1 00:00:08,720 --> 00:00:11,680 Speaker 1: Loka toa Radio is a radiophonic novella. 2 00:00:11,760 --> 00:00:15,720 Speaker 2: Which is just a very extra way of saying a podcast. 3 00:00:16,480 --> 00:00:19,880 Speaker 3: I'm Diosa m and I am Mala Munos. 4 00:00:20,040 --> 00:00:23,840 Speaker 1: Loka to a Radio is yr Brima's favorite podcast. Hosted 5 00:00:23,880 --> 00:00:26,240 Speaker 1: by us Mala and Diosa. 6 00:00:26,520 --> 00:00:31,920 Speaker 2: We're two ig friends turned podcast partners, breaking down pop culture, feminism, 7 00:00:32,080 --> 00:00:36,400 Speaker 2: sexual wellness, and offering fresh takes on trending topics through 8 00:00:36,479 --> 00:00:40,920 Speaker 2: nuanced interviews with up and coming LATINX creatives. 9 00:00:39,960 --> 00:00:43,120 Speaker 1: Known as Las Lokatas, Las Mammis of Myth and Bullshit 10 00:00:43,280 --> 00:00:48,360 Speaker 1: and Las Porcass Prosas. We were podcasting independently since twenty sixteen, 11 00:00:48,560 --> 00:00:52,200 Speaker 1: but joined iHeartMedia's Microtura network in twenty twenty two. 12 00:00:52,640 --> 00:00:56,600 Speaker 2: This year, we're continuing to share stories from the LATINX community. 13 00:00:56,880 --> 00:00:58,320 Speaker 3: Bartodo el Mundo. 14 00:00:58,680 --> 00:01:00,160 Speaker 1: Welcome to season eight. 15 00:01:00,640 --> 00:01:01,560 Speaker 3: Are you listening? 16 00:01:04,240 --> 00:01:07,759 Speaker 1: Ola La Loka Motes, Welcome to season eight of Loka 17 00:01:07,840 --> 00:01:11,479 Speaker 1: Tora Radio. I'm Theosa and I'm ma La. You're tuning 18 00:01:11,480 --> 00:01:12,600 Speaker 1: in to Capitol. 19 00:01:13,840 --> 00:01:15,800 Speaker 3: One seventy. I can't believe it. 20 00:01:16,280 --> 00:01:19,040 Speaker 2: Last time on Loca to a Radio, we talked about 21 00:01:19,120 --> 00:01:22,319 Speaker 2: the tropical storm that hit La, not the hurricane the 22 00:01:22,360 --> 00:01:23,760 Speaker 2: tropical storm Hillary. 23 00:01:24,720 --> 00:01:28,720 Speaker 1: Today we're doing a deep dive into the one and 24 00:01:28,800 --> 00:01:34,080 Speaker 1: only America that we love, the America, the most beautiful 25 00:01:34,480 --> 00:01:36,520 Speaker 1: America Ferra, the one and. 26 00:01:36,440 --> 00:01:38,800 Speaker 2: Only, the icon. She's been with us since we were 27 00:01:38,920 --> 00:01:43,320 Speaker 2: children watching Disney Channel original movies. The first time I 28 00:01:43,680 --> 00:01:46,759 Speaker 2: knew of America Ferrera, she was in Gotta Kick It Up. 29 00:01:47,319 --> 00:01:50,320 Speaker 2: Standout performance and she's just done nothing but hits and 30 00:01:50,400 --> 00:01:51,639 Speaker 2: bangers since. 31 00:01:52,160 --> 00:01:55,840 Speaker 1: Because of her role, her very incredible prominent role in 32 00:01:55,880 --> 00:01:59,080 Speaker 1: the film Barbie that came out this summer, people have 33 00:01:59,120 --> 00:02:02,280 Speaker 1: been talking about her and we just wanted to put 34 00:02:02,320 --> 00:02:04,720 Speaker 1: it on the record that she has been that girl 35 00:02:05,040 --> 00:02:08,520 Speaker 1: and we have been following her career for decades now, 36 00:02:09,240 --> 00:02:12,919 Speaker 1: and we just wanted to use this opportunity to really 37 00:02:13,040 --> 00:02:16,040 Speaker 1: look at her work and do somewhat of a retrospective 38 00:02:16,280 --> 00:02:19,400 Speaker 1: of the films that she's been involved in, start in 39 00:02:19,840 --> 00:02:22,000 Speaker 1: the series that she's been involved in as well. 40 00:02:22,840 --> 00:02:27,200 Speaker 2: And we're noticing on TikTok, especially the girlies are giving 41 00:02:27,200 --> 00:02:30,040 Speaker 2: America her flowers. They're posting clips from some of her 42 00:02:30,040 --> 00:02:32,799 Speaker 2: most iconic films, like I just mentioned, Gotta Kick It Up, 43 00:02:33,440 --> 00:02:36,840 Speaker 2: and real women have curves. Sisterhood of the traveling Pants 44 00:02:37,120 --> 00:02:40,120 Speaker 2: and more. So we're gonna like go film by film 45 00:02:40,400 --> 00:02:44,079 Speaker 2: and talk about each and every one of them. America 46 00:02:44,160 --> 00:02:47,200 Speaker 2: has really made a career out of playing these complex, 47 00:02:47,639 --> 00:02:51,600 Speaker 2: like coming of age Latini characters who are dealing with 48 00:02:53,000 --> 00:02:56,079 Speaker 2: issues around their bodies, around being ostracized for the way 49 00:02:56,120 --> 00:02:59,440 Speaker 2: that they look, or their attitude or their ankst. She's 50 00:02:59,480 --> 00:03:03,080 Speaker 2: really good with the teen angst historically, So we're going 51 00:03:03,160 --> 00:03:05,960 Speaker 2: to talk about all of these characters that have just 52 00:03:06,120 --> 00:03:08,760 Speaker 2: like gotten us through our own adolescence. 53 00:03:09,120 --> 00:03:13,720 Speaker 1: America Feta is a on American actress known for her 54 00:03:13,800 --> 00:03:16,840 Speaker 1: leading role as Betty swat Is the American remake of 55 00:03:17,000 --> 00:03:19,960 Speaker 1: Betty la FEA Ugly Betty ran in two thousand and six, 56 00:03:20,240 --> 00:03:24,480 Speaker 1: and that really put her on the map for like 57 00:03:24,600 --> 00:03:27,680 Speaker 1: mainstream audiences. But we've been following her since her Disney 58 00:03:27,720 --> 00:03:32,800 Speaker 1: Channel era, and she went on to receive a Golden 59 00:03:32,840 --> 00:03:36,200 Speaker 1: Glow for her performance and Ugly Betty and a Screen 60 00:03:36,240 --> 00:03:39,440 Speaker 1: Actor's Guild Award and so many others. 61 00:03:39,240 --> 00:03:42,080 Speaker 2: And got to kick it up. Disney Channel original movie 62 00:03:42,200 --> 00:03:44,960 Speaker 2: one of the best they've ever made. I mean, it 63 00:03:45,080 --> 00:03:46,440 Speaker 2: stands the test of time. 64 00:03:47,120 --> 00:03:47,520 Speaker 3: Together. 65 00:03:47,840 --> 00:03:51,080 Speaker 4: They have five months to go from second rate to 66 00:03:51,080 --> 00:03:53,600 Speaker 4: totally great. 67 00:03:53,720 --> 00:03:57,000 Speaker 3: It means yes, I can. 68 00:03:57,520 --> 00:03:58,920 Speaker 1: Building come champions. 69 00:03:59,280 --> 00:04:00,320 Speaker 3: One step it. 70 00:04:01,280 --> 00:04:03,520 Speaker 2: So if you don't remember this film, you guys gotta 71 00:04:03,560 --> 00:04:07,240 Speaker 2: go back and watch it. America Fitetta, her character is 72 00:04:07,600 --> 00:04:10,160 Speaker 2: a teenage girl in high school and all her little 73 00:04:10,160 --> 00:04:13,440 Speaker 2: teen girlfriends are trying out for the dance team and 74 00:04:13,480 --> 00:04:16,240 Speaker 2: there's like a new dance team coach. And the actress 75 00:04:16,240 --> 00:04:20,440 Speaker 2: who plays that dance team coach also voiced Meg in Hercules. 76 00:04:20,680 --> 00:04:23,840 Speaker 2: So just like amazing all around, like iconic, wonderful. 77 00:04:24,160 --> 00:04:29,680 Speaker 1: Susan Egan voiced Megra and also played Miss Bartlett in 78 00:04:29,800 --> 00:04:31,680 Speaker 1: the film Gotta Kick It Up Em. 79 00:04:31,720 --> 00:04:35,480 Speaker 2: Miss Bartlett had bangs, honey, she had those thick blonde bangs, 80 00:04:35,520 --> 00:04:38,320 Speaker 2: that haircut that I will never forget. And America Fitetta 81 00:04:38,480 --> 00:04:44,880 Speaker 2: played Yolanda, the sassy you know, like takes no shit, 82 00:04:45,120 --> 00:04:48,040 Speaker 2: always says what she's got to say, like the firecracker 83 00:04:48,160 --> 00:04:49,080 Speaker 2: on the dance team. 84 00:04:49,400 --> 00:04:54,200 Speaker 1: She played such an incredible character a teenager in that film. 85 00:04:54,600 --> 00:04:57,000 Speaker 1: And this film was released in two thousand and two, 86 00:04:57,760 --> 00:05:03,239 Speaker 1: And when reviewing these films, I noticed that America fitted 87 00:05:03,279 --> 00:05:07,120 Speaker 1: as characters. Their bodies are always talked about. It's always 88 00:05:07,240 --> 00:05:10,320 Speaker 1: like the center of their who they are and how 89 00:05:10,360 --> 00:05:13,920 Speaker 1: they're talked about in these films and how they move 90 00:05:13,960 --> 00:05:14,679 Speaker 1: in that world. 91 00:05:15,320 --> 00:05:16,680 Speaker 3: And one interesting thing. 92 00:05:16,600 --> 00:05:19,280 Speaker 1: When I was watching Gotta Kick It Up is that 93 00:05:19,960 --> 00:05:24,320 Speaker 1: in the opening scene, America's character Yolanda is like getting 94 00:05:24,320 --> 00:05:27,400 Speaker 1: her little notebooks, she's getting her stuff, stuff ready for 95 00:05:27,440 --> 00:05:30,440 Speaker 1: the first day of school, and she like asks, she 96 00:05:30,600 --> 00:05:34,800 Speaker 1: orders like a peanut buttercup, normal things right, and she 97 00:05:34,920 --> 00:05:38,240 Speaker 1: drops it and someone steps on it and is like, 98 00:05:38,320 --> 00:05:40,599 Speaker 1: is this a part of your diet? And so just 99 00:05:40,680 --> 00:05:43,479 Speaker 1: right off the bat, we see already like this character 100 00:05:43,920 --> 00:05:46,119 Speaker 1: is gonna be like talked about because of their weight 101 00:05:46,880 --> 00:05:50,080 Speaker 1: or because they're perceived a certain way. But she's still 102 00:05:50,120 --> 00:05:56,600 Speaker 1: like giving like all of this fire intensity, this really incredible, 103 00:05:56,720 --> 00:05:58,960 Speaker 1: like it doesn't really matter what you say about me, 104 00:05:59,440 --> 00:06:02,080 Speaker 1: energy that I think has carried her through in all 105 00:06:02,120 --> 00:06:04,640 Speaker 1: of the characters that we're going to be talking about today. 106 00:06:04,640 --> 00:06:09,640 Speaker 2: In none of her films is America fitted out playing 107 00:06:09,720 --> 00:06:12,600 Speaker 2: characters that are ashamed of their weight or ashamed of 108 00:06:12,640 --> 00:06:16,960 Speaker 2: their bodies. Other people are putting negativity onto the way 109 00:06:17,000 --> 00:06:20,240 Speaker 2: that the characters look, but the characters are pushing back 110 00:06:20,480 --> 00:06:23,320 Speaker 2: and reclaiming themselves each time. And that's true, and Got 111 00:06:23,440 --> 00:06:25,800 Speaker 2: to Kick It up and it's just really fun also 112 00:06:25,839 --> 00:06:29,320 Speaker 2: to see her in this ensemble cast with all these 113 00:06:29,360 --> 00:06:33,920 Speaker 2: other dancers, all Latinas, all Latinas. The movie just works 114 00:06:33,960 --> 00:06:37,400 Speaker 2: so well. Their chemistry is so good together, even the 115 00:06:37,480 --> 00:06:41,640 Speaker 2: dynamic with Miss Bartlett, like America is really good at 116 00:06:41,960 --> 00:06:46,200 Speaker 2: toying the line on screen between like pushing back on 117 00:06:46,240 --> 00:06:49,200 Speaker 2: authority and speaking her mind and being a little bit 118 00:06:49,240 --> 00:06:54,200 Speaker 2: of a rebel, but not being like outright evil or horrible. 119 00:06:54,480 --> 00:06:57,320 Speaker 2: She's vocal, but she has a heart of goal. She 120 00:06:57,360 --> 00:06:59,920 Speaker 2: has the best of intentions. Yes, she's just going through 121 00:07:00,200 --> 00:07:03,040 Speaker 2: turmoil or struggle and she's trying to find her She's 122 00:07:03,080 --> 00:07:05,120 Speaker 2: trying to find her power and find her voice. 123 00:07:05,480 --> 00:07:06,120 Speaker 3: I love this. 124 00:07:06,120 --> 00:07:09,240 Speaker 1: Era of in the early two thousands, especially the Disney 125 00:07:09,279 --> 00:07:11,240 Speaker 1: Channel movies and just film in general. 126 00:07:11,280 --> 00:07:13,600 Speaker 3: There were a lot of dance films there were. 127 00:07:13,760 --> 00:07:18,680 Speaker 1: This was like a movie about dancing and being in 128 00:07:18,760 --> 00:07:21,120 Speaker 1: high school. Actually they're in middle school. They're not even 129 00:07:21,160 --> 00:07:23,600 Speaker 1: in high school, which I think was shocking. Tweens their 130 00:07:23,640 --> 00:07:26,600 Speaker 1: tweens back back in my day, back when I was 131 00:07:26,640 --> 00:07:29,120 Speaker 1: watching it as a as a young girl in the 132 00:07:29,120 --> 00:07:31,720 Speaker 1: two thousands, I remember thinking these were high school girls, 133 00:07:31,720 --> 00:07:33,880 Speaker 1: but no, like rewatching it as adult like they were 134 00:07:33,880 --> 00:07:35,440 Speaker 1: just little tween girls they were. 135 00:07:35,480 --> 00:07:38,080 Speaker 2: But it's so funny because like I remember being in 136 00:07:38,120 --> 00:07:40,480 Speaker 2: eighth grade and having like my first boyfriend and it 137 00:07:40,520 --> 00:07:43,880 Speaker 2: was like so serious and he was like the first 138 00:07:43,960 --> 00:07:47,240 Speaker 2: boy in eighth grade to get a mustache, you know, 139 00:07:47,400 --> 00:07:49,720 Speaker 2: and in Montabella that means a lot, you know, And 140 00:07:50,600 --> 00:07:53,280 Speaker 2: there's like that kind of serious boyfriend's storyline. 141 00:07:53,840 --> 00:07:55,960 Speaker 3: Yeah, with the lead was her. 142 00:07:55,960 --> 00:08:00,640 Speaker 1: Name Day played by Camill What they what they. 143 00:08:00,120 --> 00:08:02,840 Speaker 2: With the dimples, with those deep dimples that I remember 144 00:08:03,040 --> 00:08:06,200 Speaker 2: seeing her so cute, so Kim like, look at the 145 00:08:06,240 --> 00:08:08,600 Speaker 2: dimples on this girl, and she's such a powerful actress. 146 00:08:08,600 --> 00:08:09,440 Speaker 3: Just want it to be her. 147 00:08:10,000 --> 00:08:12,800 Speaker 2: Yes, yes, And she has this like boyfriend's storyline and 148 00:08:12,840 --> 00:08:14,640 Speaker 2: it's very serious. But she's got to go to her 149 00:08:14,720 --> 00:08:17,720 Speaker 2: dance competition and she's like choosing and there's like tension 150 00:08:17,800 --> 00:08:19,920 Speaker 2: and but she's fourteen. 151 00:08:20,240 --> 00:08:22,520 Speaker 1: Yeah, you know, but like this not that serious, but 152 00:08:22,560 --> 00:08:25,080 Speaker 1: it's not that that time, Like it does feel like 153 00:08:25,760 --> 00:08:28,440 Speaker 1: end all be all so serious. I'm never going to 154 00:08:28,520 --> 00:08:30,840 Speaker 1: recover from this. I have to do whatever it takes. 155 00:08:30,880 --> 00:08:33,200 Speaker 1: When really, no, it's not that serious, but it is 156 00:08:33,240 --> 00:08:34,439 Speaker 1: serious to you at the time. 157 00:08:34,640 --> 00:08:38,160 Speaker 2: At the time, and so Yeah, the movie like goes 158 00:08:38,200 --> 00:08:40,640 Speaker 2: there like remember when you were fourteen and you had 159 00:08:40,640 --> 00:08:44,199 Speaker 2: your your first serious little crush or relationship and you 160 00:08:44,280 --> 00:08:47,040 Speaker 2: had you had a dance team competition and you had 161 00:08:47,040 --> 00:08:49,480 Speaker 2: to make this earth shattering decision and what are you 162 00:08:49,480 --> 00:08:51,480 Speaker 2: going to do? And is he going to support you? 163 00:08:51,600 --> 00:08:54,120 Speaker 2: I think that a lot of America fitted as movies. 164 00:08:54,280 --> 00:08:57,400 Speaker 2: She was cast in these films that treat adolescents like 165 00:08:57,440 --> 00:09:00,559 Speaker 2: something that's real and that is serious, like to the 166 00:09:00,640 --> 00:09:05,679 Speaker 2: kids who are experiencing it. This is considered America. Ferretta's 167 00:09:05,760 --> 00:09:10,120 Speaker 2: feature film debut, Real Women Have Curves a two thousand 168 00:09:10,120 --> 00:09:14,320 Speaker 2: and two film, all star cast. I mean Lui vedros Rip. 169 00:09:14,800 --> 00:09:17,439 Speaker 2: Even George Lopez is in this movie and more. 170 00:09:17,640 --> 00:09:20,199 Speaker 1: I know the amounts of times that we've referenced George 171 00:09:20,200 --> 00:09:22,560 Speaker 1: Lopez on the show now like surprises me. 172 00:09:23,320 --> 00:09:25,640 Speaker 2: The thing is like you can't deny that he has 173 00:09:25,679 --> 00:09:29,360 Speaker 2: a track record, been in everything. Yeah, like he in 174 00:09:29,440 --> 00:09:33,640 Speaker 2: his own way is an icon. In other ways, we're 175 00:09:33,679 --> 00:09:38,280 Speaker 2: like tisk tisk George bad boy. But for the most part, yes, 176 00:09:38,600 --> 00:09:43,040 Speaker 2: storied career. So Real Women Have Curves of course, based 177 00:09:43,080 --> 00:09:46,560 Speaker 2: on the play Real Women Have Curves, written by Josefina 178 00:09:46,679 --> 00:09:50,480 Speaker 2: Lopez and I was on an episode of The Bechdel Cast, 179 00:09:50,640 --> 00:09:53,000 Speaker 2: the Real Women Have Curves episode, and we go we 180 00:09:53,040 --> 00:09:54,959 Speaker 2: do a deep dive into this movie, and one of 181 00:09:55,000 --> 00:09:57,360 Speaker 2: the things that we talked about is that in Real 182 00:09:57,400 --> 00:10:01,400 Speaker 2: Women Have Curves, Hoseafina makes a cameo in the movie 183 00:10:01,840 --> 00:10:04,439 Speaker 2: that I don't know if if everybody catches this right, 184 00:10:04,440 --> 00:10:07,040 Speaker 2: but it's one of my favorite little tidbits about the film. 185 00:10:07,280 --> 00:10:12,600 Speaker 2: There's a scene where America's character Anna, she goes to 186 00:10:12,679 --> 00:10:13,679 Speaker 2: like the hamburger stand. 187 00:10:13,800 --> 00:10:15,439 Speaker 3: She's working at gyms, yes. 188 00:10:15,320 --> 00:10:19,080 Speaker 2: Where she works so iconic and because she's like Setney Stela, right, 189 00:10:19,160 --> 00:10:21,760 Speaker 2: so she's like going to work and it's a hamburger stand, right, 190 00:10:21,800 --> 00:10:24,880 Speaker 2: And so she goes to quit and the woman Veronica 191 00:10:24,880 --> 00:10:28,400 Speaker 2: behind the counter who hands her her last check, pulls 192 00:10:28,400 --> 00:10:31,679 Speaker 2: the check out of her bra and then Anna's like, 193 00:10:31,840 --> 00:10:37,240 Speaker 2: that's sick. And that character Veronica is Josefina Lopez. 194 00:10:37,679 --> 00:10:39,800 Speaker 1: I love that. I didn't know that detail, but I 195 00:10:39,840 --> 00:10:42,440 Speaker 1: did watch. When I watched it, she did stand out 196 00:10:42,440 --> 00:10:44,720 Speaker 1: to me. So I love I love knowing that now. 197 00:10:45,000 --> 00:10:48,719 Speaker 2: I mean, amazing cameo, hilarious moment she killed it. 198 00:10:48,840 --> 00:10:54,040 Speaker 1: I personally love when writers of a screenplay, a book, 199 00:10:54,120 --> 00:10:56,160 Speaker 1: an adaptation are. 200 00:10:56,679 --> 00:10:57,760 Speaker 3: Snuck into the film. 201 00:10:57,800 --> 00:11:00,320 Speaker 1: That's probably one of my favorite little like secrets like 202 00:11:00,480 --> 00:11:04,720 Speaker 1: fandom things that happen, because I think it's just so juicy, 203 00:11:04,840 --> 00:11:07,880 Speaker 1: like it's just so like rewarding to me that there's 204 00:11:07,960 --> 00:11:09,599 Speaker 1: like a little like tidbit in there where it's like 205 00:11:09,640 --> 00:11:10,280 Speaker 1: if you know, you. 206 00:11:10,320 --> 00:11:14,320 Speaker 2: Know, yeah, it's very Alfred Hitchcock, very Quentin Tarantino, Like 207 00:11:14,400 --> 00:11:17,319 Speaker 2: I'm gonna plant myself in my own film, and it's 208 00:11:17,320 --> 00:11:22,439 Speaker 2: something for the audience to look out for. So Hosefina 209 00:11:23,080 --> 00:11:26,320 Speaker 2: from her website, she began writing Real Women Have Curves 210 00:11:26,360 --> 00:11:29,440 Speaker 2: when she was eighteen, right after she left her sister's 211 00:11:29,480 --> 00:11:32,040 Speaker 2: tiny sewing factory in East Dela to go to the 212 00:11:32,120 --> 00:11:36,400 Speaker 2: Hispanic Playwrights Workshop at Intar, led by Irene Furnes in 213 00:11:36,440 --> 00:11:41,000 Speaker 2: New York City. By nineteen Hossefina presented the first draft 214 00:11:41,080 --> 00:11:43,400 Speaker 2: at the writing workshop, and at twenty one years old, 215 00:11:43,440 --> 00:11:46,200 Speaker 2: it was produced and presented at the Mission Cultural Center 216 00:11:46,559 --> 00:11:49,400 Speaker 2: in May of nineteen ninety and so it's been over 217 00:11:49,440 --> 00:11:52,680 Speaker 2: thirty years since Real Women Have Curves opened as a 218 00:11:52,720 --> 00:11:57,480 Speaker 2: play in San Francisco, and the film is considered iconic 219 00:11:57,520 --> 00:12:00,200 Speaker 2: and legendary and one of the best films of the 220 00:12:00,240 --> 00:12:05,720 Speaker 2: two thousands and really changing the game for Latino filmmaking. 221 00:12:06,160 --> 00:12:09,360 Speaker 1: Yeah, and as I rewatched it, all of these themes 222 00:12:09,640 --> 00:12:12,640 Speaker 1: are still applicable today, which I think a testament to 223 00:12:12,720 --> 00:12:15,679 Speaker 1: how wonderful the film is that it can stand this 224 00:12:15,760 --> 00:12:19,199 Speaker 1: test of time, like twenty years later. It's an incredible 225 00:12:19,200 --> 00:12:22,440 Speaker 1: film and it still resonates for so many people. And 226 00:12:22,920 --> 00:12:26,680 Speaker 1: just to give a little bit a summation of the 227 00:12:26,880 --> 00:12:29,240 Speaker 1: film in case this is like new to you or 228 00:12:29,280 --> 00:12:32,000 Speaker 1: you don't remember, but the film is a coming of 229 00:12:32,040 --> 00:12:35,319 Speaker 1: age story again America and a coming of age story. 230 00:12:35,840 --> 00:12:38,840 Speaker 1: And she plays a high school senior, Anna, and the 231 00:12:38,920 --> 00:12:44,439 Speaker 1: film is about her relationship with herself, her body, her sexuality, 232 00:12:44,480 --> 00:12:47,600 Speaker 1: and her mother. Her relationship with her mother is like 233 00:12:48,280 --> 00:12:52,719 Speaker 1: the relationship to watch and understand and dissect. And it's 234 00:12:52,760 --> 00:12:56,000 Speaker 1: played by rest in Peace Lupa Antivedos. 235 00:12:55,800 --> 00:12:58,679 Speaker 2: And the two of them on screen, I mean, magical, 236 00:12:58,960 --> 00:13:06,959 Speaker 2: so good. The emotion, the sometimes the borderline hatred right 237 00:13:07,080 --> 00:13:10,440 Speaker 2: from both from both that they sort of experience towards 238 00:13:10,480 --> 00:13:14,200 Speaker 2: each other is really is really amazing. And what I 239 00:13:14,240 --> 00:13:18,480 Speaker 2: love about the film is that that relationship doesn't really 240 00:13:18,559 --> 00:13:22,120 Speaker 2: like resolve itself. There's not like a happy resolution. And 241 00:13:22,200 --> 00:13:26,040 Speaker 2: you know this episode contains spoilers, obviously, but you have 242 00:13:26,120 --> 00:13:28,960 Speaker 2: moments throughout the film where Anna's mother is like, she 243 00:13:29,000 --> 00:13:31,280 Speaker 2: wants her to work at the factory with her and 244 00:13:31,320 --> 00:13:34,600 Speaker 2: the sister Estella. She wants her to contribute. She wants 245 00:13:34,600 --> 00:13:38,280 Speaker 2: her to stay home. She wants her to like fall 246 00:13:38,320 --> 00:13:41,320 Speaker 2: in line and be a proper lady and lose weight 247 00:13:41,880 --> 00:13:44,280 Speaker 2: and get married, you know, and she like is really 248 00:13:44,320 --> 00:13:46,240 Speaker 2: on her ass, like she's mean about it. 249 00:13:46,840 --> 00:13:48,839 Speaker 3: She's she's really mean about it. 250 00:13:49,080 --> 00:13:52,600 Speaker 1: And I think like it does speak to certain Latino 251 00:13:52,800 --> 00:13:57,000 Speaker 1: LATINX family values where it's like, you reach a certain age, 252 00:13:57,160 --> 00:14:00,319 Speaker 1: you have to work to help the family, and maybe 253 00:14:00,360 --> 00:14:03,200 Speaker 1: seeking higher education isn't a part of that trajectory that 254 00:14:03,280 --> 00:14:05,920 Speaker 1: plan for you, because it wasn't for anyone else in 255 00:14:05,960 --> 00:14:08,520 Speaker 1: your family, So why should it be any different for you? 256 00:14:09,120 --> 00:14:12,000 Speaker 1: What makes you so special or different in that way? 257 00:14:12,120 --> 00:14:14,000 Speaker 1: You have to help the family. And I think I 258 00:14:14,040 --> 00:14:16,760 Speaker 1: think that's true for a lot of the folks in 259 00:14:16,960 --> 00:14:21,960 Speaker 1: our families or listeners that have experienced maybe not that themselves, 260 00:14:22,000 --> 00:14:25,120 Speaker 1: but maybe their parents did, where their grandparents maybe weren't 261 00:14:25,120 --> 00:14:29,440 Speaker 1: necessarily encouraging higher ed because somebody has to work, like 262 00:14:29,440 --> 00:14:32,280 Speaker 1: you have to help the family. And what I love 263 00:14:32,320 --> 00:14:35,680 Speaker 1: about the depiction of this family is that it's so 264 00:14:35,800 --> 00:14:38,240 Speaker 1: multi generational. Like you see one house and you're like, wait, 265 00:14:38,240 --> 00:14:38,960 Speaker 1: who lives there? 266 00:14:39,080 --> 00:14:40,240 Speaker 3: Everybody? Everybody. 267 00:14:40,320 --> 00:14:42,480 Speaker 1: It's like the Brimos are always there, There's a thea 268 00:14:42,520 --> 00:14:45,960 Speaker 1: that's always there, is always there. Of course the Abla 269 00:14:46,000 --> 00:14:50,160 Speaker 1: clearly lives there. But you see this like extended family 270 00:14:50,360 --> 00:14:54,680 Speaker 1: in this film. But still the relationship to watch is 271 00:14:54,720 --> 00:14:55,800 Speaker 1: like between the mother. 272 00:14:55,680 --> 00:14:56,200 Speaker 3: And the daughter. 273 00:14:56,520 --> 00:14:59,800 Speaker 2: Yes and again throughout the film, Anna's body is like made, 274 00:15:00,040 --> 00:15:03,480 Speaker 2: it's like its own character outside of Anna, almost that 275 00:15:03,560 --> 00:15:08,760 Speaker 2: people talk about. And so Anna's mother calls her Gorda 276 00:15:08,920 --> 00:15:11,600 Speaker 2: throughout the film, and she's always talking about her bon 277 00:15:11,720 --> 00:15:14,600 Speaker 2: son and put that away. And there's that scene where 278 00:15:14,640 --> 00:15:16,160 Speaker 2: she's like, don't eat the fly. 279 00:15:17,760 --> 00:15:20,640 Speaker 3: If you lost weight, just stop it. You could be 280 00:15:20,640 --> 00:15:21,960 Speaker 3: beautiful to stop it. 281 00:15:22,360 --> 00:15:25,600 Speaker 5: You're overweight too, so why should I listen to you? 282 00:15:26,320 --> 00:15:30,240 Speaker 3: Anna? Don't eat the fly? 283 00:15:37,080 --> 00:15:37,320 Speaker 1: You know? 284 00:15:37,360 --> 00:15:40,520 Speaker 3: And Anna eats the flying so good. She's resolved to 285 00:15:40,520 --> 00:15:42,080 Speaker 3: eat the flyn She's gonna eat the fly. 286 00:15:42,160 --> 00:15:44,920 Speaker 2: And it's interesting because it's like Anna's mother is having 287 00:15:44,960 --> 00:15:47,840 Speaker 2: her own issues with her body. She like has a 288 00:15:47,920 --> 00:15:52,080 Speaker 2: quote pregnancy scare, but really she's going through menopause. She's 289 00:15:52,080 --> 00:15:55,200 Speaker 2: talking about, I'm not a woman anymore, you know, But 290 00:15:55,280 --> 00:15:58,000 Speaker 2: she's also policing Anna's body at the same time while 291 00:15:58,040 --> 00:16:01,000 Speaker 2: she's like losing touch with her own body. And then 292 00:16:01,040 --> 00:16:03,880 Speaker 2: you have that scene of course where Anna's like checking 293 00:16:03,880 --> 00:16:07,720 Speaker 2: herself out in the mirror and her mom is like 294 00:16:07,960 --> 00:16:13,360 Speaker 2: literally calling her a tramp and. 295 00:16:13,480 --> 00:16:18,000 Speaker 3: From your imagining things, they're not only fat. 296 00:16:18,440 --> 00:16:22,120 Speaker 5: Now you're at you would say that, wouldn't you, Or 297 00:16:23,960 --> 00:16:26,520 Speaker 5: because there's more to me than what's in between my legs. 298 00:16:27,960 --> 00:16:30,440 Speaker 1: There's two scenes that really stood out to me. One 299 00:16:30,480 --> 00:16:33,600 Speaker 1: is like a very casual scene. They're at the factory 300 00:16:33,920 --> 00:16:37,480 Speaker 1: and the mother, you know, having her little bonito o 301 00:16:37,600 --> 00:16:40,680 Speaker 1: signoras and they're talking about the cheesemare of the day 302 00:16:40,960 --> 00:16:45,280 Speaker 1: is that one of the former employees slept with her 303 00:16:45,320 --> 00:16:49,960 Speaker 1: fiance the night before the wedding, Norman Norman, and he 304 00:16:50,000 --> 00:16:52,440 Speaker 1: didn't end up marrying her, and so it becomes this 305 00:16:52,480 --> 00:16:56,240 Speaker 1: bigger conversation about virginity and Anna like, let me just say, 306 00:16:56,320 --> 00:16:58,840 Speaker 1: at eighteen years eighteen years old, I may have thought 307 00:16:58,880 --> 00:17:01,400 Speaker 1: these things, but I know would have said them aloud 308 00:17:01,480 --> 00:17:03,040 Speaker 1: to my mother or her friends. 309 00:17:03,720 --> 00:17:06,600 Speaker 3: Your husband's not gonna like your knowing so much. Why 310 00:17:06,800 --> 00:17:09,119 Speaker 3: a man wants a virgin Why is a. 311 00:17:09,119 --> 00:17:12,760 Speaker 5: Woman's virginity the only thing that matters? A woman has thoughts, 312 00:17:13,119 --> 00:17:14,840 Speaker 5: ideas a mind of her own. 313 00:17:16,359 --> 00:17:18,080 Speaker 2: I'm hind the thoughts. 314 00:17:18,800 --> 00:17:21,359 Speaker 1: I think that it's a smaller scene, but I thought 315 00:17:21,480 --> 00:17:25,720 Speaker 1: was so impactful and powerful and builds us up to 316 00:17:25,800 --> 00:17:30,280 Speaker 1: the even bigger scene, like the body positive scene where 317 00:17:30,920 --> 00:17:31,800 Speaker 1: they're working. 318 00:17:31,520 --> 00:17:35,679 Speaker 3: In a factory. Anna is steaming dresses. They're all sewing. 319 00:17:35,760 --> 00:17:37,959 Speaker 1: It's hot. They can't turn the fan on because then 320 00:17:38,040 --> 00:17:40,639 Speaker 1: dust will get everywhere and on the dresses, and so 321 00:17:40,720 --> 00:17:43,680 Speaker 1: Anna takes off her shirt and she's encouraging everyone else 322 00:17:43,720 --> 00:17:47,640 Speaker 1: to do the same. And Gottaman played by Lupe Alntivedo's 323 00:17:47,840 --> 00:17:51,840 Speaker 1: is so disapproving. She's horrified. She's disgusted by everybody. She's 324 00:17:51,840 --> 00:17:53,080 Speaker 1: calling everybody names. 325 00:17:53,320 --> 00:17:56,880 Speaker 3: Aren't you ashamed, mamma? You look just like us? Yes, 326 00:17:57,080 --> 00:17:57,840 Speaker 3: but I'm married. 327 00:17:58,240 --> 00:18:00,399 Speaker 5: Oh so that's it. Make myself a try act so 328 00:18:00,440 --> 00:18:02,120 Speaker 5: that I can catch a man. 329 00:18:02,359 --> 00:18:04,439 Speaker 3: Listen to her, Learn now, or you'll end up like 330 00:18:04,440 --> 00:18:08,640 Speaker 3: a stella. Mama. I do want to lose weight. 331 00:18:09,200 --> 00:18:12,120 Speaker 5: The part of me doesn't because my weight says to everybody. 332 00:18:11,880 --> 00:18:14,600 Speaker 3: Fuck you, I've been been a good book. 333 00:18:14,920 --> 00:18:16,600 Speaker 4: How dare anybody try to tell me what I should 334 00:18:16,640 --> 00:18:18,800 Speaker 4: look like or what I should be when there's so 335 00:18:18,880 --> 00:18:20,359 Speaker 4: much more to me than just my weight. 336 00:18:21,240 --> 00:18:27,240 Speaker 1: And all the women have a really beautiful realization. It's 337 00:18:27,280 --> 00:18:33,879 Speaker 1: this self awareness and self love that lou Bontivette's character 338 00:18:33,960 --> 00:18:36,880 Speaker 1: has not got into yet, and she probably will never 339 00:18:36,960 --> 00:18:39,680 Speaker 1: get to that place where she's comfortable with herself. 340 00:18:40,320 --> 00:18:41,159 Speaker 3: Look at all of you. 341 00:18:46,800 --> 00:18:49,920 Speaker 5: This is who we are, Mama, real women. 342 00:18:53,560 --> 00:18:55,280 Speaker 3: There's bed one sus. 343 00:18:57,280 --> 00:18:59,399 Speaker 2: And which is fascinating too, because so much of the 344 00:18:59,440 --> 00:19:04,800 Speaker 2: emphasis on like godman, her policing of not only her 345 00:19:04,800 --> 00:19:07,159 Speaker 2: own daughter and her body and her behavior, but the 346 00:19:07,200 --> 00:19:09,960 Speaker 2: women around her rights. 347 00:19:10,119 --> 00:19:10,800 Speaker 3: It's happening. 348 00:19:10,800 --> 00:19:13,520 Speaker 2: But like she has a husband, you know, like you 349 00:19:13,600 --> 00:19:16,000 Speaker 2: have your husband and you've been married for decades and 350 00:19:16,040 --> 00:19:19,320 Speaker 2: you have your family, and so what is what is 351 00:19:19,320 --> 00:19:22,320 Speaker 2: the insecurity stemming from? Like what is left that you 352 00:19:22,359 --> 00:19:22,880 Speaker 2: don't have? 353 00:19:23,320 --> 00:19:27,800 Speaker 3: You know? Which I find very interesting because it's like, honey, 354 00:19:27,880 --> 00:19:28,760 Speaker 3: like you're fine. 355 00:19:29,440 --> 00:19:34,080 Speaker 1: Well she says that too, when Anna calls Herrod and 356 00:19:34,119 --> 00:19:38,320 Speaker 1: she's like, you're also overweight, and Godman's like, yeah, but 357 00:19:38,359 --> 00:19:41,439 Speaker 1: I have a husband. I'm married, So it's okay for 358 00:19:41,560 --> 00:19:44,480 Speaker 1: you to quote let yourself go because you already got 359 00:19:44,520 --> 00:19:47,159 Speaker 1: your man. But until you get your man, you have 360 00:19:47,240 --> 00:19:50,160 Speaker 1: to be skinny, you have to lose weight unless because 361 00:19:50,160 --> 00:19:52,119 Speaker 1: you won't get a man that way. Like that's the 362 00:19:52,160 --> 00:19:54,119 Speaker 1: subtext of that conversation. 363 00:19:53,760 --> 00:19:58,680 Speaker 2: Right, Yeah, totally and hilarious too, because you know, Anna's 364 00:19:58,680 --> 00:20:02,960 Speaker 2: father is supportive of her and is not critical the 365 00:20:02,960 --> 00:20:04,879 Speaker 2: way that her mother is, or is not harsh in 366 00:20:04,920 --> 00:20:05,920 Speaker 2: the way that her mother. 367 00:20:05,840 --> 00:20:06,879 Speaker 3: Is, you know. 368 00:20:07,280 --> 00:20:10,679 Speaker 2: And I think there's a lot of commentary in this 369 00:20:10,800 --> 00:20:15,520 Speaker 2: movie about about womanhood and like how we keep it going, 370 00:20:16,359 --> 00:20:21,439 Speaker 2: you know, with these the expectations for femininity and for 371 00:20:21,600 --> 00:20:23,960 Speaker 2: like how we behave or what we look like or 372 00:20:23,960 --> 00:20:26,960 Speaker 2: what we dress like. Like there's that scene where they're 373 00:20:26,960 --> 00:20:29,920 Speaker 2: walking down the street and Cadaman is like, don't walk 374 00:20:30,000 --> 00:20:32,119 Speaker 2: like that, why are you slapped? Like, walk like a 375 00:20:32,200 --> 00:20:34,680 Speaker 2: lady like me, put your shoulders back, you know, walk 376 00:20:34,800 --> 00:20:37,679 Speaker 2: like this, and Anna's like making fun of her. So 377 00:20:38,280 --> 00:20:40,360 Speaker 2: there's just like a lot of that throughout where like 378 00:20:40,440 --> 00:20:42,560 Speaker 2: Godman is like, this is what a woman is, and 379 00:20:42,560 --> 00:20:44,760 Speaker 2: then Anna's like but it's not right. 380 00:20:45,640 --> 00:20:50,320 Speaker 1: Yeah, Like such a complex, powerful character that America plays, 381 00:20:50,560 --> 00:20:55,760 Speaker 1: and she's playing a seventeen maybe eighteen year old. America 382 00:20:55,840 --> 00:20:59,399 Speaker 1: has had these incredible monologues to deliver. She has so 383 00:20:59,400 --> 00:21:01,840 Speaker 1: many great ones miners in this film and also really 384 00:21:01,880 --> 00:21:04,840 Speaker 1: great monologues in this film as well, And so she 385 00:21:05,000 --> 00:21:07,800 Speaker 1: has been really working on this craft and working on 386 00:21:07,840 --> 00:21:11,880 Speaker 1: these monologues for decades and can really deliver the fuck 387 00:21:11,920 --> 00:21:12,480 Speaker 1: out totally. 388 00:21:12,840 --> 00:21:16,000 Speaker 2: She's negotiating this future, working alongside her mother and her 389 00:21:16,040 --> 00:21:19,480 Speaker 2: sister versus going to New York to go study at Columbia. 390 00:21:20,240 --> 00:21:22,800 Speaker 2: That's the sort of final scene as. 391 00:21:22,680 --> 00:21:24,960 Speaker 3: We see her leaving. She goes, she goes. 392 00:21:25,200 --> 00:21:27,879 Speaker 2: She hops in the truck with her dad and her 393 00:21:27,920 --> 00:21:30,159 Speaker 2: cousins and they her grandpa and her grandpa, and they 394 00:21:30,240 --> 00:21:33,520 Speaker 2: drop her off at the airport and her mom stays 395 00:21:33,600 --> 00:21:37,600 Speaker 2: behind and is looking out the window as she takes off, 396 00:21:37,640 --> 00:21:41,720 Speaker 2: and then you see her walking with her shoulders back 397 00:21:41,840 --> 00:21:45,480 Speaker 2: and her makeup on in New York City, like being 398 00:21:45,560 --> 00:21:49,000 Speaker 2: that girl. And I've always wondered, like, are they ever 399 00:21:49,080 --> 00:21:52,639 Speaker 2: gonna give us some kind of a sequel where it's like, Okay, 400 00:21:52,640 --> 00:21:55,200 Speaker 2: now she's in New York. Now she's living her life. 401 00:21:55,200 --> 00:21:58,680 Speaker 2: This is what she's doing, because I feel like it 402 00:21:58,720 --> 00:22:01,080 Speaker 2: sets it up so nicely or something like that. Not 403 00:22:01,160 --> 00:22:04,320 Speaker 2: that it needs a sequel, but I'm just throwing that 404 00:22:04,359 --> 00:22:08,439 Speaker 2: out there. I don't know if you're working on a sequel, 405 00:22:08,480 --> 00:22:11,560 Speaker 2: but what they are working on, according to Forbes and 406 00:22:11,600 --> 00:22:14,920 Speaker 2: our friends who audition is a real women have curves, 407 00:22:15,080 --> 00:22:16,520 Speaker 2: musical adaptation. 408 00:22:16,280 --> 00:22:21,000 Speaker 3: Credible Broadway incredible. Sign us up, sign us up. We'd 409 00:22:21,000 --> 00:22:21,480 Speaker 3: love to go. 410 00:22:21,960 --> 00:22:25,439 Speaker 1: The two characters Anna and Godman never have a we 411 00:22:25,480 --> 00:22:29,640 Speaker 1: don't see on screen like a reconciliation. The signotta never 412 00:22:29,680 --> 00:22:34,600 Speaker 1: gives a blessing is that that does happen right in 413 00:22:34,640 --> 00:22:37,800 Speaker 1: real life. And you have to do it anyway, even 414 00:22:37,920 --> 00:22:41,520 Speaker 1: without the approval, even if it makes them upset. If 415 00:22:41,520 --> 00:22:44,800 Speaker 1: this is better for you and what you want to do, 416 00:22:44,840 --> 00:22:47,399 Speaker 1: whether that be college, a job, a move, whatever, like, 417 00:22:47,920 --> 00:22:50,000 Speaker 1: you have to do it anyway. And I think it's 418 00:22:50,040 --> 00:22:54,040 Speaker 1: such a good depiction of the complexity of our relationships 419 00:22:54,080 --> 00:22:57,200 Speaker 1: with our mothers and with our parents. I think that's 420 00:22:57,200 --> 00:22:59,679 Speaker 1: a really good way to transition to the next film, 421 00:23:00,040 --> 00:23:03,560 Speaker 1: and that's the Sisterhood of the Traveling Pants. So good, 422 00:23:03,640 --> 00:23:05,760 Speaker 1: and we're only talking about the first one today because 423 00:23:05,800 --> 00:23:08,120 Speaker 1: we want to get through the rest of these films. 424 00:23:08,200 --> 00:23:10,720 Speaker 1: But The Sisterhood of the Traveling Pants came out in 425 00:23:10,720 --> 00:23:12,959 Speaker 1: two thousand and five, and it's based off of a book, 426 00:23:13,840 --> 00:23:16,960 Speaker 1: and it's about four best friends who had a plan 427 00:23:17,119 --> 00:23:19,840 Speaker 1: to stay connected with one another as their lives start 428 00:23:20,040 --> 00:23:22,320 Speaker 1: off in different directions. They pass around a pair of 429 00:23:22,400 --> 00:23:25,600 Speaker 1: secondhand Jeanes that fits each of their bodies perfectly. 430 00:23:26,960 --> 00:23:31,399 Speaker 2: And America Fitetta plays Carmen. She is the writer of 431 00:23:31,480 --> 00:23:35,800 Speaker 2: the friend group, and she narrates the film almost as 432 00:23:35,840 --> 00:23:38,239 Speaker 2: if you know she's she's reading from her diary, like 433 00:23:38,280 --> 00:23:42,720 Speaker 2: she's been documenting their friendship and their journey and their summer. 434 00:23:43,520 --> 00:23:48,000 Speaker 2: And she goes through a lot of turmoil herself, Carmen, 435 00:23:48,040 --> 00:23:50,439 Speaker 2: but so do each of the girls in the film 436 00:23:50,960 --> 00:23:56,680 Speaker 2: to Be and the Bailey storyline, Bridget and the suicide 437 00:23:56,720 --> 00:23:58,640 Speaker 2: of her mother and her going to soccer cab in 438 00:23:58,640 --> 00:24:02,760 Speaker 2: Mexico and falling in love with the soccer instructor. And 439 00:24:02,800 --> 00:24:06,320 Speaker 2: then I'm Freeing Lena who goes to Greece and like 440 00:24:06,359 --> 00:24:08,879 Speaker 2: falls in love with Costas. It's like a forbid in 441 00:24:08,960 --> 00:24:10,840 Speaker 2: love because their grandparents hate each other. 442 00:24:11,520 --> 00:24:17,119 Speaker 1: And then Carmen, Carmen goes to see her somewhat distant father. 443 00:24:17,680 --> 00:24:20,000 Speaker 1: She comes to find when she visits him in South 444 00:24:20,040 --> 00:24:26,200 Speaker 1: Carolina that he is engaged and step fathering his fiance's children, 445 00:24:26,520 --> 00:24:30,480 Speaker 1: and she feels a lot. There's a lot of resentment, 446 00:24:30,600 --> 00:24:35,399 Speaker 1: there's a lot of sadness, anger, and there's also a 447 00:24:35,440 --> 00:24:39,000 Speaker 1: lot of feelings of being the other, not only being 448 00:24:39,119 --> 00:24:43,360 Speaker 1: like the first child from the Puerto Rican mom, but 449 00:24:43,400 --> 00:24:48,000 Speaker 1: also very visibly being different, being you know, Latina Puerto Rican. 450 00:24:48,280 --> 00:24:51,280 Speaker 1: And it's the family that he has now is very 451 00:24:51,400 --> 00:24:57,080 Speaker 1: like white picket fence, picture perfect blonde family. And she's 452 00:24:57,160 --> 00:25:00,679 Speaker 1: goes through these feelings of being the other. And I 453 00:25:00,720 --> 00:25:04,200 Speaker 1: want to say that this is probably one of the 454 00:25:04,240 --> 00:25:08,920 Speaker 1: first like monologues that I've seen America do. And it's 455 00:25:08,960 --> 00:25:12,560 Speaker 1: in this film, and it's when she's at a bridle store. 456 00:25:12,680 --> 00:25:16,160 Speaker 1: She's being fitted for a bridesmaid's dress because the father's 457 00:25:16,160 --> 00:25:20,720 Speaker 1: fiance includes her in the wedding, and they pre make 458 00:25:20,800 --> 00:25:23,920 Speaker 1: the dress and the dress is too small and they're 459 00:25:23,960 --> 00:25:26,800 Speaker 1: talking about her. She's right there, she's wearing the dress. 460 00:25:26,840 --> 00:25:29,840 Speaker 1: They're talking about her as if she's not there and 461 00:25:30,359 --> 00:25:33,000 Speaker 1: saying like very coated things like we'll have to dig 462 00:25:33,080 --> 00:25:37,760 Speaker 1: up extra fabric because the dress isn't closing, and she 463 00:25:37,920 --> 00:25:39,879 Speaker 1: goes off and she has like one of her first 464 00:25:39,920 --> 00:25:42,240 Speaker 1: monologues in the film. 465 00:25:42,000 --> 00:25:46,000 Speaker 4: Carmen Carmen. And you know what, lady, you just forget 466 00:25:46,000 --> 00:25:48,080 Speaker 4: about the dress. Okay, we can just tell everybody that 467 00:25:48,160 --> 00:25:50,240 Speaker 4: Carmen's Puerto Rican and it never. 468 00:25:50,040 --> 00:25:52,600 Speaker 3: Occurred to you that she might be built differently. 469 00:25:52,560 --> 00:25:55,600 Speaker 4: Or that unlike you and your daughter, she has an 470 00:25:55,600 --> 00:25:59,120 Speaker 4: ass that the tailor didn't have enough bolts of material 471 00:25:59,200 --> 00:26:02,359 Speaker 4: to cover or better yet, just tell everyone there is 472 00:26:02,400 --> 00:26:03,000 Speaker 4: no Carmen. 473 00:26:03,359 --> 00:26:04,600 Speaker 3: Carmen doesn't exist. 474 00:26:07,440 --> 00:26:11,000 Speaker 2: Her father's fiance is making this statement like, well, I 475 00:26:11,040 --> 00:26:13,040 Speaker 2: want it all to be uniform, Like even if they 476 00:26:13,040 --> 00:26:14,960 Speaker 2: alter her dress, is she going to look like Christa, 477 00:26:15,440 --> 00:26:20,000 Speaker 2: the skinny blonde daughter of the dad's fiance, right, and 478 00:26:20,080 --> 00:26:23,240 Speaker 2: so like, is she going to fit in with us? 479 00:26:23,320 --> 00:26:26,200 Speaker 2: Is she gonna look like us? And that I think 480 00:26:26,280 --> 00:26:28,840 Speaker 2: fitting room scene is so brilliant because it's such a 481 00:26:28,880 --> 00:26:31,840 Speaker 2: direct contrast to the fitting room scene at the thrift 482 00:26:31,840 --> 00:26:35,360 Speaker 2: store when they all try on this pair of jeans 483 00:26:35,400 --> 00:26:39,800 Speaker 2: and it fits all of them right, the pants from 484 00:26:39,880 --> 00:26:42,560 Speaker 2: the title, It fits the genes, fit all of them 485 00:26:42,600 --> 00:26:44,639 Speaker 2: like they fit into the jeans, they fit in with 486 00:26:44,680 --> 00:26:51,320 Speaker 2: each other, and it's like just the exact opposite of 487 00:26:51,359 --> 00:26:54,680 Speaker 2: her experience in the dressing room with Christa and her 488 00:26:54,720 --> 00:26:56,800 Speaker 2: soon to be stepmom. 489 00:26:56,840 --> 00:26:57,359 Speaker 3: Brilliant. 490 00:27:00,119 --> 00:27:02,640 Speaker 4: Oh, how honestly are you serious? 491 00:27:03,160 --> 00:27:05,320 Speaker 3: You think that a pair of genes, if fits all three. 492 00:27:05,119 --> 00:27:13,480 Speaker 4: Of you, is going to fit all of this? Will 493 00:27:13,520 --> 00:27:18,560 Speaker 4: you help me get out of them? 494 00:27:18,840 --> 00:27:21,960 Speaker 1: Yeah, that's such a great observation because I also read 495 00:27:22,280 --> 00:27:26,199 Speaker 1: the gene tryon scene as obviously really sweet because it 496 00:27:26,240 --> 00:27:29,000 Speaker 1: does fit all of them. But it also was really 497 00:27:29,040 --> 00:27:33,399 Speaker 1: interesting that in that scene, Carmen America, fitted as character, 498 00:27:34,200 --> 00:27:37,760 Speaker 1: is still seen as like this the bigger girl, and 499 00:27:37,960 --> 00:27:40,680 Speaker 1: the barometer for how wild it is that. 500 00:27:40,520 --> 00:27:43,679 Speaker 3: The genes fit is that they fit her. Carmen, come over. 501 00:27:43,520 --> 00:27:44,320 Speaker 2: Here and look at yourself. 502 00:27:44,320 --> 00:27:45,760 Speaker 3: They look amazing on you. 503 00:27:48,400 --> 00:27:49,320 Speaker 4: Call me crazy, but. 504 00:27:49,280 --> 00:27:52,560 Speaker 1: It's scientifically impossible that a pair of Krians could fit. 505 00:27:52,480 --> 00:27:54,399 Speaker 3: Me and me and me. 506 00:27:55,040 --> 00:27:58,360 Speaker 1: And again, even this character that she's playing like, her 507 00:27:58,400 --> 00:28:01,880 Speaker 1: body is still a part of the discussion, a part 508 00:28:01,920 --> 00:28:04,120 Speaker 1: of the joke, even if she's the one saying it, 509 00:28:04,119 --> 00:28:06,240 Speaker 1: it's still part of her character. 510 00:28:06,160 --> 00:28:09,119 Speaker 2: Her storyline. Yeah, her body and acceptance of her body 511 00:28:09,160 --> 00:28:13,120 Speaker 2: and dressing her body and being in her body. Absolutely 512 00:28:13,960 --> 00:28:20,000 Speaker 2: great film, Like crying within the first five minutes. 513 00:28:20,320 --> 00:28:24,680 Speaker 1: I forgot how real the film is in terms of 514 00:28:25,640 --> 00:28:28,840 Speaker 1: it really does take the complexities of girlhood and being 515 00:28:28,880 --> 00:28:32,000 Speaker 1: a teenager. And just because you're a teenager doesn't mean 516 00:28:32,040 --> 00:28:35,200 Speaker 1: you're not going through real shit like Blake Lively's character 517 00:28:35,280 --> 00:28:39,640 Speaker 1: losing her mother to suicide, right, Carmen's amitigraffitt As character 518 00:28:39,840 --> 00:28:42,720 Speaker 1: her father remarrying, Like, these are all things that we've 519 00:28:42,760 --> 00:28:45,400 Speaker 1: all gone through in some way, and so it is 520 00:28:45,480 --> 00:28:49,080 Speaker 1: really beautiful to see the complexity of these of this 521 00:28:49,160 --> 00:28:52,280 Speaker 1: film from two thousand and five and to see America 522 00:28:52,320 --> 00:28:53,240 Speaker 1: at the center of it. 523 00:28:53,720 --> 00:28:57,640 Speaker 2: Totally fantastic film. The sequel is also really good. I 524 00:28:57,680 --> 00:29:00,560 Speaker 2: think the first one is It's It's the stand out 525 00:29:00,600 --> 00:29:01,680 Speaker 2: it is, It's the Pearl. 526 00:29:01,760 --> 00:29:02,440 Speaker 3: It's so good. 527 00:29:02,480 --> 00:29:04,800 Speaker 2: If you've never seen Sister Heard of the Traveling Pants, 528 00:29:04,960 --> 00:29:05,720 Speaker 2: you gotta watch it. 529 00:29:05,720 --> 00:29:06,440 Speaker 3: It's on Amazon. 530 00:29:06,840 --> 00:29:09,120 Speaker 1: I also read the books back in the day. I 531 00:29:09,160 --> 00:29:11,440 Speaker 1: remember seeing like my mom taking me to see it. 532 00:29:11,680 --> 00:29:16,000 Speaker 3: So definitely. Yeah, sobbing first five minutes of this film, like. 533 00:29:16,000 --> 00:29:18,440 Speaker 2: I am dying to have like a girly movie night 534 00:29:18,480 --> 00:29:19,640 Speaker 2: where we watch this movie and. 535 00:29:19,600 --> 00:29:20,800 Speaker 3: Cry, Yeah, I'm ready. 536 00:29:21,120 --> 00:29:23,720 Speaker 1: Let's do it beautifully as you say. 537 00:29:24,640 --> 00:29:26,840 Speaker 3: Is there any other way to weep except for beautifully? 538 00:29:27,040 --> 00:29:28,760 Speaker 3: This is true? Is there any other way? 539 00:29:28,920 --> 00:29:32,520 Speaker 1: There's more movies, There are so many more movies. How 540 00:29:32,560 --> 00:29:34,480 Speaker 1: the Garcia Girls spent their summer. 541 00:29:35,280 --> 00:29:38,280 Speaker 2: If you have not seen this movie, it is a 542 00:29:38,360 --> 00:29:42,840 Speaker 2: true indie gem. You can see it on YouTube. And 543 00:29:43,080 --> 00:29:44,760 Speaker 2: this is the type of movie that you're gonna you 544 00:29:44,800 --> 00:29:46,880 Speaker 2: have to sit down and watch it, you know, like 545 00:29:46,920 --> 00:29:49,080 Speaker 2: you can't just have it playing in the background, because 546 00:29:49,120 --> 00:29:52,400 Speaker 2: this is all about the characters again, all about the dialogue. 547 00:29:52,800 --> 00:29:55,160 Speaker 2: As it's true for a lot of movies at America 548 00:29:55,280 --> 00:29:59,000 Speaker 2: Fitta has been in. It's really about like what's happening 549 00:29:59,040 --> 00:30:02,280 Speaker 2: between these characters. Yeah, And so this film is set 550 00:30:02,320 --> 00:30:07,320 Speaker 2: in a small Arizona town, the Garcia girls. There's three generations. 551 00:30:07,320 --> 00:30:10,640 Speaker 2: There's a grandmother, there's a mother played by Elizabeth Benya, 552 00:30:10,760 --> 00:30:15,320 Speaker 2: also iconic actress, and the teenager Blanca played by America Ferrera. 553 00:30:15,920 --> 00:30:19,960 Speaker 2: And they're living through their summer in their tiny, sleepy 554 00:30:20,000 --> 00:30:23,960 Speaker 2: desert town and you see a lot of like silence 555 00:30:24,080 --> 00:30:26,960 Speaker 2: and stillness and like boredom and like on Wii, and 556 00:30:27,000 --> 00:30:30,440 Speaker 2: that sort of sets them up for adventure when it 557 00:30:30,480 --> 00:30:32,160 Speaker 2: presents itself to them. 558 00:30:32,680 --> 00:30:36,680 Speaker 1: Yeah, I love that. And also Elizabeth Beanya is another 559 00:30:37,200 --> 00:30:41,760 Speaker 1: iconic Latina actress. Rest in peace to her. She was 560 00:30:42,560 --> 00:30:46,120 Speaker 1: famously in La Bamba and many others, but I think 561 00:30:46,160 --> 00:30:51,400 Speaker 1: probably most recognized for that role. And I love a 562 00:30:51,480 --> 00:30:56,160 Speaker 1: movie that really focuses on the silence because so much 563 00:30:56,240 --> 00:31:00,760 Speaker 1: is said in that silence and this idea of being bored. 564 00:31:01,680 --> 00:31:04,280 Speaker 1: I feel like we're not bored anymore, we need to 565 00:31:04,320 --> 00:31:05,000 Speaker 1: be bored again. 566 00:31:06,280 --> 00:31:09,200 Speaker 2: Yeah, there's like nothing for them to do, right, They're 567 00:31:09,240 --> 00:31:12,080 Speaker 2: not scrolling, they're not on phones, they're not on the internet, 568 00:31:12,080 --> 00:31:12,840 Speaker 2: they're not on TV. 569 00:31:13,680 --> 00:31:17,320 Speaker 1: They're literally at a laundry mat where like things start 570 00:31:17,360 --> 00:31:19,960 Speaker 1: to happen. So tell us more about the laundrymat scene. 571 00:31:20,120 --> 00:31:21,080 Speaker 3: There's this great scene. 572 00:31:21,120 --> 00:31:24,760 Speaker 2: The film literally opens with this montage of just different 573 00:31:24,800 --> 00:31:28,800 Speaker 2: scenes of just like dogs and a mural and a 574 00:31:28,920 --> 00:31:32,120 Speaker 2: chain linked fence, just images from throughout their neighborhood. And 575 00:31:32,160 --> 00:31:35,200 Speaker 2: it's quiet. There's no music, there's no humming, and so 576 00:31:35,280 --> 00:31:37,960 Speaker 2: you think, I'm like, is my sound off? And then 577 00:31:38,320 --> 00:31:41,400 Speaker 2: we get to the mom, Lolita played by Elizabeth Penya, 578 00:31:41,440 --> 00:31:43,880 Speaker 2: and she's in her kitchen taking things out of her 579 00:31:43,960 --> 00:31:46,360 Speaker 2: pots and stuff, and then we start hearing sound, right, 580 00:31:47,200 --> 00:31:49,880 Speaker 2: And that's so much of the film is the girls 581 00:31:50,000 --> 00:31:53,920 Speaker 2: kind of like sitting in silence. And there's a scene 582 00:31:54,240 --> 00:31:57,440 Speaker 2: where Blanca again played by America, is with her little 583 00:31:57,440 --> 00:32:00,360 Speaker 2: friends and they're at the laundry mat and they're outside 584 00:32:00,360 --> 00:32:03,320 Speaker 2: the laundromat and they're like, should we call someone? 585 00:32:03,560 --> 00:32:06,959 Speaker 3: And they're like, there's no one a call, Like, who 586 00:32:07,040 --> 00:32:08,280 Speaker 3: do you call? Everyone's there? 587 00:32:08,640 --> 00:32:10,680 Speaker 2: Yeah, they're born out of their minds. And then a 588 00:32:10,720 --> 00:32:14,600 Speaker 2: truck pulls up with these two boys up to no 589 00:32:14,720 --> 00:32:17,200 Speaker 2: good of course, but it's something to do. 590 00:32:17,760 --> 00:32:18,120 Speaker 1: Get it. 591 00:32:18,400 --> 00:32:22,280 Speaker 3: Where are you going? What's it to you? I'm not 592 00:32:22,320 --> 00:32:26,560 Speaker 3: going without my friend, which was your friend. 593 00:32:32,000 --> 00:32:32,840 Speaker 1: It's your pick. 594 00:32:36,480 --> 00:32:41,400 Speaker 2: You And they get in the truck and they take 595 00:32:41,440 --> 00:32:43,680 Speaker 2: off to like go for a little joy ride because 596 00:32:43,800 --> 00:32:46,920 Speaker 2: it's like, this is something to do we have. There's 597 00:32:46,960 --> 00:32:48,719 Speaker 2: somebody new in town. One of the boys is like 598 00:32:49,160 --> 00:32:51,240 Speaker 2: spending the summer there. There's a rumor that he got 599 00:32:51,240 --> 00:32:54,280 Speaker 2: some girl quote in trouble and is hiding out, and 600 00:32:54,320 --> 00:32:55,840 Speaker 2: so they go and hang out with these two boys. 601 00:32:55,840 --> 00:32:57,480 Speaker 2: But the boys are like one of them is being 602 00:32:57,560 --> 00:33:00,680 Speaker 2: very vulgar. He's telling them that they must be virgins. 603 00:33:00,760 --> 00:33:02,320 Speaker 2: I can smell a virgin from a mile. 604 00:33:02,160 --> 00:33:04,640 Speaker 3: Away, and it doesn't. It doesn't. 605 00:33:04,760 --> 00:33:07,600 Speaker 2: It's not fun for them, But that doesn't stop Blanca 606 00:33:07,720 --> 00:33:10,360 Speaker 2: from hanging out with the boy again because she's intrigued. 607 00:33:10,400 --> 00:33:12,720 Speaker 2: It's excitement, it's something different from out of town. 608 00:33:12,840 --> 00:33:16,560 Speaker 1: I think like a central theme in this film also 609 00:33:16,800 --> 00:33:21,440 Speaker 1: is like exploring their own sexualities, each of them, each 610 00:33:21,440 --> 00:33:26,320 Speaker 1: of them respectively. And it's like it's like a slow 611 00:33:26,360 --> 00:33:30,640 Speaker 1: burn of like, what how do we explore who we 612 00:33:30,680 --> 00:33:33,440 Speaker 1: are and not hurt anybody else. 613 00:33:33,880 --> 00:33:37,440 Speaker 2: There's a scene where the mother again played by Elizabeth Benyas, 614 00:33:37,560 --> 00:33:40,760 Speaker 2: she's like vacuuming her rug and cleaning up, and then 615 00:33:40,800 --> 00:33:43,440 Speaker 2: she starts calling people, you know, do you want to 616 00:33:43,560 --> 00:33:45,320 Speaker 2: come over and hang out? Do you want to come 617 00:33:45,360 --> 00:33:48,040 Speaker 2: over and have a drink? You can bring the kids, 618 00:33:48,040 --> 00:33:50,960 Speaker 2: it's fine and nobody there's nobody to come over and 619 00:33:51,000 --> 00:33:53,760 Speaker 2: hang out. And so she just lights a sig and 620 00:33:54,840 --> 00:33:58,040 Speaker 2: has some beer and like falls asleep listening to music 621 00:33:58,560 --> 00:34:02,160 Speaker 2: when Anna comes home on a Blanca comes home after 622 00:34:02,280 --> 00:34:05,320 Speaker 2: hanging out with these guys, and then Blanca picks her 623 00:34:05,320 --> 00:34:07,160 Speaker 2: mom up off the couch to put her to bed, 624 00:34:07,200 --> 00:34:10,200 Speaker 2: and she's like you need a boyfriend, like you need 625 00:34:10,320 --> 00:34:13,480 Speaker 2: somebody to occupy, you need something to do, like they're 626 00:34:13,520 --> 00:34:18,600 Speaker 2: both just looking for something to do. Yeah, and it's 627 00:34:18,680 --> 00:34:20,600 Speaker 2: it's you know, it's like, Okay, well, when you're bored, 628 00:34:20,760 --> 00:34:25,080 Speaker 2: what else is there? Go find a boyfriend? And the 629 00:34:25,120 --> 00:34:29,400 Speaker 2: grandma has her own love story. They have the grandma 630 00:34:30,600 --> 00:34:32,560 Speaker 2: in the first few minutes she goes out and buys 631 00:34:32,560 --> 00:34:35,319 Speaker 2: an old truck, but she doesn't know how to use 632 00:34:35,360 --> 00:34:37,480 Speaker 2: it right, you know, and everybody's like. 633 00:34:37,440 --> 00:34:38,880 Speaker 3: What is she going to do with that truck? 634 00:34:39,040 --> 00:34:42,359 Speaker 2: Well, I don't know, as long as she doesn't hurt anybody, right, 635 00:34:42,880 --> 00:34:45,359 Speaker 2: And then the gardener offers to teach her how to drive, 636 00:34:45,520 --> 00:34:48,600 Speaker 2: and they like have their own sexual tension and steamy 637 00:34:48,719 --> 00:34:50,799 Speaker 2: romance and it's just a. 638 00:34:50,840 --> 00:34:51,640 Speaker 3: Really good film. 639 00:34:51,760 --> 00:34:53,960 Speaker 2: It deals a lot, I think too, with just like 640 00:34:54,160 --> 00:34:56,480 Speaker 2: latinas and sadness. 641 00:34:56,640 --> 00:34:57,200 Speaker 3: I love that. 642 00:34:57,880 --> 00:35:01,800 Speaker 1: And so next we're going to talking about Ugly Betty, 643 00:35:02,000 --> 00:35:04,440 Speaker 1: which aired from two thousand and six to two thousand 644 00:35:04,480 --> 00:35:08,520 Speaker 1: and ten, and it's adapted from a Colombian telenovela called 645 00:35:08,600 --> 00:35:12,960 Speaker 1: yose Bette la Fea, And like, I don't know if 646 00:35:12,960 --> 00:35:15,600 Speaker 1: this series could stand up now girl, because I rewatched 647 00:35:15,600 --> 00:35:19,520 Speaker 1: the whole thing and I don't know, but I will 648 00:35:19,560 --> 00:35:22,840 Speaker 1: say about the series focuses on the life of wanna 649 00:35:22,880 --> 00:35:27,000 Speaker 1: be writer aspiring writer be Betty Swat is a plain 650 00:35:27,120 --> 00:35:30,480 Speaker 1: girl from Queens, New York who is smart, hardworking, and savvy, 651 00:35:30,480 --> 00:35:34,040 Speaker 1: but has a different sense of style. When publishing mogul 652 00:35:34,160 --> 00:35:37,440 Speaker 1: Bradford Meade puts his son Daniel in charge of his 653 00:35:37,480 --> 00:35:41,480 Speaker 1: Mode magazine. He hires Betty to be Daniel's new assistant, 654 00:35:41,640 --> 00:35:44,000 Speaker 1: mostly because he knows that she may be the only 655 00:35:44,040 --> 00:35:47,160 Speaker 1: woman in Manhattan with whom the younger man won't sleep with. 656 00:35:47,800 --> 00:35:51,439 Speaker 1: And so the entire premise of this film is that 657 00:35:51,680 --> 00:35:53,839 Speaker 1: Betty is unfuckable. 658 00:35:53,960 --> 00:35:55,680 Speaker 3: Really, Betty's so ugly. 659 00:35:55,800 --> 00:35:59,120 Speaker 1: She is like so ugly that he will not sleep 660 00:35:59,160 --> 00:36:02,200 Speaker 1: with her so he'll can actually have a professional relationship 661 00:36:02,239 --> 00:36:05,960 Speaker 1: with her. And I mean, Daniel is like a true 662 00:36:06,160 --> 00:36:09,600 Speaker 1: nepo baby, does not know what he's doing. In the 663 00:36:09,640 --> 00:36:13,360 Speaker 1: first season, Betty's always saving him. And I feel like 664 00:36:13,440 --> 00:36:16,680 Speaker 1: this series, in particular at the time, in this pop 665 00:36:16,760 --> 00:36:20,879 Speaker 1: culture era, like it really had women in these two 666 00:36:20,920 --> 00:36:24,799 Speaker 1: categories of either pretty and dumb or ugly and smart, 667 00:36:25,000 --> 00:36:27,360 Speaker 1: which is why I feel this series wouldn't really stand 668 00:36:27,400 --> 00:36:29,760 Speaker 1: today because we've evolved. 669 00:36:29,280 --> 00:36:31,520 Speaker 3: In that idea of what women can. 670 00:36:31,400 --> 00:36:34,719 Speaker 1: Be, right, But I when rewatching it, you know, I'm 671 00:36:34,760 --> 00:36:37,320 Speaker 1: like Betty's sweat is like she was like the ugly 672 00:36:37,440 --> 00:36:40,759 Speaker 1: one quote unquote, but she always had a boyfriend. She 673 00:36:40,880 --> 00:36:45,440 Speaker 1: always had like a handsome man crushing on her, wooing her, 674 00:36:46,160 --> 00:36:50,920 Speaker 1: sending her gifts, like she was always dating somebody, and 675 00:36:51,080 --> 00:36:57,080 Speaker 1: so I just feel like this character was just so complex, 676 00:36:57,160 --> 00:37:01,279 Speaker 1: another one of America's like really great roles and one 677 00:37:01,320 --> 00:37:05,200 Speaker 1: of the unique things or you know more about this character. 678 00:37:05,239 --> 00:37:08,560 Speaker 1: Betty is like she has a really strong moral compass. 679 00:37:09,040 --> 00:37:11,600 Speaker 1: She like knows right and wrong, and she will like 680 00:37:11,760 --> 00:37:14,480 Speaker 1: encourage everybody around her to like do the right thing. 681 00:37:15,440 --> 00:37:18,160 Speaker 1: And that's why she's able to push Daniel to be 682 00:37:18,280 --> 00:37:22,440 Speaker 1: his best self. The series is pretty funny and like 683 00:37:22,520 --> 00:37:26,560 Speaker 1: Sama Hayak was the executive producer, Like it was an 684 00:37:26,600 --> 00:37:30,160 Speaker 1: adaptation from a Colombian Fella novella where in the end, 685 00:37:30,480 --> 00:37:35,000 Speaker 1: you know spoiler. In the Colombian version, Bethy becomes beautiful 686 00:37:35,800 --> 00:37:40,160 Speaker 1: and her boss falls in love with her and Betty 687 00:37:40,400 --> 00:37:43,120 Speaker 1: played by Mendica Fetta, and the US version does have 688 00:37:43,200 --> 00:37:47,319 Speaker 1: this like ugly duckling to swan kind of trajectory. It's 689 00:37:47,400 --> 00:37:50,600 Speaker 1: not as like obvious, it's more like, oh, she starts 690 00:37:50,600 --> 00:37:53,120 Speaker 1: to dress a little better because she becomes an editor, 691 00:37:53,680 --> 00:37:56,279 Speaker 1: and she gets her braces taken off and maybe she 692 00:37:56,400 --> 00:37:59,279 Speaker 1: changes her glass. It's very subtle things, but Betty as 693 00:37:59,320 --> 00:38:02,680 Speaker 1: a person is the same. And it ends with this 694 00:38:02,960 --> 00:38:08,200 Speaker 1: very like ambiguous you don't know. We know that Daniel 695 00:38:08,239 --> 00:38:10,600 Speaker 1: like goes off to like kind of chase after her, 696 00:38:11,000 --> 00:38:13,560 Speaker 1: but you don't know what happens. Does she accept him? 697 00:38:13,600 --> 00:38:15,719 Speaker 1: Does she not? And I think that's what makes the 698 00:38:15,880 --> 00:38:18,880 Speaker 1: series in general so great and different, where it's like 699 00:38:18,920 --> 00:38:20,160 Speaker 1: it's not about her getting the man. 700 00:38:20,680 --> 00:38:21,960 Speaker 3: She goes to get the job. 701 00:38:22,200 --> 00:38:25,440 Speaker 2: Right, right, and the things that they do to make 702 00:38:25,480 --> 00:38:28,200 Speaker 2: her quote ugly is like they put glasses and bangs 703 00:38:28,200 --> 00:38:28,600 Speaker 2: and braces. 704 00:38:28,680 --> 00:38:30,959 Speaker 3: That's it, and that's it. We've all had that era. 705 00:38:31,320 --> 00:38:34,040 Speaker 1: Okay, we've all had banks, braces and glasses. 706 00:38:34,200 --> 00:38:38,799 Speaker 3: Relax, Like these are all also temporary fixtures, right, Yes, 707 00:38:38,920 --> 00:38:41,640 Speaker 3: this is not what she looks like, right. 708 00:38:41,920 --> 00:38:45,680 Speaker 2: And I find it fascinating too because the clothes that 709 00:38:45,760 --> 00:38:49,360 Speaker 2: they had her in the wardrobe is like very Betsy Johnson. Yeah, 710 00:38:49,360 --> 00:38:52,839 Speaker 2: like she would be on maximalist girl TikTok, like killing it. 711 00:38:53,760 --> 00:38:56,360 Speaker 1: As I was rewatching it, I was like, wait, this 712 00:38:56,520 --> 00:38:57,760 Speaker 1: is not terrible. 713 00:38:58,040 --> 00:39:01,799 Speaker 3: I like your poncho. My dad got me one in Guadalajara, 714 00:39:04,320 --> 00:39:06,800 Speaker 3: Milan Dulchingovana full. 715 00:39:08,360 --> 00:39:11,520 Speaker 1: But to be at a high fashion magazine. I think 716 00:39:11,560 --> 00:39:15,000 Speaker 1: that was also like the really stark juxtaposition of like, 717 00:39:15,040 --> 00:39:18,480 Speaker 1: you had these very skinny girls and again, Bet these 718 00:39:18,560 --> 00:39:21,880 Speaker 1: characters like a quote fat character. They're always making jokes 719 00:39:21,880 --> 00:39:24,680 Speaker 1: about her, how big she is, her style and her 720 00:39:24,680 --> 00:39:27,520 Speaker 1: weight are definitely recurring jokes throughout the series. And so 721 00:39:27,760 --> 00:39:30,839 Speaker 1: it's really interesting to see America then play this role 722 00:39:30,880 --> 00:39:34,360 Speaker 1: again where like her body and her style are part 723 00:39:34,440 --> 00:39:35,200 Speaker 1: of the character. 724 00:39:35,560 --> 00:39:39,480 Speaker 3: Yeah, and she was probably a size eight. She's probably 725 00:39:40,080 --> 00:39:41,040 Speaker 3: she was still a thin woman. 726 00:39:41,400 --> 00:39:44,279 Speaker 1: Probably two thousands were a wild time. 727 00:39:44,239 --> 00:39:46,560 Speaker 2: Wild time, and I'm sure they even styled her to 728 00:39:46,600 --> 00:39:50,920 Speaker 2: make her look bigger or boxier than she actually was 729 00:39:51,360 --> 00:39:54,719 Speaker 2: or is. Although I think throughout the years, you know, 730 00:39:54,760 --> 00:39:57,120 Speaker 2: you can from like gotta kick it up till now, 731 00:39:57,239 --> 00:40:00,759 Speaker 2: I mean a lot of time has passed. Is in 732 00:40:00,840 --> 00:40:04,279 Speaker 2: her adult body. I think she's had a baby, you know. 733 00:40:04,560 --> 00:40:07,439 Speaker 2: And I think that as in Hollywood, I think it's 734 00:40:07,680 --> 00:40:11,120 Speaker 2: very common to see like folks who are considered plus 735 00:40:11,160 --> 00:40:15,120 Speaker 2: size like lose weight, you know, or have work done 736 00:40:15,160 --> 00:40:18,840 Speaker 2: like as they continue in the industry. And it's interesting 737 00:40:18,920 --> 00:40:22,279 Speaker 2: that we go from these characters where the focus is 738 00:40:22,320 --> 00:40:24,880 Speaker 2: so much on weight and the way she looks to 739 00:40:25,000 --> 00:40:28,080 Speaker 2: now America fit it as killing it in Barbie. Yeah, 740 00:40:28,120 --> 00:40:32,200 Speaker 2: her monologue is very impactful and is being quoted and 741 00:40:32,840 --> 00:40:37,920 Speaker 2: shared and analyzed. And in Barbie she plays this character 742 00:40:38,080 --> 00:40:42,319 Speaker 2: who's the mother now to a teen or tween Latina, 743 00:40:42,520 --> 00:40:46,800 Speaker 2: who's an angsty tween who is very vocal and who 744 00:40:46,880 --> 00:40:51,839 Speaker 2: is pushing back on femininity and Barbie and ideas of womanhood. 745 00:40:52,680 --> 00:40:55,719 Speaker 2: But the character that America plays, the focus is on 746 00:40:55,840 --> 00:40:59,160 Speaker 2: her feelings and her emotions. You know, It's not about 747 00:40:59,200 --> 00:41:02,280 Speaker 2: her body so much anymore. It's about I'm a mom, 748 00:41:02,520 --> 00:41:04,839 Speaker 2: but I still have this inner child. I'm a mom, 749 00:41:04,920 --> 00:41:07,239 Speaker 2: but I still have this love for Barbie. As this 750 00:41:07,320 --> 00:41:12,560 Speaker 2: episode contains spoilers, America Fair's character is of course still fierce, 751 00:41:12,680 --> 00:41:17,400 Speaker 2: but there's a different type of like vulnerability now a softness. 752 00:41:18,040 --> 00:41:22,799 Speaker 2: The character is kind of creating sketches of Barbie. Where 753 00:41:22,840 --> 00:41:25,480 Speaker 2: Barbie is talking about, you know, like do you ever 754 00:41:25,480 --> 00:41:29,719 Speaker 2: think of dying? You know, do you ever dissociate, like 755 00:41:30,120 --> 00:41:34,080 Speaker 2: do you have these depressive episodes? And I think it's 756 00:41:34,120 --> 00:41:37,160 Speaker 2: a really interesting turn in her film career. 757 00:41:37,640 --> 00:41:40,879 Speaker 1: Yeah, it's like all of the characters and roles she's 758 00:41:40,960 --> 00:41:44,839 Speaker 1: played have like led her to this incredible dialogue, not 759 00:41:44,880 --> 00:41:48,520 Speaker 1: only all the work she's done on perfecting her craft, 760 00:41:48,680 --> 00:41:52,120 Speaker 1: but just thinking of aut medicas like her own. She's 761 00:41:52,160 --> 00:41:54,520 Speaker 1: obviously a person, but like her own character and how 762 00:41:54,600 --> 00:41:57,480 Speaker 1: it's developed in that way along her career, because her 763 00:41:57,520 --> 00:42:00,200 Speaker 1: monologue is about maybe it's not about body, but is 764 00:42:00,239 --> 00:42:04,680 Speaker 1: about womanhood and being a woman is obviously people are 765 00:42:04,680 --> 00:42:07,240 Speaker 1: going to talk about your body, whether you're like too 766 00:42:07,320 --> 00:42:09,520 Speaker 1: thin or you're too fat, or you're to this and 767 00:42:09,520 --> 00:42:12,920 Speaker 1: you're to that, and so it really did her monologue 768 00:42:13,000 --> 00:42:18,200 Speaker 1: becomes like what saves Barbieland you have to have. 769 00:42:18,080 --> 00:42:23,160 Speaker 2: Money, but you can't ask for money because that's grassow. 770 00:42:23,719 --> 00:42:25,480 Speaker 3: You have to be a boss, but you can't be mean. 771 00:42:25,760 --> 00:42:28,920 Speaker 3: You have to lead, but you can't squash other people's ideas. 772 00:42:28,960 --> 00:42:31,279 Speaker 5: You're supposed to love being a mother, but don't talk 773 00:42:31,280 --> 00:42:32,120 Speaker 5: about your kids. 774 00:42:31,920 --> 00:42:32,680 Speaker 3: All the dayn time. 775 00:42:32,920 --> 00:42:35,960 Speaker 4: You have to be a career woman but also always 776 00:42:36,040 --> 00:42:36,760 Speaker 4: be looking out. 777 00:42:36,640 --> 00:42:37,360 Speaker 3: For other people. 778 00:42:37,840 --> 00:42:41,920 Speaker 2: It's never enough you know, there's the perfection isn't enough, 779 00:42:43,400 --> 00:42:46,600 Speaker 2: there's always this expectation of more and double standards and 780 00:42:46,640 --> 00:42:48,000 Speaker 2: shifting goalposts to. 781 00:42:47,960 --> 00:42:50,680 Speaker 1: Yourself a favor and spend the weekend watching all of 782 00:42:50,719 --> 00:42:52,320 Speaker 1: these films and series. 783 00:42:52,719 --> 00:42:53,520 Speaker 3: They're all online. 784 00:42:53,560 --> 00:42:58,000 Speaker 1: They're all online because you can really see just all 785 00:42:58,040 --> 00:43:01,680 Speaker 1: the incredible work that's done on scene and off scene 786 00:43:02,040 --> 00:43:04,480 Speaker 1: by an incredible cast and crew that have made all 787 00:43:04,520 --> 00:43:08,320 Speaker 1: of these films possible, all of these TV series possible. 788 00:43:08,719 --> 00:43:12,200 Speaker 2: So shout out America Ferrera. You've been You've been on 789 00:43:12,280 --> 00:43:15,880 Speaker 2: screen and telling our stories back to us basically since 790 00:43:16,200 --> 00:43:19,680 Speaker 2: we were in elementary school. And she's still doing it 791 00:43:19,800 --> 00:43:21,680 Speaker 2: and doing an amazing job, and we love her. 792 00:43:22,200 --> 00:43:23,600 Speaker 3: We hope that she hears this. 793 00:43:24,239 --> 00:43:27,000 Speaker 1: We're gonna tag her. We want her to know that 794 00:43:27,520 --> 00:43:31,200 Speaker 1: all the Latinas are giving her her flowers and it's 795 00:43:31,280 --> 00:43:34,719 Speaker 1: like only right that she is like having this shining 796 00:43:34,800 --> 00:43:38,200 Speaker 1: moment and so many of us are adoring and have 797 00:43:38,280 --> 00:43:40,400 Speaker 1: been following her work for decades. 798 00:43:41,480 --> 00:43:45,240 Speaker 2: And I mean watching rewatching like Sisterhood of the Traveling Pants, 799 00:43:45,239 --> 00:43:50,200 Speaker 2: Like as an adult, I can really like appreciate her acting. Yeah, same, 800 00:43:50,560 --> 00:43:54,040 Speaker 2: the girl can act like she's so talented, so go back, 801 00:43:54,120 --> 00:43:56,399 Speaker 2: and you know it's not just like, oh she's she's 802 00:43:56,440 --> 00:43:59,640 Speaker 2: just she's been there. No, she like is like really 803 00:43:59,640 --> 00:44:03,879 Speaker 2: bringing these characters to life, like really phenomenal on screen performances. 804 00:44:03,920 --> 00:44:06,200 Speaker 2: And that's why she's won Emmy's, that's why she's won 805 00:44:06,239 --> 00:44:09,280 Speaker 2: Golden Globes and SAG Awards, and that's why she continues 806 00:44:09,320 --> 00:44:11,680 Speaker 2: to be cast in these huge feature films. 807 00:44:11,800 --> 00:44:15,400 Speaker 1: Yeah, so shout out to you America. We love you. 808 00:44:18,640 --> 00:44:22,000 Speaker 1: All right, y'all, Well, this has been a long episode 809 00:44:22,040 --> 00:44:25,200 Speaker 1: of Loka Radio, A good one, A good one. We 810 00:44:25,280 --> 00:44:27,880 Speaker 1: had to we had to do this, We just had to. 811 00:44:28,080 --> 00:44:31,680 Speaker 1: So thank you for listening, thank you for supporting, and 812 00:44:31,719 --> 00:44:32,839 Speaker 1: we will catch you next time. 813 00:44:33,160 --> 00:44:39,879 Speaker 2: Bessie us look I thought. Our radio, a radio fun 814 00:44:39,960 --> 00:44:43,000 Speaker 2: and Novela is executive produced and hosted by Me Mala 815 00:44:43,080 --> 00:44:44,520 Speaker 2: Munios and Viosa. 816 00:44:44,160 --> 00:44:47,120 Speaker 1: Fem Story editing by Me Fiosa. 817 00:44:46,560 --> 00:44:48,200 Speaker 2: Audio editing by Stephanie Franco. 818 00:44:48,440 --> 00:44:50,759 Speaker 1: Thank you to our locomotives, our listeners for all of 819 00:44:50,760 --> 00:44:51,320 Speaker 1: your support.