their late twenties early thirties. She had to fight to

1052
01:05:38,480 --> 01:05:41,160
Speaker 1: make not this movie specifically, but like to make a

1053
01:05:41,240 --> 01:05:46,480
Speaker 1: movie of her own for decades because you know, misogyny

1054
01:05:46,640 --> 01:05:50,280
Speaker 1: and what. Anyways, Sorry, we've ben talked about this on

1055
01:05:50,320 --> 01:05:52,840
Speaker 1: the show before. Excuse me, and I don't have time

1056
01:05:53,840 --> 01:05:57,040
Speaker 1: hang on, but she fucking rocks, Like all of her

1057
01:05:57,080 --> 01:06:00,120
Speaker 1: interviews are like she's just she dresses. She just oh

1058
01:06:00,120 --> 01:06:02,720
Speaker 1: you'll like this. She described her personal style as Oscar

1059
01:06:02,760 --> 01:06:06,960
Speaker 1: Wilde meets Paddington Bear, and it totally tracks. She's just

1060
01:06:07,560 --> 01:06:10,480
Speaker 1: she's so fun. Like she sort of made it her

1061
01:06:10,800 --> 01:06:14,200
Speaker 1: mission statement of the movie to like create a very

1062
01:06:14,240 --> 01:06:18,360
Speaker 1: beautiful movie, which like mission accomplished that I hear based

1063
01:06:18,400 --> 01:06:22,280
Speaker 1: on all of the fucking costuming YouTubers I watch because

1064
01:06:22,320 --> 01:06:27,200
Speaker 1: I'm a Door is a very period accurate nice because

1065
01:06:27,280 --> 01:06:29,560
Speaker 1: all the all the costuming YouTubers they're like this is

1066
01:06:29,600 --> 01:06:32,520
Speaker 1: eighteen o four and it should be eighteen o four

1067
01:06:32,560 --> 01:06:35,720
Speaker 1: and a half, like whatever, But this one apparently like

1068
01:06:35,800 --> 01:06:38,640
Speaker 1: the attention to details, like on point, it's beautiful. It

1069
01:06:38,680 --> 01:06:41,040
Speaker 1: looks like a music video in a way that isn't

1070
01:06:41,040 --> 01:06:44,360
Speaker 1: distracting whatever. But she said like, oh, I you know,

1071
01:06:44,440 --> 01:06:47,400
Speaker 1: you have this flawed heroine in the form of Emma.

1072
01:06:47,480 --> 01:06:51,920
Speaker 1: And I'm like that is true, but I and yet

1073
01:06:52,000 --> 01:06:54,360
Speaker 1: I really like and this isn't even a criticism of

1074
01:06:54,400 --> 01:06:58,000
Speaker 1: the movie or the book. I just am like, yeah,

1075
01:06:58,040 --> 01:07:03,520
Speaker 1: I don't like Emma. Like I'm like not, I'm interested

1076
01:07:03,520 --> 01:07:05,840
Speaker 1: in what happens to her, and I want her to

1077
01:07:05,880 --> 01:07:09,960
Speaker 1: display growth, but I like, don't really, it's so obvious

1078
01:07:09,960 --> 01:07:11,560
Speaker 1: that she's going to be fine, and then at the

1079
01:07:11,640 --> 01:07:16,440
Speaker 1: end she's fine, right yeah, where it's like with Lizzie Bennett,

1080
01:07:16,480 --> 01:07:20,360
Speaker 1: the stakes are relatively high, like she you know, and

1081
01:07:20,440 --> 01:07:22,600
Speaker 1: it is like we talked about in the last episode,

1082
01:07:22,600 --> 01:07:26,280
Speaker 1: where it's like, you know, the middle class is not

1083
01:07:26,480 --> 01:07:29,800
Speaker 1: a death sentence, but in the society that they're in it,

1084
01:07:30,440 --> 01:07:32,520
Speaker 1: you know, the misogyny was much more intense and there's

1085
01:07:32,520 --> 01:07:35,960
Speaker 1: all this stuff, but Emma doesn't really It's made very

1086
01:07:35,960 --> 01:07:39,840
Speaker 1: clear early on that even though Emma remaining single, there

1087
01:07:39,920 --> 01:07:42,080
Speaker 1: is some discrimination against her, which you get in those

1088
01:07:42,080 --> 01:07:45,840
Speaker 1: few moments of like well wives first, like single ladies

1089
01:07:45,880 --> 01:07:48,440
Speaker 1: to the back, and Emma never wants to get married,

1090
01:07:48,480 --> 01:07:50,320
Speaker 1: So this is how she'll be treated her whole life.

1091
01:07:51,240 --> 01:07:53,240
Speaker 1: But it's made clear very early in the book and

1092
01:07:53,280 --> 01:07:55,439
Speaker 1: I think in the movie too, that like, even though

1093
01:07:55,440 --> 01:07:59,520
Speaker 1: this is an unconventional decision, her immediate support system fully

1094
01:07:59,520 --> 01:08:03,320
Speaker 1: accepts it and accepts her and thinks she's amazing, and

1095
01:08:04,280 --> 01:08:06,920
Speaker 1: she'll be able to do it without her quality of

1096
01:08:07,000 --> 01:08:11,400
Speaker 1: life being sacrificed, right because, as we talked about in

1097
01:08:11,440 --> 01:08:15,280
Speaker 1: the last episode, one of the reasons that so many

1098
01:08:15,720 --> 01:08:18,000
Speaker 1: women were so concerned about, like, oh my god, I

1099
01:08:18,000 --> 01:08:19,320
Speaker 1: have to get married, and I have to get married

1100
01:08:19,439 --> 01:08:21,120
Speaker 1: right now, and it has to be to a man

1101
01:08:21,320 --> 01:08:24,960
Speaker 1: who has a big income, because that was literally a

1102
01:08:25,040 --> 01:08:30,559
Speaker 1: survival thing. More than the very tropy. Women just love

1103
01:08:30,680 --> 01:08:34,160
Speaker 1: romance and they love getting married for the sake of

1104
01:08:34,240 --> 01:08:38,759
Speaker 1: being married thing. So it's just like when Lizzie Bennett

1105
01:08:38,800 --> 01:08:43,000
Speaker 1: refuses someone's hand, a rich person's hand, it's a way

1106
01:08:43,040 --> 01:08:47,240
Speaker 1: bigger deal than when Emma refuses anyone because she's going

1107
01:08:47,320 --> 01:08:50,080
Speaker 1: to be fine no matter what which just for me

1108
01:08:50,160 --> 01:08:53,160
Speaker 1: makes it like her a like rich Girl learns a

1109
01:08:53,240 --> 01:08:55,640
Speaker 1: lesson is just not a very compelling narrative to me.

1110
01:08:56,960 --> 01:09:00,840
Speaker 1: Let me pronouncing the tia narrative, what a bitch, Sorry,

1111
01:09:02,840 --> 01:09:05,720
Speaker 1: but it isn't like I just I don't know. And

1112
01:09:05,800 --> 01:09:08,680
Speaker 1: again it's like, I'll be damned if I could tell

1113
01:09:08,680 --> 01:09:10,599
Speaker 1: you why it works for me. And clue is maybe

1114
01:09:10,600 --> 01:09:13,200
Speaker 1: I just like the outfits better. But like, yeah, rich

1115
01:09:13,240 --> 01:09:16,000
Speaker 1: girl learns a lesson is just not interesting to me,

1116
01:09:16,200 --> 01:09:20,400
Speaker 1: especially because it's like there, I just think, I don't know.

1117
01:09:20,439 --> 01:09:23,080
Speaker 1: I'm just like Jane Fairfax is more like her story

1118
01:09:23,240 --> 01:09:26,439
Speaker 1: is more interesting, Like I've in my mind, Emma is

1119
01:09:26,479 --> 01:09:29,599
Speaker 1: a b character and Jane Fairfax's story, which is more

1120
01:09:29,680 --> 01:09:31,759
Speaker 1: laired and more interesting, it has more to say about

1121
01:09:31,760 --> 01:09:35,679
Speaker 1: class and gender and like how people interact with each other.

1122
01:09:36,960 --> 01:09:40,160
Speaker 1: But I see what you mean. I don't think it's

1123
01:09:40,200 --> 01:09:44,360
Speaker 1: the most compelling story ever told. Sure, which is my

1124
01:09:44,479 --> 01:09:50,040
Speaker 1: standard for every movie. But if we do have to

1125
01:09:50,040 --> 01:09:55,559
Speaker 1: watch movies about rich people, which many movies are, I'd

1126
01:09:55,640 --> 01:09:59,280
Speaker 1: rather them learn and have an arc and see the

1127
01:09:59,439 --> 01:10:02,240
Speaker 1: error of the ways. But the thing, I think what

1128
01:10:02,680 --> 01:10:08,560
Speaker 1: Emma learns more than like I should be more empathetic

1129
01:10:08,600 --> 01:10:11,960
Speaker 1: to people of a lower class than me. What she

1130
01:10:12,080 --> 01:10:15,559
Speaker 1: learns more than that lesson is she just learns to

1131
01:10:15,600 --> 01:10:19,400
Speaker 1: stop meddling in other people's lives. Right, So for sure,

1132
01:10:19,520 --> 01:10:23,519
Speaker 1: if she learned something that had more to do with like, oh,

1133
01:10:23,560 --> 01:10:26,599
Speaker 1: I should stop treating poor people like they're a little

1134
01:10:26,680 --> 01:10:30,680
Speaker 1: project of mine and treat them like human beings, or

1135
01:10:31,560 --> 01:10:35,679
Speaker 1: I should spread my wealth meaningfully or something like that,

1136
01:10:36,200 --> 01:10:39,559
Speaker 1: I would find that way more compelling than her just

1137
01:10:39,640 --> 01:10:44,920
Speaker 1: being like, oops, I played Matchmaker one too many times

1138
01:10:45,040 --> 01:10:47,960
Speaker 1: or whatever. Right, And it's like hard because it's like

1139
01:10:48,040 --> 01:10:50,080
Speaker 1: I know that. That's why this story is like light

1140
01:10:50,160 --> 01:10:53,240
Speaker 1: and fluffy and fun. It is because it's like this

1141
01:10:53,320 --> 01:10:56,519
Speaker 1: young woman is clearly like if I was, like Emma's

1142
01:10:56,520 --> 01:11:00,320
Speaker 1: clearly projecting, like that's so much of the movie as

1143
01:11:00,360 --> 01:11:02,439
Speaker 1: like I don't want to deal with my or maybe

1144
01:11:02,439 --> 01:11:04,240
Speaker 1: it's clear in the book. I don't know, Like it

1145
01:11:04,280 --> 01:11:07,920
Speaker 1: feels kind of clear that it's like Emma. Part of

1146
01:11:07,960 --> 01:11:10,679
Speaker 1: the reason Emma metals and other people's lives is because

1147
01:11:11,320 --> 01:11:14,440
Speaker 1: she is not able to see herself as the protagonist

1148
01:11:14,439 --> 01:11:17,200
Speaker 1: of her own life, which is interesting, like she keeps

1149
01:11:17,240 --> 01:11:21,320
Speaker 1: casting herself as like Judy Greer in her own life,

1150
01:11:21,320 --> 01:11:25,240
Speaker 1: and it's like interesting choice because you're literally a millionaire,

1151
01:11:25,280 --> 01:11:31,200
Speaker 1: And like, I wonder, I'm sure someone's done Emma's astrological chart,

1152
01:11:31,280 --> 01:11:34,960
Speaker 1: because it's so like she does have this like superhuman

1153
01:11:34,960 --> 01:11:38,120
Speaker 1: ability to like that I know, like people have, but

1154
01:11:38,200 --> 01:11:40,320
Speaker 1: it's just not relatable to me at all. Of like,

1155
01:11:40,880 --> 01:11:45,519
Speaker 1: she's able to see romantic issues very like objectively, and

1156
01:11:45,560 --> 01:11:49,080
Speaker 1: she looks at romance in terms of class, which I think,

1157
01:11:49,200 --> 01:11:50,960
Speaker 1: which is why I wish that I guess that that's

1158
01:11:51,040 --> 01:11:54,040
Speaker 1: part of why I ultimately kind of walk away disappointed

1159
01:11:54,080 --> 01:11:56,800
Speaker 1: that there's not more said about class, because she is

1160
01:11:56,960 --> 01:12:01,559
Speaker 1: very obviously arranging people and doing this like puppetmaster thing

1161
01:12:01,960 --> 01:12:06,040
Speaker 1: based on class, like the reason that she wants Harriet

1162
01:12:06,120 --> 01:12:08,200
Speaker 1: like and and and then there's also this theme in

1163
01:12:08,240 --> 01:12:10,120
Speaker 1: the book that is not touched on in the movie,

1164
01:12:10,479 --> 01:12:13,519
Speaker 1: where it's like or she she says it about mister Martin.

1165
01:12:14,160 --> 01:12:15,559
Speaker 1: I think that that's the most you get. At the

1166
01:12:15,560 --> 01:12:17,960
Speaker 1: beginning of the movie, she talks about like, well, I

1167
01:12:18,000 --> 01:12:19,920
Speaker 1: don't give a shit about mister Martin because he's not

1168
01:12:20,000 --> 01:12:22,000
Speaker 1: poor enough for me to look like a hero if

1169
01:12:22,040 --> 01:12:24,200
Speaker 1: I help him, right, He's not rich enough that he

1170
01:12:24,240 --> 01:12:26,120
Speaker 1: can actually hang out with me, so why would I

1171
01:12:26,120 --> 01:12:28,439
Speaker 1: give a shit about him? And she's basically like, the

1172
01:12:28,479 --> 01:12:31,720
Speaker 1: middle class is useless to me, because right, and so

1173
01:12:31,760 --> 01:12:34,960
Speaker 1: it's like she's she's an extremely classist character and that

1174
01:12:35,080 --> 01:12:37,720
Speaker 1: is like cannon to the book and the movie and

1175
01:12:38,000 --> 01:12:40,959
Speaker 1: like explicitly says like and she says this too, Harriet,

1176
01:12:41,000 --> 01:12:43,839
Speaker 1: which makes it clear that Emma's like, yeah, I consider

1177
01:12:43,960 --> 01:12:48,760
Speaker 1: you someone worth helping because because you're so poor, right,

1178
01:12:48,880 --> 01:12:51,200
Speaker 1: you come from nothing, and you don't even know who

1179
01:12:51,280 --> 01:12:54,600
Speaker 1: your parents are. But let's pretend like your father is

1180
01:12:54,760 --> 01:12:58,280
Speaker 1: a gentleman. That's just what we'll say, right, And like,

1181
01:12:58,920 --> 01:13:02,360
Speaker 1: so it's a game turn her like poor people are pawns,

1182
01:13:02,400 --> 01:13:05,840
Speaker 1: and a game that she uses to elevate her own profile,

1183
01:13:06,160 --> 01:13:11,040
Speaker 1: a game of chess. Netflix. I gave of my boyfriend chess. Netflix.

1184
01:13:13,760 --> 01:13:21,040
Speaker 1: That's what a fun name, mewtwo. You two. I'm so tired? Okay,

1185
01:13:21,760 --> 01:13:26,440
Speaker 1: so same oh oh, So, like Emma is like the

1186
01:13:26,680 --> 01:13:30,320
Speaker 1: metaiest metaller that ever was, And part of it's because

1187
01:13:30,320 --> 01:13:33,200
Speaker 1: she is like you know, like she says, I don't

1188
01:13:33,240 --> 01:13:35,960
Speaker 1: want to get married, but then it turns out that

1189
01:13:35,960 --> 01:13:39,559
Speaker 1: that's not actually the case. Find that happens whatever, But

1190
01:13:39,600 --> 01:13:43,880
Speaker 1: she's she's matching according to class, like she wants Harriet

1191
01:13:43,920 --> 01:13:47,640
Speaker 1: to class jump, like she wants Harriett to jump at

1192
01:13:47,720 --> 01:13:50,640
Speaker 1: tax bracket. And that is why she keeps trying to

1193
01:13:50,680 --> 01:13:54,200
Speaker 1: convince Harriet that she's in love with all of these men.

1194
01:13:54,280 --> 01:13:58,439
Speaker 1: And Harriet is very young and very impressionable and kind

1195
01:13:58,439 --> 01:14:01,920
Speaker 1: of out of her depth in many ways in this story,

1196
01:14:01,960 --> 01:14:04,800
Speaker 1: and so she ends up like experiencing a lot of

1197
01:14:05,280 --> 01:14:08,559
Speaker 1: emotional pain as I think, like a late high school

1198
01:14:08,560 --> 01:14:13,080
Speaker 1: early college student, right, because this rich girl is like,

1199
01:14:13,120 --> 01:14:16,400
Speaker 1: I want you to jump class you know, which, which

1200
01:14:16,880 --> 01:14:20,439
Speaker 1: is in the context of this society, Like you could argue,

1201
01:14:20,479 --> 01:14:23,799
Speaker 1: you know, Emma wants to secure Harriet a better future

1202
01:14:23,920 --> 01:14:27,240
Speaker 1: than she would have if they hadn't met. Sure, However,

1203
01:14:27,960 --> 01:14:31,120
Speaker 1: once mister Knightley comes into the picture, obviously that's not

1204
01:14:31,160 --> 01:14:33,680
Speaker 1: the case because once she figures out like and this

1205
01:14:33,760 --> 01:14:36,040
Speaker 1: is more explicit in the book, but like, once Emma

1206
01:14:36,080 --> 01:14:39,639
Speaker 1: figures out that Harriet is in love with mister Knightley,

1207
01:14:40,040 --> 01:14:43,680
Speaker 1: technically that is exactly what Emma was trying to do,

1208
01:14:44,120 --> 01:14:46,519
Speaker 1: make a match for Harriet that was above her class

1209
01:14:46,880 --> 01:14:50,960
Speaker 1: that Harriet felt good about. Right, But Emma's like no, no,

1210
01:14:51,000 --> 01:14:53,720
Speaker 1: not no, that's actually he's mine, So you have to

1211
01:14:53,720 --> 01:14:56,080
Speaker 1: go to the dentist like for a month, and then

1212
01:14:56,080 --> 01:14:59,080
Speaker 1: she like possibly fucks her friend over permanently, and then

1213
01:14:59,160 --> 01:15:02,120
Speaker 1: thankfully Harry it gets to marry the guy she wanted

1214
01:15:02,120 --> 01:15:05,600
Speaker 1: to marry the whole time. And Emma she doesn't apologize

1215
01:15:05,640 --> 01:15:07,760
Speaker 1: to I mean, she does apologize to Harriet in the book,

1216
01:15:07,800 --> 01:15:10,360
Speaker 1: but then she never speaks to her again, so it's like, right,

1217
01:15:10,800 --> 01:15:13,920
Speaker 1: what was the point I do? Like in the their

1218
01:15:14,000 --> 01:15:17,000
Speaker 1: friendship in the movie I think is more effective, but

1219
01:15:17,640 --> 01:15:21,519
Speaker 1: it's still just because of like the source material. It's

1220
01:15:21,960 --> 01:15:24,960
Speaker 1: like it's just never going to be super satisfying because

1221
01:15:25,000 --> 01:15:30,360
Speaker 1: Harriet is just so forgiving of Emma. Everyone is everyone

1222
01:15:30,800 --> 01:15:35,439
Speaker 1: she loves Emma. It could be like effective commentary maybe

1223
01:15:35,479 --> 01:15:38,519
Speaker 1: if it was like approached differently, but just like people's

1224
01:15:38,560 --> 01:15:43,240
Speaker 1: tendency to give rich people so much leeway and like

1225
01:15:43,400 --> 01:15:47,520
Speaker 1: forgive them for all of their you know, horrible misdeeds,

1226
01:15:47,600 --> 01:15:50,599
Speaker 1: but the movie isn't really commenting on that. It's just

1227
01:15:50,640 --> 01:15:54,599
Speaker 1: like presenting, well, the book isn't either, Like right, again,

1228
01:15:54,680 --> 01:15:57,559
Speaker 1: a lot of the problems with the movies storyline are

1229
01:15:57,840 --> 01:15:59,760
Speaker 1: part and parcel to what the like. I think that

1230
01:15:59,800 --> 01:16:01,960
Speaker 1: the I do think the movie does the most I

1231
01:16:02,080 --> 01:16:05,360
Speaker 1: can with the story without striking too far from the story.

1232
01:16:05,479 --> 01:16:11,320
Speaker 1: Shout out to screenwriter Eleanor Katton, who was a novelist

1233
01:16:11,560 --> 01:16:16,000
Speaker 1: who has more recently gone to screenwriting, which is fun.

1234
01:16:16,720 --> 01:16:19,080
Speaker 1: Love that for her. I read what was the book

1235
01:16:19,080 --> 01:16:21,439
Speaker 1: of hers? I read? I read, Oh, the Luminaries. It

1236
01:16:21,479 --> 01:16:25,160
Speaker 1: was good anyways, but there's yeah, there's just like so

1237
01:16:25,280 --> 01:16:29,080
Speaker 1: much like Emma Is I guess considered one of Jane

1238
01:16:29,120 --> 01:16:33,720
Speaker 1: Austen's more conservative novels because it ultimately kind of ends

1239
01:16:33,760 --> 01:16:38,639
Speaker 1: upholding upholding the status quo in most ways where viewed

1240
01:16:38,680 --> 01:16:42,080
Speaker 1: from one side, it's like, oh, that's great that Harriet

1241
01:16:42,120 --> 01:16:44,600
Speaker 1: married mister Martin because that was who she liked the

1242
01:16:44,680 --> 01:16:48,400
Speaker 1: most the whole time, so like, that's her following her bliss.

1243
01:16:48,640 --> 01:16:51,240
Speaker 1: But also Jane Austen made these people up, and she

1244
01:16:51,640 --> 01:16:55,040
Speaker 1: made it that in every case everyone married from except

1245
01:16:55,160 --> 01:16:58,840
Speaker 1: for the only couple that is like has class disparity

1246
01:16:58,880 --> 01:17:00,880
Speaker 1: in the way that like dars See and Lizzie Bennett

1247
01:17:00,920 --> 01:17:04,760
Speaker 1: do is Jane Fairfax and Frank Churchill. That's the one

1248
01:17:04,800 --> 01:17:07,640
Speaker 1: couple actually that is worth But the movie kind of

1249
01:17:07,680 --> 01:17:10,719
Speaker 1: chooses not to doesn't really make it clear that that

1250
01:17:10,720 --> 01:17:16,759
Speaker 1: that happens because of Jane Fairfax. Erasure right glosses over

1251
01:17:17,120 --> 01:17:21,800
Speaker 1: what Jane Fairfax's situation is. I'm going to write one

1252
01:17:21,840 --> 01:17:24,799
Speaker 1: of those horrible God, I'm so sick of this happening,

1253
01:17:24,880 --> 01:17:27,000
Speaker 1: but I think it would be fun for Jane Fairfax,

1254
01:17:27,040 --> 01:17:29,400
Speaker 1: you know, like when I feel like it like peeked

1255
01:17:29,520 --> 01:17:34,880
Speaker 1: with like Wicked and like those Gregory mick Whatever's guys

1256
01:17:34,880 --> 01:17:38,240
Speaker 1: books where he's like, remember this B character, Well, I

1257
01:17:38,280 --> 01:17:41,439
Speaker 1: wrote a whole book about them having sex, And you're like,

1258
01:17:41,680 --> 01:17:44,800
Speaker 1: I don't want I don't think I wanted that, but

1259
01:17:45,120 --> 01:17:47,760
Speaker 1: they were all bestsellers in like the mid to late

1260
01:17:47,800 --> 01:17:51,559
Speaker 1: two thousands. They're like, yeah, remember the like he wrote

1261
01:17:51,560 --> 01:17:56,320
Speaker 1: a book about the step sisters. He wrote Wicked. They're

1262
01:17:56,360 --> 01:17:59,439
Speaker 1: just like, yeah, I remember this B character. They they're

1263
01:17:59,520 --> 01:18:05,080
Speaker 1: so funking horny, and you're just like, ah, okay, whatever,

1264
01:18:05,439 --> 01:18:09,880
Speaker 1: I guess. A matron pointed out. Shout out to Abigail

1265
01:18:10,520 --> 01:18:13,479
Speaker 1: pointed out on the comments of our Prime Prejudice episode

1266
01:18:14,160 --> 01:18:18,160
Speaker 1: that an author named Janice Hadlow wrote a novel called

1267
01:18:18,160 --> 01:18:21,280
Speaker 1: The Other Bennett's Sister to flesh out the character of

1268
01:18:21,479 --> 01:18:27,240
Speaker 1: Mary Bennett. She was, so see that's the one acceptable answer.

1269
01:18:27,320 --> 01:18:30,479
Speaker 1: So that's fine. Mary Bennett and Jane Fairfax are the

1270
01:18:30,560 --> 01:18:35,120
Speaker 1: two side characters who are underdeveloped in the books and

1271
01:18:35,160 --> 01:18:38,200
Speaker 1: adaptations that I want to write. Oh I want to

1272
01:18:38,240 --> 01:18:43,439
Speaker 1: read that Mary Bennett book. Yeah. Oh, Also, someone tweeted

1273
01:18:43,439 --> 01:18:45,320
Speaker 1: this at me. I don't know how we missed this,

1274
01:18:45,960 --> 01:18:49,520
Speaker 1: you knoww we were like, oh, the actor who plays

1275
01:18:49,640 --> 01:18:52,640
Speaker 1: Mary as the least famous of everyone. Apparently she was

1276
01:18:52,720 --> 01:18:57,240
Speaker 1: married to Elon Musk twice. Twice they got married and

1277
01:18:57,280 --> 01:19:00,439
Speaker 1: then divorced, and then married again and then divorced again.

1278
01:19:01,040 --> 01:19:06,200
Speaker 1: So she was busy doing some probably fucked up stuff. Yeah,

1279
01:19:06,479 --> 01:19:08,960
Speaker 1: so that I guess that's why she's not acting, because

1280
01:19:08,960 --> 01:19:16,479
Speaker 1: she's she was. Look, you're we all on this planet

1281
01:19:16,560 --> 01:19:19,519
Speaker 1: have one job, and it's still like not marry Elon

1282
01:19:19,640 --> 01:19:27,439
Speaker 1: Musk and many people have um simply failed. As you

1283
01:19:27,600 --> 01:19:30,360
Speaker 1: hear that Grimes is La who was married to him

1284
01:19:30,400 --> 01:19:33,240
Speaker 1: right now, she did not marry him and then she

1285
01:19:33,360 --> 01:19:35,000
Speaker 1: broke up with him, but she did have a baby

1286
01:19:35,040 --> 01:19:38,960
Speaker 1: with him. Oh right, okay, okay, And that is unfortunately

1287
01:19:39,040 --> 01:19:41,840
Speaker 1: way too much information that I knew. But I'm a

1288
01:19:41,880 --> 01:19:44,840
Speaker 1: recovering Grimes fan. I really was. I was a huge

1289
01:19:44,920 --> 01:19:47,080
Speaker 1: fan of hers in college and I was like, Wow,

1290
01:19:47,120 --> 01:19:52,440
Speaker 1: she's so cool, and then you married Elon Musk. Disappointed.

1291
01:19:52,640 --> 01:19:54,960
Speaker 1: Oh you know what, what what I should have said

1292
01:19:55,200 --> 01:19:58,519
Speaker 1: instead of that actor who married Elon Musk twice, I

1293
01:19:58,520 --> 01:20:09,240
Speaker 1: should have said mute two times. Oh anyway, go on,

1294
01:20:10,080 --> 01:20:14,639
Speaker 1: Oh my goodness, Okay, I guess I'm sorry. I don't

1295
01:20:14,640 --> 01:20:20,920
Speaker 1: know anyways, Jane Fairfax Rocks Emma is. Emma is fine,

1296
01:20:21,439 --> 01:20:23,920
Speaker 1: but she's not the most interesting person in the story,

1297
01:20:23,960 --> 01:20:26,880
Speaker 1: I don't think sure. The couple things that struck me

1298
01:20:26,920 --> 01:20:30,360
Speaker 1: about her since I wasn't familiar with the book and

1299
01:20:30,439 --> 01:20:34,880
Speaker 1: didn't know how this adaptation compared to the book. Speaking

1300
01:20:34,880 --> 01:20:41,480
Speaker 1: strictly from watching the movie, standpoint, I found it interesting

1301
01:20:42,520 --> 01:20:49,599
Speaker 1: that Emma Her relationship with women was noteworthy in that

1302
01:20:49,720 --> 01:20:54,240
Speaker 1: she seems to hate almost every woman she encounters, with

1303
01:20:54,280 --> 01:20:59,000
Speaker 1: the exception of Harriet. But that's also an interesting relationship

1304
01:20:59,040 --> 01:21:04,679
Speaker 1: because MS sees Harriet and missus Weston right, yes, yes, yes, yeah,

1305
01:21:04,760 --> 01:21:09,479
Speaker 1: oh right, okay, So Harriet MS sees more as a

1306
01:21:09,560 --> 01:21:14,280
Speaker 1: project than a French person. Yeah, especially in the book

1307
01:21:14,400 --> 01:21:16,479
Speaker 1: as you've described it, she was just going to be

1308
01:21:16,520 --> 01:21:19,640
Speaker 1: like sorry, mister Knightley's mine. You have to go to

1309
01:21:19,680 --> 01:21:22,559
Speaker 1: the dentist now. Right. In the movie, they do change that,

1310
01:21:22,600 --> 01:21:27,400
Speaker 1: which humanizes EMA's character more. But even so, m spends

1311
01:21:27,439 --> 01:21:30,960
Speaker 1: most of the movie not really treating Harriet as an

1312
01:21:31,000 --> 01:21:36,439
Speaker 1: equal and being like, I'm the teacher. I teach you things,

1313
01:21:36,520 --> 01:21:38,920
Speaker 1: and you have to do as I say, and if

1314
01:21:38,960 --> 01:21:41,760
Speaker 1: you make choices that I don't like, then I'm not

1315
01:21:41,800 --> 01:21:44,520
Speaker 1: gonna want to be your friend. So that's a peculiar

1316
01:21:44,600 --> 01:21:49,320
Speaker 1: relationship with Missus Weston. Well, Missus Weston is like basically

1317
01:21:49,400 --> 01:21:53,360
Speaker 1: her like surrogate mom. So that's right. I think why

1318
01:21:53,439 --> 01:21:55,640
Speaker 1: that relationship goes away it is, I do. Yeah, if

1319
01:21:55,680 --> 01:21:58,200
Speaker 1: with Emma there is this kind of strong, like she

1320
01:21:58,280 --> 01:22:00,960
Speaker 1: has a bit of a guy's gal energy about her,

1321
01:22:01,040 --> 01:22:05,160
Speaker 1: where she's much more forgiving and even like celebrates the

1322
01:22:05,200 --> 01:22:08,360
Speaker 1: faults of the men around her and is very very

1323
01:22:08,439 --> 01:22:11,840
Speaker 1: punitive and judgmental of other women around her. I feel

1324
01:22:11,840 --> 01:22:14,680
Speaker 1: like again in the book and at the movie to

1325
01:22:14,720 --> 01:22:19,040
Speaker 1: an extent, that's contextualized a little better, where you know, like,

1326
01:22:20,080 --> 01:22:22,559
Speaker 1: part of why Lizzie Bennett is amazing is because there's

1327
01:22:22,600 --> 01:22:26,479
Speaker 1: constantly this pressure on her to dislike other women and

1328
01:22:26,520 --> 01:22:29,640
Speaker 1: She's like, no, fuck you. This is an important relationship

1329
01:22:29,680 --> 01:22:33,280
Speaker 1: to be and that's why Lizzie Bennett's the best. Emma

1330
01:22:33,400 --> 01:22:35,200
Speaker 1: on the other hand, I feel like experience is that

1331
01:22:35,280 --> 01:22:37,679
Speaker 1: same pressure of like we live in a small community,

1332
01:22:37,720 --> 01:22:40,160
Speaker 1: everyone's in competition with each other, blah blah blah, and

1333
01:22:40,240 --> 01:22:44,360
Speaker 1: she gives into that I feel like in a major way,

1334
01:22:44,400 --> 01:22:46,800
Speaker 1: in a way that probably wasn't unusual for that time

1335
01:22:46,840 --> 01:22:50,479
Speaker 1: and still happens now, right, But yeah, Emma doesn't really

1336
01:22:50,760 --> 01:22:52,439
Speaker 1: push back on that until at the end of the

1337
01:22:52,439 --> 01:22:54,760
Speaker 1: book where she issues a series of apologies and makes

1338
01:22:54,800 --> 01:22:57,400
Speaker 1: things right, which like sort of happens in the movie.

1339
01:22:57,560 --> 01:22:59,680
Speaker 1: I don't know. I wish that had happened more in

1340
01:23:00,040 --> 01:23:02,760
Speaker 1: a movie, because if the movie is asking us to

1341
01:23:03,600 --> 01:23:08,519
Speaker 1: be endeared and empathetic toward Emma, yeah, she needs to

1342
01:23:08,600 --> 01:23:11,960
Speaker 1: grow more and she needs to apologize because the way

1343
01:23:12,000 --> 01:23:14,559
Speaker 1: I was seeing it, she starts out hating a lot

1344
01:23:14,560 --> 01:23:18,479
Speaker 1: of the women around her, but then sees the error

1345
01:23:18,520 --> 01:23:21,640
Speaker 1: in her ways, Like especially after after she's cruel to

1346
01:23:22,240 --> 01:23:26,040
Speaker 1: Miss Bates, she offers her a basket and I guess

1347
01:23:26,080 --> 01:23:28,760
Speaker 1: that's an apology, but she like kind of she comes

1348
01:23:28,760 --> 01:23:33,040
Speaker 1: around on Miss Bates. She doesn't really come around on

1349
01:23:33,120 --> 01:23:36,080
Speaker 1: Jane Fairfax in the movie. I would have liked to

1350
01:23:36,200 --> 01:23:40,200
Speaker 1: see more of Emma acknowledging that she was being very

1351
01:23:40,280 --> 01:23:45,200
Speaker 1: petty and jealous and classics toward Jane, but that we

1352
01:23:45,240 --> 01:23:47,759
Speaker 1: don't really see that in the movie, which is weird

1353
01:23:47,800 --> 01:23:49,880
Speaker 1: because I feel like it would help the movie, and

1354
01:23:50,200 --> 01:23:55,680
Speaker 1: it definitely happens right right with Harriet. Obviously, that's a

1355
01:23:55,720 --> 01:24:00,280
Speaker 1: major change in this adaptation, and I think for the

1356
01:24:00,360 --> 01:24:04,400
Speaker 1: better because it again does make Emma more empathetic and

1357
01:24:05,000 --> 01:24:09,000
Speaker 1: more active. So I'm pro that choice. But I think

1358
01:24:09,240 --> 01:24:14,720
Speaker 1: a more effective film overall and like adaptation would have

1359
01:24:15,000 --> 01:24:20,840
Speaker 1: shown Emma being prejudice toward the women around her at

1360
01:24:20,840 --> 01:24:25,080
Speaker 1: the beginning, but then reconciling with them and like growing

1361
01:24:25,120 --> 01:24:29,000
Speaker 1: and having those relationships become more positive by the end

1362
01:24:29,320 --> 01:24:33,120
Speaker 1: fresh versus like in the beginning, she's favoring a lot

1363
01:24:33,160 --> 01:24:35,320
Speaker 1: of the men around her and like thinking they're awesome.

1364
01:24:35,439 --> 01:24:38,240
Speaker 1: She thinks mister Elton is awesome at first. She thinks

1365
01:24:38,280 --> 01:24:42,080
Speaker 1: Frank Churchill is awesome before she has ever even met him,

1366
01:24:42,400 --> 01:24:44,639
Speaker 1: you know. She thinks all these men are awesome. And

1367
01:24:44,760 --> 01:24:47,120
Speaker 1: this is I think done pretty effectively in the movie,

1368
01:24:47,160 --> 01:24:51,200
Speaker 1: where she as she gets to know them, realizes their

1369
01:24:51,640 --> 01:24:55,519
Speaker 1: actually way worse than she thought, so basically like the

1370
01:24:55,640 --> 01:24:57,720
Speaker 1: arc for Emma should have been, like she starts out

1371
01:24:57,840 --> 01:25:01,040
Speaker 1: as a very bad, very poor judge of character, and

1372
01:25:01,080 --> 01:25:04,679
Speaker 1: then by the end she becomes a way better judge

1373
01:25:04,680 --> 01:25:07,599
Speaker 1: of character. And maybe that's and which is like also

1374
01:25:07,720 --> 01:25:10,519
Speaker 1: kind of what priend prejudice it is about, but it's

1375
01:25:10,520 --> 01:25:15,400
Speaker 1: just better. It's better. I mean, I know that not

1376
01:25:15,439 --> 01:25:18,679
Speaker 1: everyone can be Lizzie Bennett, but I'm just like, damn Emma,

1377
01:25:18,760 --> 01:25:23,280
Speaker 1: Lizzie Bennett, no contest, honey, I would so be friends

1378
01:25:23,479 --> 01:25:26,360
Speaker 1: with Elizabeth Bennett. I don't want to be friends with

1379
01:25:26,400 --> 01:25:30,040
Speaker 1: Emma Woodhouse, No, I wish her no ill, But I

1380
01:25:30,080 --> 01:25:32,080
Speaker 1: do want to be friends with Jane. And I want

1381
01:25:32,120 --> 01:25:35,240
Speaker 1: to talk Jane into divorcing Frank and eloping with me

1382
01:25:36,000 --> 01:25:38,840
Speaker 1: because she's awesome. But also it's I don't know in

1383
01:25:39,360 --> 01:25:42,439
Speaker 1: this world Jane ending up with Frank is It's funny

1384
01:25:42,479 --> 01:25:45,080
Speaker 1: because it's like I kind of in some ways, I

1385
01:25:45,160 --> 01:25:48,679
Speaker 1: kind of like and again I'm maybe talking more about

1386
01:25:48,680 --> 01:25:50,679
Speaker 1: the book here, but like I kind of like mister

1387
01:25:50,840 --> 01:25:53,640
Speaker 1: Knightley more than I like Emma, which feels like a betrayal.

1388
01:25:54,280 --> 01:25:56,599
Speaker 1: But like mister Knightley, I see what you mean. Like

1389
01:25:56,680 --> 01:25:59,120
Speaker 1: mister Knightley, it has the same amount. I mean, he

1390
01:25:59,160 --> 01:26:01,559
Speaker 1: has more privilege than Emma because he's a man, right,

1391
01:26:01,640 --> 01:26:06,200
Speaker 1: so like inherently, but personality wise, mister Knightley is way

1392
01:26:06,240 --> 01:26:10,040
Speaker 1: more willing, probably also because he's older, way more willing

1393
01:26:10,080 --> 01:26:12,840
Speaker 1: to be like you can't treat people like that or

1394
01:26:13,000 --> 01:26:16,240
Speaker 1: like in the book especially he goes on some you know,

1395
01:26:16,320 --> 01:26:19,960
Speaker 1: too long tears, but like he's he's I think more

1396
01:26:20,120 --> 01:26:23,880
Speaker 1: often than Emma presents the morally correct standpoint towards a

1397
01:26:24,000 --> 01:26:27,880
Speaker 1: character where he's very quick to be like Frank is

1398
01:26:28,040 --> 01:26:32,599
Speaker 1: a bullshit artist, like something isn't quite right there. He's

1399
01:26:32,680 --> 01:26:35,800
Speaker 1: like courting you, but it's weird, like he catches on

1400
01:26:35,840 --> 01:26:38,479
Speaker 1: to that very quickly. He also catches on quick to

1401
01:26:38,560 --> 01:26:41,040
Speaker 1: like Emma, why are you being mean to Jane? She's

1402
01:26:41,080 --> 01:26:43,360
Speaker 1: like a perfectly nice person and I think you're maybe

1403
01:26:43,360 --> 01:26:45,880
Speaker 1: a little bit jealous of her. And Emma's like no,

1404
01:26:46,640 --> 01:26:48,840
Speaker 1: which is which is pointed coming from a man, because

1405
01:26:48,880 --> 01:26:51,000
Speaker 1: it's like what does he know? But also he's like

1406
01:26:51,280 --> 01:26:54,160
Speaker 1: correct in that situation. And then he also is the

1407
01:26:54,200 --> 01:26:56,920
Speaker 1: person that's like, you can't treat miss bates like that,

1408
01:26:57,040 --> 01:26:59,920
Speaker 1: and he lays out a pretty like I thought, like

1409
01:27:00,560 --> 01:27:01,840
Speaker 1: and this is in the book too, but like a

1410
01:27:01,840 --> 01:27:06,080
Speaker 1: pretty gender and class aware argument as to why he's like,

1411
01:27:06,160 --> 01:27:08,240
Speaker 1: not only does it mean but you need to keep

1412
01:27:08,280 --> 01:27:10,240
Speaker 1: in mind that she does not have the same amount

1413
01:27:10,240 --> 01:27:12,479
Speaker 1: of privilege that you have, right, and because of how

1414
01:27:12,520 --> 01:27:15,360
Speaker 1: our society is structured, her situation is going to get

1415
01:27:15,400 --> 01:27:18,920
Speaker 1: worse with time, So like, how dare you talk to

1416
01:27:18,960 --> 01:27:21,880
Speaker 1: her that way? Right, which is also like, well, nightly,

1417
01:27:21,920 --> 01:27:24,600
Speaker 1: you could always help her out, You're a fucking bajillionaire.

1418
01:27:25,200 --> 01:27:29,320
Speaker 1: But just the fact that he sees and understands gender

1419
01:27:29,320 --> 01:27:31,880
Speaker 1: and class issues better than Emma in some ways, and

1420
01:27:31,920 --> 01:27:35,360
Speaker 1: then obviously there's other other ways that Emma like Emma

1421
01:27:35,400 --> 01:27:37,760
Speaker 1: seems hyper aware of the fact that she will be

1422
01:27:37,800 --> 01:27:40,160
Speaker 1: treated differently her whole life if she never gets married,

1423
01:27:40,200 --> 01:27:42,879
Speaker 1: and she's already said like, I'm fine with that. It sucks,

1424
01:27:42,920 --> 01:27:45,240
Speaker 1: but I'm fine with that, which is I think one

1425
01:27:45,280 --> 01:27:48,200
Speaker 1: of the only points that that character has to make

1426
01:27:48,240 --> 01:27:50,679
Speaker 1: that was interesting to me. I don't know, I guess

1427
01:27:50,680 --> 01:27:55,479
Speaker 1: I'm anti. I just don't like whatever, Like you don't

1428
01:27:55,479 --> 01:27:57,840
Speaker 1: have to like her, I don't In many cases, like

1429
01:27:57,880 --> 01:28:00,959
Speaker 1: she's supposed to be hard to like, and it works.

1430
01:28:01,000 --> 01:28:06,160
Speaker 1: I found it hard to like her, right yeah, Because

1431
01:28:06,200 --> 01:28:11,240
Speaker 1: it's also mister Knightley who sees through Frank Churchill right

1432
01:28:11,280 --> 01:28:13,720
Speaker 1: away too, and it's like this guy sucks. How do

1433
01:28:13,760 --> 01:28:17,599
Speaker 1: you not notice this? And Emma's like, no, he's awesome.

1434
01:28:18,120 --> 01:28:21,760
Speaker 1: And in the book, Emma forgives Frank. Frank sends her

1435
01:28:21,800 --> 01:28:24,519
Speaker 1: this long letter and he's like, hey, sorry, I was

1436
01:28:24,560 --> 01:28:27,200
Speaker 1: like aggressively flirting with you all that time. I assumed

1437
01:28:27,240 --> 01:28:29,360
Speaker 1: that you knew that I wasn't serious about it, and

1438
01:28:29,840 --> 01:28:32,400
Speaker 1: which in the book is true. So she's like, oh, yeah,

1439
01:28:32,439 --> 01:28:35,040
Speaker 1: I do. But it's like, imagine if she didn't know

1440
01:28:35,120 --> 01:28:38,200
Speaker 1: how evil that is. And then he's like, yeah, it

1441
01:28:38,320 --> 01:28:41,120
Speaker 1: was really mean of me to be like aggressive, like

1442
01:28:41,360 --> 01:28:43,320
Speaker 1: because he does it once in the movie, he does

1443
01:28:43,320 --> 01:28:45,679
Speaker 1: it all the time. In the book, he's constantly calling

1444
01:28:45,880 --> 01:28:49,320
Speaker 1: Jane weird, looking like to throw everyone off his scent

1445
01:28:49,439 --> 01:28:52,520
Speaker 1: that he secretly engaged to her. He's like, Jane Fairfax,

1446
01:28:52,600 --> 01:28:55,599
Speaker 1: what a weirdo? Hate her, can't stand her, and like

1447
01:28:55,760 --> 01:28:58,439
Speaker 1: eggs Emma on to do the same, and then she

1448
01:28:58,560 --> 01:29:03,559
Speaker 1: forgives him, and I'm just like, Jane, baby, let's get

1449
01:29:03,560 --> 01:29:06,719
Speaker 1: out of here, like I don't know, it's so bizarre,

1450
01:29:07,000 --> 01:29:10,880
Speaker 1: like Frank sucks and Nightly Nightly. Then oh so in

1451
01:29:10,920 --> 01:29:13,719
Speaker 1: the book, Emma reads the letter and she's like, oh, well,

1452
01:29:13,720 --> 01:29:16,679
Speaker 1: you know, Frank, you know, he made a lot of mistakes,

1453
01:29:16,720 --> 01:29:19,439
Speaker 1: but I'm glad he apologized, which is true. Men don't

1454
01:29:19,479 --> 01:29:24,320
Speaker 1: usually apologize for anything in fiction or real life. So

1455
01:29:24,360 --> 01:29:26,800
Speaker 1: there you go, that's good. You know, he did more

1456
01:29:26,840 --> 01:29:28,840
Speaker 1: than most people would, but it's still not enough because

1457
01:29:28,840 --> 01:29:31,719
Speaker 1: he did a lot of bad stuff. And Nightly reads

1458
01:29:31,760 --> 01:29:35,120
Speaker 1: the letter after her, and it's like, all right, well,

1459
01:29:35,439 --> 01:29:38,080
Speaker 1: I guess it's good that he apologized, but like, I

1460
01:29:38,160 --> 01:29:40,240
Speaker 1: still think Jane is way too good for him and

1461
01:29:40,320 --> 01:29:42,040
Speaker 1: I don't want to hang out with him. And I

1462
01:29:42,160 --> 01:29:47,639
Speaker 1: was like, yeah, mister Knightley, Well, the other big thing

1463
01:29:48,200 --> 01:29:52,880
Speaker 1: for me with this movie is the romance between Emma

1464
01:29:53,160 --> 01:29:56,680
Speaker 1: and mister Knightley. I mean, we've already touched on some

1465
01:29:56,800 --> 01:30:00,720
Speaker 1: of this stuff, but you know, it starts out not

1466
01:30:01,120 --> 01:30:05,400
Speaker 1: unlike the way that like the Lizzie Bennett and Darcy

1467
01:30:05,560 --> 01:30:09,240
Speaker 1: relationships starts out where they are, you know, antagonistic toward

1468
01:30:09,360 --> 01:30:13,200
Speaker 1: each other. With Emma and Nightly, it's a little more

1469
01:30:13,240 --> 01:30:18,320
Speaker 1: like teasy and like they're acquainted already, so they have

1470
01:30:18,400 --> 01:30:22,840
Speaker 1: like a rapport that they've had for many years. Yeah,

1471
01:30:22,880 --> 01:30:29,160
Speaker 1: it's cute. It's cute. And what I find maybe this

1472
01:30:29,240 --> 01:30:33,519
Speaker 1: is maybe this is just me, but if I like someone,

1473
01:30:33,960 --> 01:30:37,080
Speaker 1: I'm very acutely aware that I like them. I've never

1474
01:30:37,120 --> 01:30:39,800
Speaker 1: experienced the thing that seems to happen a lot in

1475
01:30:40,520 --> 01:30:44,040
Speaker 1: movies where someone realizes that they've been in love with

1476
01:30:44,160 --> 01:30:49,559
Speaker 1: someone for months or years. Has this Does this happen

1477
01:30:49,560 --> 01:30:52,640
Speaker 1: to other people? Where they're like, they're just completely clueless

1478
01:30:52,680 --> 01:30:55,400
Speaker 1: that they're in love with someone, and one day the

1479
01:30:55,880 --> 01:30:58,680
Speaker 1: right clueless, one day a light bulb goes off and

1480
01:30:58,680 --> 01:31:00,640
Speaker 1: they're like, wait a minute, I've been in love with

1481
01:31:00,680 --> 01:31:04,640
Speaker 1: this person the whole time. Is that a thing? I

1482
01:31:05,880 --> 01:31:09,160
Speaker 1: don't know? I mean, I I don't think like in

1483
01:31:09,200 --> 01:31:12,240
Speaker 1: this way. I think I find that more. I think

1484
01:31:12,240 --> 01:31:15,120
Speaker 1: that that happens more often than enemies to lovers, Like

1485
01:31:15,720 --> 01:31:17,880
Speaker 1: I do think that it's like I know, I mean,

1486
01:31:17,920 --> 01:31:19,640
Speaker 1: I guess you could argue that that's sort of what

1487
01:31:19,720 --> 01:31:22,639
Speaker 1: happened with my parents. They were friends for like I mean,

1488
01:31:22,720 --> 01:31:27,240
Speaker 1: granted they're extremely divorced, but my parents were like friends

1489
01:31:27,280 --> 01:31:30,800
Speaker 1: for seven years and then they started dating. But were

1490
01:31:30,840 --> 01:31:33,120
Speaker 1: they like secretly in love with each other that whole

1491
01:31:33,160 --> 01:31:36,120
Speaker 1: time and then they find they like suddenly realized it

1492
01:31:36,320 --> 01:31:41,120
Speaker 1: or is it? Probably not, Caitlin, But do I think

1493
01:31:41,160 --> 01:31:43,559
Speaker 1: that Nightly has had a thing for Emma forever? Which

1494
01:31:43,720 --> 01:31:45,960
Speaker 1: gets problematic because she was a kid for a lot

1495
01:31:46,000 --> 01:31:48,439
Speaker 1: of that. But I don't know. I do think that

1496
01:31:48,479 --> 01:31:50,800
Speaker 1: they're like, I don't think it happens as often as

1497
01:31:50,880 --> 01:31:53,000
Speaker 1: it happens in books, but I do think that, like

1498
01:31:53,080 --> 01:31:55,479
Speaker 1: there's plenty of examples in real life of people being

1499
01:31:55,520 --> 01:31:59,080
Speaker 1: friends for a long time and then falling in love. Well, yeah,

1500
01:31:59,120 --> 01:32:01,600
Speaker 1: that I think that's definite thing. But I'm saying, not

1501
01:32:01,760 --> 01:32:03,720
Speaker 1: like realizing I've loved you the whole time. I don't

1502
01:32:03,840 --> 01:32:06,160
Speaker 1: understand how that would right. Yeah, that sounds made out.

1503
01:32:06,200 --> 01:32:08,799
Speaker 1: I mean again, maybe maybe there are people out there

1504
01:32:08,840 --> 01:32:12,240
Speaker 1: that that happened, but I don't. I'm just like, I

1505
01:32:12,240 --> 01:32:14,960
Speaker 1: don't know. Maybe I'm just so aware of my feelings

1506
01:32:16,000 --> 01:32:19,200
Speaker 1: brag that I just know if I love someone, I

1507
01:32:19,240 --> 01:32:22,920
Speaker 1: don't know. I anyway, I guess that that well, I know,

1508
01:32:23,040 --> 01:32:24,960
Speaker 1: you know what, I think it happens, I do, okay,

1509
01:32:25,040 --> 01:32:27,320
Speaker 1: because I was just like, wait, I think that that

1510
01:32:27,320 --> 01:32:30,080
Speaker 1: that's actually kind of what happens in my first major relationship.

1511
01:32:30,520 --> 01:32:32,800
Speaker 1: I well, I the point I was going to try

1512
01:32:32,800 --> 01:32:37,080
Speaker 1: to make was because I like realistic representations of romance

1513
01:32:37,720 --> 01:32:41,000
Speaker 1: in media because it so rarely happens. Yeah, so many

1514
01:32:41,120 --> 01:32:43,880
Speaker 1: romantic movies just like make up a thing that doesn't

1515
01:32:43,880 --> 01:32:46,760
Speaker 1: seem to happen ever in real life, and that's like

1516
01:32:46,960 --> 01:32:50,360
Speaker 1: the crux of the relationship, and then convinces people that

1517
01:32:50,360 --> 01:32:52,639
Speaker 1: that's how stuff is going to go in their life

1518
01:32:52,640 --> 01:32:54,679
Speaker 1: and that it doesn't and then they're just like well,

1519
01:32:55,040 --> 01:32:57,320
Speaker 1: and then they're thirty and then they're like, wait a second,

1520
01:32:57,360 --> 01:32:59,400
Speaker 1: I guess that wasn't a thing, right, So I was

1521
01:32:59,439 --> 01:33:02,599
Speaker 1: just curious, So sound off in the comments. Also, matrons,

1522
01:33:02,680 --> 01:33:06,759
Speaker 1: if if it's happened to you where you've loved someone

1523
01:33:06,920 --> 01:33:08,880
Speaker 1: for a long time but it took you a very

1524
01:33:08,880 --> 01:33:11,960
Speaker 1: long time to realize it and you had no idea

1525
01:33:11,960 --> 01:33:14,880
Speaker 1: about your feelings, because if that is a thing, then

1526
01:33:15,000 --> 01:33:18,760
Speaker 1: I will I will hold my tongue. I think it

1527
01:33:18,800 --> 01:33:21,560
Speaker 1: does happen, but not as often as it does in ficture.

1528
01:33:21,800 --> 01:33:27,639
Speaker 1: That's my that's my I don't know, sorry, but that's

1529
01:33:27,680 --> 01:33:36,240
Speaker 1: my two little pet. That's should we just end the episode,

1530
01:33:36,240 --> 01:33:40,400
Speaker 1: I don't know things are going off the rails. I

1531
01:33:40,439 --> 01:33:43,840
Speaker 1: don't think I have anything else to say. Honestly, I

1532
01:33:43,880 --> 01:33:46,320
Speaker 1: will say that in the comments of our Patreon someone

1533
01:33:46,400 --> 01:33:49,559
Speaker 1: mentioned that Miss Bates and Emma, or their opinion was

1534
01:33:49,560 --> 01:33:52,599
Speaker 1: it Miss Bates and Emma was as close to um

1535
01:33:53,400 --> 01:33:57,400
Speaker 1: Jane Austen's financial situation, which was that she like had

1536
01:33:57,479 --> 01:33:59,360
Speaker 1: some money as a young person, but then when certain

1537
01:33:59,400 --> 01:34:04,599
Speaker 1: relatives die, she was dependent and it was single because

1538
01:34:04,640 --> 01:34:07,959
Speaker 1: her income from writing wasn't significant enough to like elevate

1539
01:34:08,040 --> 01:34:13,559
Speaker 1: her to like Emma's status. So God, just more more grist,

1540
01:34:13,640 --> 01:34:16,120
Speaker 1: little to chew on. Yeah, do you ever? Do you

1541
01:34:16,160 --> 01:34:19,000
Speaker 1: have anything else here? Just one last really quick thing.

1542
01:34:19,200 --> 01:34:21,000
Speaker 1: This is something we you talked about in the ever

1543
01:34:21,080 --> 01:34:25,719
Speaker 1: After episode. Yes, okay, I is another movie that paints

1544
01:34:25,920 --> 01:34:30,200
Speaker 1: romani people as dangerous thieves. It's not as egregious in

1545
01:34:30,240 --> 01:34:33,240
Speaker 1: this movie as it is and ever After I would argue,

1546
01:34:33,320 --> 01:34:36,519
Speaker 1: but there's a definite mention of it. And that's something

1547
01:34:36,560 --> 01:34:38,600
Speaker 1: that's in the book that I was shocked made it

1548
01:34:38,640 --> 01:34:41,840
Speaker 1: to the movie. Shocked, Yeah, because this movie was made

1549
01:34:41,880 --> 01:34:45,559
Speaker 1: two years ago and everyone involved should have known better,

1550
01:34:47,200 --> 01:34:49,599
Speaker 1: because it's like this movie does take creative license with

1551
01:34:49,680 --> 01:34:54,040
Speaker 1: a lot of plot points. Why not that one peepee

1552
01:34:54,120 --> 01:34:58,240
Speaker 1: poop poo bad job. Yes, Other than that, yeah, I think, um,

1553
01:34:59,400 --> 01:35:03,439
Speaker 1: I guess. My parting word. My parting thoughts are that

1554
01:35:04,120 --> 01:35:08,400
Speaker 1: this adaptation could have lent itself to a character in

1555
01:35:08,520 --> 01:35:13,160
Speaker 1: Emma that I would be more empathetic toward, had she

1556
01:35:14,000 --> 01:35:17,720
Speaker 1: demonstrated more growth by the end, a better judge of

1557
01:35:17,800 --> 01:35:20,920
Speaker 1: character by the end, gotten rid of her prides and

1558
01:35:20,960 --> 01:35:24,600
Speaker 1: prejudices by the end, especially because so many of the

1559
01:35:24,640 --> 01:35:28,320
Speaker 1: people that she was quick to judge or mistreat our

1560
01:35:28,720 --> 01:35:37,200
Speaker 1: other women, And had Emma not ended up such a classist,

1561
01:35:37,760 --> 01:35:42,880
Speaker 1: anti woman character, which is so hard because it's like

1562
01:35:42,920 --> 01:35:46,320
Speaker 1: I don't think that Emma's like anti woman per se,

1563
01:35:46,400 --> 01:35:48,920
Speaker 1: but like it's just like it's a very weird, complicated

1564
01:35:48,960 --> 01:35:52,000
Speaker 1: thing that the way that this story has been adapted

1565
01:35:52,720 --> 01:35:56,320
Speaker 1: makes it hard to be on Emma's side as much

1566
01:35:56,360 --> 01:35:58,479
Speaker 1: as the movie would like you to be. I think

1567
01:35:58,840 --> 01:36:02,599
Speaker 1: right in the book, I feel like my I forget

1568
01:36:02,640 --> 01:36:05,240
Speaker 1: what other but I'm like, I find it very easy

1569
01:36:05,280 --> 01:36:08,320
Speaker 1: to believe that the book has elements of satire to it,

1570
01:36:08,360 --> 01:36:10,400
Speaker 1: of like rich people are going to be rich people,

1571
01:36:10,640 --> 01:36:13,240
Speaker 1: and like, look at all these. I don't know. This

1572
01:36:13,240 --> 01:36:15,720
Speaker 1: one is kind of tough because I always want to

1573
01:36:15,760 --> 01:36:18,920
Speaker 1: be resistant towards like why doesn't this movie that takes

1574
01:36:18,920 --> 01:36:21,599
Speaker 1: place in eighteen twelve have the morals of today. It's like, well,

1575
01:36:21,600 --> 01:36:24,880
Speaker 1: we know why, right, But then also why choose to

1576
01:36:24,920 --> 01:36:30,680
Speaker 1: adapt something from back then in the twenty twenties and

1577
01:36:30,920 --> 01:36:34,160
Speaker 1: not really say anything or do anything about it. I

1578
01:36:34,240 --> 01:36:36,360
Speaker 1: felt that way with like, well, I think that she tried,

1579
01:36:36,439 --> 01:36:39,519
Speaker 1: Like I that's willy come to the But I do

1580
01:36:39,600 --> 01:36:42,439
Speaker 1: think that they tried. I think they changed elements and

1581
01:36:42,479 --> 01:36:45,519
Speaker 1: they tried to put you more in the friendship with

1582
01:36:45,560 --> 01:36:47,880
Speaker 1: Emma and Harriet. And they try and they did, like

1583
01:36:47,920 --> 01:36:50,439
Speaker 1: I mean, and they were successful in putting you more

1584
01:36:50,439 --> 01:36:54,160
Speaker 1: in Emma and Harriet's friendship and demonstrating more personal growth

1585
01:36:54,160 --> 01:36:56,080
Speaker 1: on Emma's part than takes place in the book. I

1586
01:36:56,120 --> 01:36:58,800
Speaker 1: just think it gets a little dissonant, and it gets

1587
01:36:58,800 --> 01:37:01,400
Speaker 1: into what was Jane Austen's intent with this character, and

1588
01:37:01,479 --> 01:37:04,320
Speaker 1: does the movie telegraph that same intent? So I think

1589
01:37:04,320 --> 01:37:07,200
Speaker 1: it's just like it's adaptation wise. For me, it's a

1590
01:37:07,240 --> 01:37:10,160
Speaker 1: little messy because I don't think my read of the

1591
01:37:10,160 --> 01:37:13,519
Speaker 1: book was that you're not really supposed to be like Wahoo,

1592
01:37:13,520 --> 01:37:16,440
Speaker 1: Emma got everything she wanted. It's more like and obviously

1593
01:37:16,479 --> 01:37:19,559
Speaker 1: Emma got everything she wanted, where the movie wants you

1594
01:37:19,600 --> 01:37:21,920
Speaker 1: to be more like Wallhoo, Emma got everything she wanted.

1595
01:37:21,920 --> 01:37:25,120
Speaker 1: And it's just hard when someone is that privileged and

1596
01:37:25,600 --> 01:37:29,000
Speaker 1: most of her growth happens through minor inconveniences that affect

1597
01:37:29,120 --> 01:37:31,920
Speaker 1: other people more than herself, it's hard to root for her,

1598
01:37:32,000 --> 01:37:33,720
Speaker 1: and it's hard to be like Wall who she got

1599
01:37:33,760 --> 01:37:36,120
Speaker 1: what she wanted because you're told in the opening line

1600
01:37:36,600 --> 01:37:39,439
Speaker 1: she's clever, handsome, and rich. She gets what she wants, right,

1601
01:37:39,640 --> 01:37:42,560
Speaker 1: So why am I supposed to be cheering at the

1602
01:37:42,640 --> 01:37:46,679
Speaker 1: end when she gets what she wants? So I just

1603
01:37:47,360 --> 01:37:49,960
Speaker 1: I don't know. I've it's weird, and it's like I

1604
01:37:50,280 --> 01:37:53,120
Speaker 1: want to be careful to not like Project twenty twenty

1605
01:37:53,160 --> 01:37:56,679
Speaker 1: two morals onto this story and in the same way

1606
01:37:56,800 --> 01:37:59,680
Speaker 1: or like, but Jane Austen has done a better like

1607
01:37:59,680 --> 01:38:03,439
Speaker 1: we just covered a story where Jane Austen did, I think,

1608
01:38:03,520 --> 01:38:06,360
Speaker 1: like a much more effective job of discussing these same

1609
01:38:06,400 --> 01:38:13,559
Speaker 1: topics that feel weird in this adaptation. Right, it's just weird.

1610
01:38:13,720 --> 01:38:17,479
Speaker 1: I don't know. My opinion is it's fucking weird. Who knows.

1611
01:38:17,760 --> 01:38:19,799
Speaker 1: I mean, honestly, I have had such a good time

1612
01:38:20,160 --> 01:38:23,479
Speaker 1: prepping for the It's not to brag, but it's taken

1613
01:38:23,840 --> 01:38:27,120
Speaker 1: way longer than it usually does when you're reading a

1614
01:38:27,120 --> 01:38:29,360
Speaker 1: whole book and then watching a movie a billion times.

1615
01:38:29,360 --> 01:38:34,400
Speaker 1: But I feel really something revisiting Jane Austen's work and

1616
01:38:34,479 --> 01:38:38,080
Speaker 1: like having to engage with a period piece like this critically,

1617
01:38:38,120 --> 01:38:41,479
Speaker 1: because it is challenging to be like, Okay, you know

1618
01:38:41,560 --> 01:38:44,920
Speaker 1: we're an intersectional feminist podcast, but what does that mean

1619
01:38:45,680 --> 01:38:48,799
Speaker 1: with this work, and like, how can we analyze something

1620
01:38:48,800 --> 01:38:52,080
Speaker 1: without coming to the table with a completely unreasonable expectation,

1621
01:38:52,160 --> 01:38:54,720
Speaker 1: and like how does adaptation to I don't know. It's

1622
01:38:54,760 --> 01:38:58,400
Speaker 1: been a fun little brain puzzle that everyone's going to

1623
01:38:58,479 --> 01:39:02,120
Speaker 1: view differently, but I've enjoyed it. I don't know, But

1624
01:39:02,160 --> 01:39:05,800
Speaker 1: I mean Pride and Prejudice way fucking better. And I

1625
01:39:05,840 --> 01:39:07,920
Speaker 1: don't think that that's the fault of the filmmakers of

1626
01:39:07,960 --> 01:39:11,760
Speaker 1: this movie. This movie is gorgeous. All the performances are

1627
01:39:11,800 --> 01:39:15,240
Speaker 1: well done. The only thing that I would really criticize

1628
01:39:15,280 --> 01:39:19,080
Speaker 1: about this movie that is the treatment of Romani people.

1629
01:39:19,200 --> 01:39:23,200
Speaker 1: And also just like I mean, scaling back Jane, I

1630
01:39:23,240 --> 01:39:28,640
Speaker 1: didn't love and removing more effective apologies that were in

1631
01:39:28,680 --> 01:39:30,519
Speaker 1: the book but were left out in the movie. I

1632
01:39:30,520 --> 01:39:34,639
Speaker 1: thought was bizarre. But but the third act changes, even

1633
01:39:34,680 --> 01:39:36,599
Speaker 1: though some of them, like you were saying, were like

1634
01:39:37,200 --> 01:39:41,400
Speaker 1: a little too modern, even so I liked the third

1635
01:39:41,400 --> 01:39:43,160
Speaker 1: act changes they made. I thought it was like a cool.

1636
01:39:43,200 --> 01:39:46,679
Speaker 1: It kind of reminded me of another White Girl reboot

1637
01:39:46,720 --> 01:39:50,920
Speaker 1: we saw recently with Little Women, where Gredick Gerwick was

1638
01:39:51,240 --> 01:39:53,040
Speaker 1: doing all sorts of funery with the third act of

1639
01:39:53,080 --> 01:39:55,280
Speaker 1: that movie, and it worked out in this really fun,

1640
01:39:55,800 --> 01:39:58,360
Speaker 1: cool way that had something to say. This one maybe

1641
01:39:58,360 --> 01:39:59,960
Speaker 1: didn't have quite as much to say, but I thought

1642
01:40:00,120 --> 01:40:03,519
Speaker 1: it was like a cool I don't know, I'm happy

1643
01:40:03,560 --> 01:40:07,040
Speaker 1: it exists. I would rather see more adaptations of Pride

1644
01:40:07,080 --> 01:40:12,120
Speaker 1: and Prejudice than of Emma. And also, you know, I don't,

1645
01:40:12,160 --> 01:40:14,599
Speaker 1: I don't know. I mean, I don't. I don't even

1646
01:40:14,680 --> 01:40:17,560
Speaker 1: know that I necessarily feel like no more Jane Austen adaptations.

1647
01:40:17,600 --> 01:40:19,120
Speaker 1: I think it's kind of cool that there are these

1648
01:40:19,160 --> 01:40:22,960
Speaker 1: properties that get a generational reboot. It's kind of like

1649
01:40:23,000 --> 01:40:25,960
Speaker 1: Shakespeare in that way, like Where and Autumn. De Wilde

1650
01:40:26,000 --> 01:40:29,320
Speaker 1: says that in an interview where the first question an

1651
01:40:29,320 --> 01:40:33,360
Speaker 1: interviewer asked her, was like, so why in Emma reboot?

1652
01:40:33,439 --> 01:40:36,000
Speaker 1: Why now? And she's like, no, I've literally never heard

1653
01:40:36,040 --> 01:40:39,280
Speaker 1: that asked of a Shakespeare reboots. So I don't know

1654
01:40:39,280 --> 01:40:43,640
Speaker 1: how to answer that question, right, So I don't. I

1655
01:40:43,640 --> 01:40:47,559
Speaker 1: don't know. It's it's all, it's all weird. Should we

1656
01:40:47,600 --> 01:40:52,720
Speaker 1: cover Pride and prejudice and zombies? No? It sucks. I

1657
01:40:52,800 --> 01:40:56,400
Speaker 1: never saw it sucks. It's so boring. But Joel Kim,

1658
01:40:56,439 --> 01:40:59,559
Speaker 1: Booster and Boie Yang are in that Pride and Prejudice

1659
01:40:59,600 --> 01:41:03,160
Speaker 1: reaming called Fire Island that comes out next year. Oh,

1660
01:41:04,640 --> 01:41:07,519
Speaker 1: I didn't realize that was I had no idea see it.

1661
01:41:07,600 --> 01:41:10,240
Speaker 1: So it's like this is like these are fun stories

1662
01:41:10,240 --> 01:41:14,160
Speaker 1: to reimagine and readapt and like still like Clueless is

1663
01:41:14,200 --> 01:41:18,480
Speaker 1: the most fun I think in like insightful ly adapted

1664
01:41:18,600 --> 01:41:21,880
Speaker 1: version of Emma. But I liked this movie. I thought

1665
01:41:21,880 --> 01:41:25,400
Speaker 1: that they did cool stuff and it like it's so

1666
01:41:25,479 --> 01:41:29,080
Speaker 1: beautiful it is. I liked it. It It passes the Bechdel test.

1667
01:41:29,360 --> 01:41:32,720
Speaker 1: M it does, sure does. What would you rate it

1668
01:41:32,760 --> 01:41:35,720
Speaker 1: on our nimble scale? Because I don't know. I think

1669
01:41:35,760 --> 01:41:38,760
Speaker 1: I'm gonna go with like two and a half or three,

1670
01:41:39,080 --> 01:41:42,599
Speaker 1: like something like maybe three given the time period, because

1671
01:41:42,640 --> 01:41:46,880
Speaker 1: it's like centering a complicated woman at the center of

1672
01:41:46,920 --> 01:41:50,840
Speaker 1: a story in a movie that's directed and written by women,

1673
01:41:50,880 --> 01:41:53,040
Speaker 1: that's adapted from an old ass book by a woman.

1674
01:41:53,120 --> 01:41:56,639
Speaker 1: A woman it bears saying that it is all white women,

1675
01:41:56,880 --> 01:41:59,439
Speaker 1: you know, right down the line there. However, it's like

1676
01:42:00,120 --> 01:42:02,800
Speaker 1: it is. It is rare in that regard, and I

1677
01:42:02,840 --> 01:42:04,559
Speaker 1: feel like that's a lot of the reason why this

1678
01:42:04,640 --> 01:42:10,120
Speaker 1: story has endured and so for its time specifically. Yeah,

1679
01:42:10,120 --> 01:42:12,679
Speaker 1: a complicated female character at the center of a story,

1680
01:42:12,840 --> 01:42:17,559
Speaker 1: whether I like her or not, is something. Sure, she's

1681
01:42:17,600 --> 01:42:22,599
Speaker 1: no Elizabeth Bennett honey, but I think even Jane Austen

1682
01:42:22,680 --> 01:42:25,000
Speaker 1: knows that, you know. So it's like it is it,

1683
01:42:25,640 --> 01:42:29,400
Speaker 1: it's complicated. I don't like Emma. I just don't love

1684
01:42:30,160 --> 01:42:32,519
Speaker 1: I don't know. These are just like like I think

1685
01:42:32,520 --> 01:42:36,599
Speaker 1: that ultimately, like Emma doesn't. She understands what she's done,

1686
01:42:36,640 --> 01:42:39,760
Speaker 1: but there's not really any consequence for it in a

1687
01:42:39,800 --> 01:42:42,640
Speaker 1: way that I find so frustrating. She's like fucking with

1688
01:42:43,080 --> 01:42:46,479
Speaker 1: the like she could have ruined Harriet's life. It's like

1689
01:42:46,600 --> 01:42:49,120
Speaker 1: it really like she could have rout like in this

1690
01:42:49,160 --> 01:42:53,040
Speaker 1: society specifically, Emma is trying to make herself feel like

1691
01:42:53,280 --> 01:42:57,760
Speaker 1: she's doing something, like she's whatever, insecure about whatever it is.

1692
01:42:57,800 --> 01:43:00,519
Speaker 1: It's everyone quite clear to me what it is, and

1693
01:43:00,600 --> 01:43:02,320
Speaker 1: so she needs to feel like she's doing something. But

1694
01:43:02,360 --> 01:43:05,439
Speaker 1: she's ruining the life of someone much poorer than her.

1695
01:43:06,320 --> 01:43:09,280
Speaker 1: So I hate that. But I do, like I mean,

1696
01:43:09,800 --> 01:43:12,840
Speaker 1: in terms of the class spectrum, there is a lot

1697
01:43:12,880 --> 01:43:15,360
Speaker 1: of women of different classes that I think are all

1698
01:43:16,240 --> 01:43:18,240
Speaker 1: I still think that Miss Bates and Harriet are made

1699
01:43:18,280 --> 01:43:20,160
Speaker 1: to look silly because of their class and made to

1700
01:43:20,200 --> 01:43:23,920
Speaker 1: seem like under educated. Yeah, but you do get humanizing

1701
01:43:23,960 --> 01:43:26,960
Speaker 1: moments with them. It's not like their total cartoon characters.

1702
01:43:27,840 --> 01:43:31,200
Speaker 1: It's just all so complicated. I don't know. But like

1703
01:43:31,600 --> 01:43:34,479
Speaker 1: Emma is handsome, clever, and rich. It's on the fucking poster.

1704
01:43:35,439 --> 01:43:37,720
Speaker 1: She starts the story that way, and she ends the

1705
01:43:37,720 --> 01:43:41,240
Speaker 1: story that way, and she does learn a lesson about meddling.

1706
01:43:41,280 --> 01:43:43,400
Speaker 1: But I think, given the fact that she's meddling on

1707
01:43:43,439 --> 01:43:46,880
Speaker 1: a class basis, I just wish that this movie had

1708
01:43:46,920 --> 01:43:51,280
Speaker 1: word to say about class. It's so it's hard, I

1709
01:43:51,320 --> 01:43:55,080
Speaker 1: guess I'll But because Autumn deWilde is really fucking cool,

1710
01:43:55,160 --> 01:43:57,639
Speaker 1: I want to see more movies from her. I thought

1711
01:43:57,680 --> 01:44:00,880
Speaker 1: the screenplay was pretty well done for like Annie Taylor

1712
01:44:01,000 --> 01:44:09,680
Speaker 1: Joy is you know chess Netflix, She's great Bill and

1713
01:44:09,720 --> 01:44:12,519
Speaker 1: I he no notes, Like, I guess I'll give it

1714
01:44:12,560 --> 01:44:16,080
Speaker 1: three nipples, and I'm giving them all to Jane Fairfax.

1715
01:44:16,160 --> 01:44:18,479
Speaker 1: Give her a spare put in her pocket like a

1716
01:44:18,560 --> 01:44:26,360
Speaker 1: tire nice. I will agree on three. I think, just

1717
01:44:26,400 --> 01:44:30,479
Speaker 1: echoing a lot of your thoughts on it definitely could have,

1718
01:44:30,840 --> 01:44:36,840
Speaker 1: especially again an adaptation coming out in twenty twenty. I

1719
01:44:36,880 --> 01:44:40,160
Speaker 1: feel like, and I mean, maybe this is just because

1720
01:44:40,160 --> 01:44:42,479
Speaker 1: we've been doing this podcast for over five years, but

1721
01:44:42,960 --> 01:44:45,599
Speaker 1: I'm of the mind that if you're going to adapt

1722
01:44:45,720 --> 01:44:49,639
Speaker 1: something with such old source material, accompany it with some

1723
01:44:49,840 --> 01:44:56,360
Speaker 1: interesting commentary or make adaptation changes that update the story

1724
01:44:56,680 --> 01:45:00,240
Speaker 1: in interesting and meaningful ways. And I think I think

1725
01:45:00,240 --> 01:45:02,920
Speaker 1: this movie does attempt that to some degree, but I

1726
01:45:02,960 --> 01:45:06,760
Speaker 1: agree that it doesn't do quite enough. Yeah, Like, I

1727
01:45:06,800 --> 01:45:09,639
Speaker 1: don't necessarily want to see like an eighteen hundred story

1728
01:45:09,800 --> 01:45:12,479
Speaker 1: with twenty twenty two morals, but like maybe I do.

1729
01:45:12,640 --> 01:45:16,040
Speaker 1: But also I'm like, I think I just like want

1730
01:45:16,080 --> 01:45:20,880
Speaker 1: to see new story, right, I don't know, I don't know,

1731
01:45:21,840 --> 01:45:25,320
Speaker 1: And I guess some things are just there for entertainment.

1732
01:45:25,479 --> 01:45:32,000
Speaker 1: And we don't need big whatever or whatever. Mute two mute.

1733
01:45:33,760 --> 01:45:38,439
Speaker 1: Oh my god, and this era. I was about to

1734
01:45:38,439 --> 01:45:49,440
Speaker 1: make a terrible joke go about the mewtwo movement anyway, Okay,

1735
01:45:49,840 --> 01:45:55,840
Speaker 1: sorry everything, mute the hashtag mutube movement. You're evil. Oh

1736
01:45:55,920 --> 01:46:00,800
Speaker 1: my god, that's so funny. Okay, three nipples I will give.

1737
01:46:01,240 --> 01:46:05,639
Speaker 1: I'll give one to Harriet. I'll give one to miss

1738
01:46:05,640 --> 01:46:09,639
Speaker 1: Bates because she deserves way more of an apology than

1739
01:46:09,720 --> 01:46:12,599
Speaker 1: she got from Emma. And then I'll give my funnel

1740
01:46:13,400 --> 01:46:19,200
Speaker 1: nipple to Bill Ni because I'm dying. You literally said

1741
01:46:19,280 --> 01:46:27,400
Speaker 1: the mutube movement. It's the worst thing I've ever said.

1742
01:46:27,479 --> 01:46:31,600
Speaker 1: Maybe I need to take a nap. That was unbelievable.

1743
01:46:32,080 --> 01:46:36,760
Speaker 1: Wow Wow, well I I well everyone, I hope it

1744
01:46:36,800 --> 01:46:39,400
Speaker 1: was worth waiting five years because Caitlin just said the

1745
01:46:39,600 --> 01:46:45,519
Speaker 1: mutube movement. Um, I'm gonna get canceled for that. No,

1746
01:46:45,680 --> 01:46:48,840
Speaker 1: I truly like we said it in our in our

1747
01:46:48,920 --> 01:46:52,160
Speaker 1: pride and pressure this episode. But this was very rewarding,

1748
01:46:52,320 --> 01:46:55,200
Speaker 1: very cool. Uh. You know, we're not going to read

1749
01:46:55,240 --> 01:46:57,679
Speaker 1: a book for another five years, but thank you. Well,

1750
01:46:57,760 --> 01:47:01,200
Speaker 1: we'll do Wuthering Heights in five years. Oh, I don't

1751
01:47:01,240 --> 01:47:05,720
Speaker 1: know about that I take it back. Uh, you know,

1752
01:47:06,160 --> 01:47:09,360
Speaker 1: it's just, uh, we're not a buck podcast. It really

1753
01:47:09,360 --> 01:47:11,240
Speaker 1: takes a lot out of us. But he will be back.

1754
01:47:11,880 --> 01:47:16,920
Speaker 1: We'll be back. We'll be back next month talking about

1755
01:47:16,240 --> 01:47:20,000
Speaker 1: who knows, maybe Detective Pikachu. Do you do you all

1756
01:47:20,000 --> 01:47:22,240
Speaker 1: want that? Do you home want? That's not enough in

1757
01:47:22,240 --> 01:47:26,280
Speaker 1: the comments? All right, Well there you have it. That

1758
01:47:26,439 --> 01:47:32,160
Speaker 1: was our unlocked Emma episode from our Patreon aka Matreon,

1759
01:47:33,120 --> 01:47:38,519
Speaker 1: where you can subscribe to find even more episodes like that.

1760
01:47:39,160 --> 01:47:42,519
Speaker 1: You'll notice we mentioned the Pride and Prejudice episode that

1761
01:47:42,520 --> 01:47:47,320
Speaker 1: we had also covered that month. That's only on the Matreon,

1762
01:47:47,680 --> 01:47:50,920
Speaker 1: So why don't you just, you know, scoot on over

1763
01:47:51,000 --> 01:47:55,439
Speaker 1: to patreon dot com slash bactelcast for that episode and

1764
01:47:55,680 --> 01:48:00,720
Speaker 1: many many others over one hundred bonus episodes, all for

1765
01:48:00,840 --> 01:48:03,160
Speaker 1: five dollars a month. Yeah, and we have such a

1766
01:48:03,160 --> 01:48:05,960
Speaker 1: fun um, we have such a fun community over there.

1767
01:48:06,000 --> 01:48:08,880
Speaker 1: You also get to kind of at least when we

1768
01:48:08,960 --> 01:48:12,439
Speaker 1: choose to not ignore the results of polls, which we've

1769
01:48:12,439 --> 01:48:16,000
Speaker 1: only done once or twice and but it's because you're

1770
01:48:16,040 --> 01:48:20,840
Speaker 1: all bullies. But anyway, Um, you also get to vote

1771
01:48:20,840 --> 01:48:23,240
Speaker 1: on a lot of the movies that we cover. Um,

1772
01:48:23,280 --> 01:48:26,439
Speaker 1: you'll get discounts for live events when we're in your area,

1773
01:48:26,600 --> 01:48:30,120
Speaker 1: and a bunch of fun benefits. It's a really fun

1774
01:48:30,120 --> 01:48:33,759
Speaker 1: community over there. It's a blast, it's blast and a half.

1775
01:48:33,840 --> 01:48:36,439
Speaker 1: So UM, we hope to see you over there, um,

1776
01:48:36,600 --> 01:48:38,880
Speaker 1: or we'll just see you back here on the main feed.

1777
01:48:38,920 --> 01:48:42,160
Speaker 1: We got a lot of exciting stuff coming up and

1778
01:48:42,880 --> 01:48:47,320
Speaker 1: with that, UM, have a great I'm trying to think

1779
01:48:47,360 --> 01:48:50,360
Speaker 1: of a fun Emma way to oh, but I can't remember.

1780
01:48:50,560 --> 01:48:58,480
Speaker 1: I mean bee boop fairly well something something, No, we're

1781
01:48:58,840 --> 01:49:01,400
Speaker 1: bill Oh, now I remember where we talked about Pokemon

1782
01:49:01,400 --> 01:49:04,800
Speaker 1: because Bill Nii, because Bill Nii is in Detective Pikachu,

1783
01:49:05,200 --> 01:49:07,840
Speaker 1: and because I was playing a lot of Pokemon on

1784
01:49:07,880 --> 01:49:10,640
Speaker 1: my Nintendo Switch at the time. Yes, that was your

1785
01:49:10,640 --> 01:49:13,080
Speaker 1: Pokemon era and that was my talking about Bill Ni

1786
01:49:13,120 --> 01:49:17,200
Speaker 1: playing Pokemon era. So that paired pretty nicely. Well, we're

1787
01:49:17,240 --> 01:49:20,840
Speaker 1: Bill Ni jumping down the steps in that amazing moment

1788
01:49:21,080 --> 01:49:23,720
Speaker 1: in the movie Emma twenty twenty. Yes, and with that

1789
01:49:23,880 --> 01:49:26,799
Speaker 1: we fare thee well bye bye.