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

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Speaker 1: women in them? Are all their discussions just boyfriends and husbands?

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Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing

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Speaker 1: it with the Bedel Cast. We don't talk about Bruneo

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Speaker 1: because if we did, we wouldn't pass the Bechdel tests.

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Speaker 1: You know. There it is, yeah, that we just don't

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Speaker 1: talk about Bruno because we're feminist, not because we're not.

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Speaker 1: Because our family has this whole thing going on right right,

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Speaker 1: right right, that's actually kind of an incredible hack to

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Speaker 1: to dazzle and impress your friends. When you don't want

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Speaker 1: to talk about a male family member, you're like, oh, well,

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Speaker 1: it's actually just it's kind of a thing. I don't.

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Speaker 1: I don't really talk about men in my family. Meanwhile,

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Speaker 1: my brother is like at the bottom of a well,

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Speaker 1: I'm like, well, I can't. I kind of can't. There's

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Speaker 1: not really much I can do due to the political climate.

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Speaker 1: I cannot escape my brother from this well exactly exactly. God.

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Speaker 1: I kind of love how that song became the wasn't

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Speaker 1: it was like almost a number one hit or so

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Speaker 1: if it came just like a pop song, it was

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Speaker 1: on the radio and stuff. Yeah, yeah, because I heard

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Speaker 1: I heard that song before I saw the movie, and

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Speaker 1: I was like putting that song in context when you've

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Speaker 1: only heard it on the radio and around and at CVS.

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Speaker 1: You're just like, oh, oh, I guess I didn't really

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Speaker 1: listen to why they weren't talking about him. Well, okay, okay,

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Speaker 1: now you know, Now you know, Now I know, and

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Speaker 1: now it's it's been on my mind. I'm so excited

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Speaker 1: to talk about this movie because it bankes me cry

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Speaker 1: so much. Welcome to the Bechtel Cast. We do talk

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Speaker 1: about in conto. We do want to talk about Incanto.

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Speaker 1: Not as good a song. Unfortunately, we can make we

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Speaker 1: can make it a bop. We can make it a

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Speaker 1: smash hit. Yeah. We're famous songwriters, so that will be

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Speaker 1: easy for us. Yeah. Famously, this is the Bechtel Cast,

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Speaker 1: the podcast in which we examine movies through an intersectional

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Speaker 1: feminist lens, using the Bechtel test simply as a jumping

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Speaker 1: off point, which, of course is a media metric created

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Speaker 1: by queer cartoonist Alison Bechtel, sometimes called the Bechtel Wallace Test,

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Speaker 1: originally found in a comic by Alison Bechtel called dikes

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Speaker 1: to watch out for. The whole test was not really

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Speaker 1: conceived as an actual test. It was just written as

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Speaker 1: a joke, but it's now become a test that we

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Speaker 1: did base an entire podcast around. Anyway, there are many

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Speaker 1: versions of it. UM. The one that we have crafted

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Speaker 1: over the years requires that two characters of a marginalized

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Speaker 1: gender have names, they have to speak to each other,

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Speaker 1: and that conversation has to be about something other than

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Speaker 1: a man. So again we don't talk about no, no, not.

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Speaker 1: And ideally the conversation is you know, narratively significant, um,

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Speaker 1: you know, two or more lines of dialogue, etcetera. So

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Speaker 1: that is the Bechdel test. And today we have an

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Speaker 1: incredible movie that has been requested since truly the second

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Speaker 1: it came out, if not the second the trailer came out.

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Speaker 1: It's in Conta, the movie that took over the world.

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Speaker 1: I'm so excited to talk about it. And we have

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Speaker 1: an incredible guest with us today, so let's get her

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Speaker 1: in here. We certainly do. She is a lifestyle content

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Speaker 1: creator and YouTuber. It's Jessica Flores. Hello, welcome, very excited

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Speaker 1: to be on here today. Oh my gosh, we're so

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Speaker 1: excited to have you and to talk about in conto

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Speaker 1: with you. What is your relationship, connection, history, etcetera with Encanto. Sure, So,

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Speaker 1: as a lifestyle creator, I and as a mom, I

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Speaker 1: cover a lot of Disney both as for my in

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Speaker 1: this and in my home. But on top of that,

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Speaker 1: I am a Columbian American and as someone growing up

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Speaker 1: with not that much positive Columbia media media out there.

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Speaker 1: As soon as this film came out, my family, my friends,

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Speaker 1: my community was very excited about it and eager to

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Speaker 1: see what Disney would come up with. And so it's

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Speaker 1: one of the reasons why I covered it from the

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Speaker 1: moment the trailer came out until past that. And over

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Speaker 1: the first few months of the film being out, I

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Speaker 1: created a bunch of videos over it. Uh combined they've

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Speaker 1: gotten over a million views where I discussed cultural reference,

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Speaker 1: historical background, and all of that. So that's my connection,

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Speaker 1: and that's how we originally learned of of your work

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Speaker 1: was through one of the YouTube videos, and it's we're

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Speaker 1: gonna link everything in the description. It's like, your work

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Speaker 1: is so fabulous. I'm glad that Encanto brought us to you.

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Speaker 1: Thank you so much. Course, Jamie. What about your relationship.

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Speaker 1: I was. I was holding out on watching this movie

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Speaker 1: because my niece is too and she's just arriving slowly

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Speaker 1: at a feature length attension. And so I had a

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Speaker 1: pact with my cousin that I would I would wait

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Speaker 1: to watch Incanto until I can watch it with her.

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Speaker 1: And then we decided we wanted to do this episode

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Speaker 1: and I had to break the rules. I'm going to

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Speaker 1: be publicly betraying my niece in but but look in

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Speaker 1: my defense, future Carolina, it was for content, and I

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Speaker 1: would do it again. So the sacrifices we make for content. Yeah,

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Speaker 1: but this is a movie that I truly as as

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Speaker 1: I was watching it. It's gorgeous, it's funny, it's great.

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Speaker 1: I can't wait to talk about it. Um. And I

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Speaker 1: was really surprised for for how short a time this

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Speaker 1: movie has been out, how much I had already like

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Speaker 1: kind of picked up through cultural osmosis because it's just

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Speaker 1: been like everywhere, and um, yeah, I have so many questions,

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Speaker 1: so many things I want to talk about. It made

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Speaker 1: me cry so much, And uh, sorry, Chloe and Carolina.

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Speaker 1: I will still watch it when I come and visit

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Speaker 1: in November. Um. Caitlyn wentz your history within Kanto. I

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Speaker 1: saw it in theaters and at the time I liked

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Speaker 1: it but didn't love it. And I think it was

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Speaker 1: just because I was in a bad mood or And

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Speaker 1: I only say this because when I watched it again

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Speaker 1: to prep for this episode, I fell in love with

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Speaker 1: it in a way that I didn't upon seeing it initially.

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Speaker 1: I don't know, like whatever happened that day When I

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Speaker 1: first saw it, I was like, I was just like, yeah,

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Speaker 1: that was beautiful and good, but I didn't love it.

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Speaker 1: But now I'm just like, what was I thinking? Like,

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Speaker 1: what was wrong with you, Kitlyn? You're just in the trenches?

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Speaker 1: Who knows? It was a different world. I mean, tell

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Speaker 1: me about it. It um So watching it again made

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Speaker 1: me fall in love with it. I've seen it four

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Speaker 1: times just to prep for this episode. I just kept

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Speaker 1: rewatching because I was like, it's so nice and good

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Speaker 1: and I can't wait to discuss it further. So with that,

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Speaker 1: should I get into the recap? Ah, Yeah, let's get

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Speaker 1: into the recap. We have a lot of characters to meet,

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Speaker 1: so we can't be wasting any time. I was, I

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Speaker 1: guess too to interrupt. Immediately, I was just like so

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Speaker 1: it's so hard for any like Edny writer to write

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Speaker 1: in this many characters and have you have a strong

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Speaker 1: feel for who they are. And every time I have.

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Speaker 1: I watched it three times to prepare, two times for

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Speaker 1: scholarly reasons, once because I wasn't I was a little

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Speaker 1: sad and I wanted to feel better, so I watched it.

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Speaker 1: Um but just like how difficult that must have been,

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Speaker 1: and it works so well? Yeah, I can't wait, absolutely

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Speaker 1: and still a little fun fact um. The family Mad

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Speaker 1: Miranda's introduction to the family is the Disney song with

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Speaker 1: the most words ever. Really, I guess I but it's

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Speaker 1: but it's not long, it's just is it just fast?

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Speaker 1: It's really fast. And he puts a lot in there

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Speaker 1: because he's wrapping through it. He's introducing you to the

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Speaker 1: whole family. There's relationships, who are the dad's, how they met,

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Speaker 1: the gifts. All of that is explained in that one song.

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Speaker 1: A lot of exposition. I love a good exposition song.

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Speaker 1: I hate a bad exposition song with like a special

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Speaker 1: hate because it's it's unlike, first of all, what do

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Speaker 1: you think I can't read? And this song sucks? This

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Speaker 1: is the opposite of that it's an amazing exposition song. Yeah,

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Speaker 1: um okay, So here's the recap. We open on a

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Speaker 1: Boila Alma voiced by Maria Cecilio Botero, with her little

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Speaker 1: granddaughter Mitabelle. A Boila is telling her about their family

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Speaker 1: history and showing Mirabelle the candle that holds their miracle.

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Speaker 1: It's also the source of the Madrigal family magic, which

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Speaker 1: came to be when Alma was a young woman. She

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Speaker 1: and her husband Pedro had to flee with their three

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Speaker 1: babies from intruders some violent force. If I'm not mistaken,

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Speaker 1: it's a reference to the Thousand Days War. Pedro is killed,

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Speaker 1: Alma is about to be killed, but the candle she's

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Speaker 1: holding creates a miracle, a secret place to seek refuge,

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Speaker 1: from which a magical house, Casita, rises up and the

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Speaker 1: house well because he just kind of a character the story,

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Speaker 1: much like New York in every boring movie and every

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Speaker 1: rom com. Yes, Casita is definitely one of the characters.

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Speaker 1: It seems to be kind of like alive and anthropomorphic.

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Speaker 1: The candle also blesses almost three children with a magical power,

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Speaker 1: so when they reach a certain age, the children open

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Speaker 1: a door in Casita and it gives them their special gift,

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Speaker 1: and the door also leads them to their new bedroom.

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Speaker 1: And then when those three children grow up and have

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Speaker 1: kids of their own, those kids are also blessed with

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Speaker 1: a magical gift, so it gets passed down throughout the generations.

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Speaker 1: And now it's Mirabelle's time to receive her gift. But

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Speaker 1: we flash forward to Mirabell as a teenager voiced by

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Speaker 1: Stephanie Beatrice, and we meet the entire Madrigal family and

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Speaker 1: learn about all of their magical gifts in this exposition

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Speaker 1: song that we were just talking about where Metabelle's tia

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Speaker 1: Peppa her mood affects the weather. TiO Bruno, we don't

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Speaker 1: talk about Bruno sing it I cannot sing um Bruno

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Speaker 1: though he left and kind of estranged himself from the family,

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Speaker 1: but before he did that, he seemed to be able

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Speaker 1: to see into the future, but he was seeing some

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Speaker 1: weird stuff. And also he's voiced by John Leguizamo. Mirabelle's mother, Julieta,

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Speaker 1: cures people with her food. Metabelle's cousin Dolores, can hear

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Speaker 1: the quietest sounds. Cousin Camillo can shape shift. Meta Bell's

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Speaker 1: sister Isabella is beautiful and perfect and creates beautiful flowers.

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Speaker 1: Her sister Luisa is very physically strong. And then the

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Speaker 1: kids in the village keep asking Metall what her special

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Speaker 1: gift is and it's revealed that she was not given

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Speaker 1: a gift, which she's like, I'm okay with this, but

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Speaker 1: no one really takes her seriously, especially her aboila so um.

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Speaker 1: Today is the day that Metabelle's cousin, Antonio is to

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Speaker 1: receive his special gift. It's time for the ceremony. The

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Speaker 1: family and community gather around little Antonio opens his door.

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Speaker 1: We also see a flashback of Metabelle as a child

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Speaker 1: trying to open her door, but it disappears back to Antonio.

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Speaker 1: His door works and his gift is being able to

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Speaker 1: communicate with animals. I love Antonio so much. Thinking cute.

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Speaker 1: It's really cute. It knocks me out, and and I

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Speaker 1: love that he's kind of um, I'm probably to date myself,

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Speaker 1: but um, he's kind of the second coming of Eliza Thornberry,

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Speaker 1: kind of the Uh did anyone watch to the Wild

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Speaker 1: Thornberry Is? It was a cartoon on Nickelodeon about a

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Speaker 1: little girl who could talk to animals. And was constantly

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Speaker 1: saving the entire world by like having a quick chat

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Speaker 1: with a with a snake. Fun. So Antonio has uh

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Speaker 1: talking to animal vibes, which is the superpower I would

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Speaker 1: want my cultural friends for this power is Eddie Murphy

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Speaker 1: Dr Doolittle. Okay, look, so everyone has their version of

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Speaker 1: and they're all very high brow. Of course Antonio is

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Speaker 1: the best of them all, bell because he's the truly

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Speaker 1: the cutest character I've ever seen in my entire life. Wow,

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Speaker 1: it's sickening. Okay, So he gets his gift and everyone celebrates,

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Speaker 1: but Mirabelle is feeling especially inadequate. She sings a song

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Speaker 1: about how she's waiting on a miracle and just then

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Speaker 1: the house Casita starts to crack and break in the

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Speaker 1: candle light flickers. Something's very wrong, but Mutable is the

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Speaker 1: only one who sees this, and then everything returns to

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Speaker 1: normal and aboila. Alma doesn't believe her, or seems not to,

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Speaker 1: but then Mutable overhears a boila sort of like praying.

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Speaker 1: She's worried about the miracle and the magic and that

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Speaker 1: it is dying. So Mirabelle resolves to save the miracle.

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Speaker 1: She starts by trying to figure out what is happening

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Speaker 1: to the magic, So she goes to cousin Dolores, who

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Speaker 1: again can hear very well, to see if Dolores has

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Speaker 1: overheard anything. Did you guys see that Dolores might get

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Speaker 1: some sort of like spinoff series? No, I heard, I did,

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Speaker 1: nothing confirmed, but I would watch the hell out of that.

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Speaker 1: There are definitely a lot of people who would love

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Speaker 1: a Disney Plus series to continue the story of the

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Speaker 1: family members. Do do a series for every character, right, like,

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Speaker 1: I'll sign on for the next ten years of watching Ship.

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Speaker 1: Sure every every m cuth character is having their own

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Speaker 1: spin off? Why not Encanto? And they're mostly boring? Yeah? Okay,

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Speaker 1: So Dolores directs her to Mirabelle's sister Luisa voy by

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Speaker 1: Jessica Daro, who seems to know something but pretends like

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Speaker 1: she doesn't. But then she sings a song about how

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Speaker 1: much pressure she's under to be strong and to carry

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Speaker 1: so many burdens, how she attaches all of her self

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Speaker 1: worth to whether or not she can stay strong, and

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Speaker 1: then Luisa reveals that while mirabel was seeing the cracks

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Speaker 1: on the house, Luisa felt weak, as if the magic

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Speaker 1: was deteriorating. And also one time she overheard the parents

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Speaker 1: talking about how Teo Bruno had a vision about this,

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Speaker 1: but no one really knows what the vision was, uh,

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Speaker 1: and then he left. So if Mirabel is looking for answers,

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Speaker 1: she should go to Bruno's tower and try to find

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Speaker 1: the vision. So she does. She sneaks into Bruno's room

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Speaker 1: and eventually finds the vision, which kind of like physically

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Speaker 1: manifested on a piece of green glass. It's broken into

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Speaker 1: a bunch of shards, so she pieces a few of

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Speaker 1: the shards together, and the image she sees is of herself,

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Speaker 1: so she grabs the pieces. She goes back to her room,

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Speaker 1: where she crosses paths with her Tia Pepper and Teo

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Speaker 1: Felix and tries to ask them about Bruno. And then

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Speaker 1: we get the we don't talk about Bruno's song The

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Speaker 1: Bop of the Century takes off another exposition song. Yes, yeah,

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Speaker 1: but again another exposition Bob Male and Miranda. You know,

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Speaker 1: people have their opinions, but the man knows what he's doing.

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Speaker 1: I think they all made the billboard top one hundred,

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Speaker 1: and I think Bruno did get to number one. Oh

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Speaker 1: my god, I'm not surprised. That's the best. Um. I

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Speaker 1: know that it's a very popular song and I really

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Speaker 1: like it, But my favorite song of the movie is

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Speaker 1: Surface Pressure. That is the bop of the movie. I

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Speaker 1: think I was the only person in the theater. Probably not,

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Speaker 1: but I wet when I heard that song because I

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Speaker 1: could relate to that character so much as a first

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Speaker 1: generation American, and I definitely saw it around TikTok. A

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Speaker 1: lot of people resonated with her character and that song. Yeah,

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Speaker 1: I'm so excited to talk about it more. Yeah, that

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Speaker 1: felt like that should have been the bop. If there

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Speaker 1: was justice in the world, that would have been the

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Speaker 1: number one. Yeah. Um. So this is when we get

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Speaker 1: the we don't talk about Bruno song, where we learn

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Speaker 1: that Bruno had all these visions of the future. A

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Speaker 1: lot of them were like ominous and kind of negative,

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Speaker 1: so people thought that he made bad things happen, so

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Speaker 1: he left. Then Mirabell puts all the rest of the

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Speaker 1: shards of the vision together, and the images of her

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Speaker 1: standing in front of the broken house, which she interprets

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Speaker 1: as she is the reason Casita is cracking and the

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Speaker 1: magic is fading, which Dolores discovers because she can hear everything,

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Speaker 1: and she's also a big gossip, so word spread. That

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Speaker 1: shot of her is so funny, were it like it's like,

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Speaker 1: I know, I'm going to disagree with that. Yeah, I

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Speaker 1: disagree that she's a gossip. See, it hadn't been established.

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Speaker 1: If she had heard all these things, she could have

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Speaker 1: used it to her advantage as a gossip to like

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Speaker 1: expose other things and and help herself in a situation.

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Speaker 1: I think that what drove her to actually say something

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Speaker 1: was the danger that was bringing to the family. And

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Speaker 1: it has been instilled in every single member of this

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Speaker 1: family that their powers, their family are the most important thing,

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Speaker 1: the most precious thing, above everything else, and I think

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Speaker 1: that's what drove her to share that, as opposed to

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Speaker 1: sharing other things that she may have overheard. That makes

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Speaker 1: sense because she hadn't been established as a gossip prior

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Speaker 1: to that, and I was I wasn't totally clear why

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Speaker 1: they were certain she would tell everyone this, But that

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Speaker 1: explanation makes a lot of sense. So just my opinion,

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Speaker 1: I'm sure a lot of people would agree, but that

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Speaker 1: I like it. But you're right, she doesn't have a

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Speaker 1: history of that, and then this would have been like

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Speaker 1: so much of this could have been information she had

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Speaker 1: like long before any of this right true. So Dolores

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Speaker 1: discovers this, so she tells Camillo, who tells his dad,

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Speaker 1: who tells Tia Peppa. This is all happening at Isabella's

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Speaker 1: engagement party because this guy, Mariano Gusman, is about to

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Speaker 1: propose to Isabella. But everything falls apart during this dinner.

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Speaker 1: People are freaking out and everyone blames it on Metabelle.

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Speaker 1: But then Mirabelle discovers a secret passage in the house

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Speaker 1: and she finds TiO Bruno, who has been living in

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Speaker 1: a secret room in like the walls of the house

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Speaker 1: this whole time, Phantom of the Opera style, except without

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Speaker 1: the scary stuff, like if the Phantom of the Opera

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Speaker 1: was really chill and funny and just had a bunch

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Speaker 1: of yeah yeah, yeah, yeah yeah. So he felt like

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Speaker 1: his gift was hurting the family, but he loves his family,

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Speaker 1: so he didn't want to actually leave. Meta Bell tries

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Speaker 1: to get clarity on the vision, and Bruno tells her

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Speaker 1: that he saw the magic fading, the house breaking, and

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Speaker 1: he saw Mitabelle, but the vision was different depending on

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Speaker 1: how you looked at it. Sometimes the house looks broken

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Speaker 1: sometimes not either way. Bruno knew that his family would

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Speaker 1: assume the worst if they saw it, so he destroyed

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Speaker 1: the vision and went into hiding to protect Metabelle. So

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Speaker 1: she's like, well, Bruno, since this vision is so unclear,

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Speaker 1: have another vision, and so he does. His ritual has

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Speaker 1: another vision. At first it seems like it's the same

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Speaker 1: one as before, but then they noticed something different, a butterfly,

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Speaker 1: and then they see the candle burning brighter, and it's

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Speaker 1: because Metabelle embraces hugs her sister Isabella. So now meta

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Speaker 1: Bell has to go to Isabella to try to make

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Speaker 1: amends with her, to like save the magic. So Metabell

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Speaker 1: goes to Isabella tries to embrace her. Easta Bell is like,

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Speaker 1: I hate you. But then instead of like making one

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Speaker 1: of her perfect flowers that she always creates, she makes

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Speaker 1: a cactus and she she loves this. She's like, oh,

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Speaker 1: I made something new and different and it's not perfect,

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Speaker 1: And she sings a song about how she's also been

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Speaker 1: under so much pressure to be perfect and she just

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Speaker 1: wants to be able to express herself the way that

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Speaker 1: she wants to, which we'll get back to because it

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Speaker 1: is the song of the summer winter and sprain. I

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Speaker 1: feel maybe every song is the best song ever made.

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Speaker 1: But yes so, And because Metabell kind of helped her

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Speaker 1: with this like discovery of her expression, she is really

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Speaker 1: grateful to Mirabell. So they hug. And even though it's

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Speaker 1: clear that Mirabelle is in the vision because she's the

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Speaker 1: one who is going to save the miracle, that has

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Speaker 1: become clear, Aboila still thinks Mirabell is ruining everything and

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Speaker 1: hurting the family, and Mirabelle is like, no, Aboila, You're

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Speaker 1: the one who's hurting the family. And then the house

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Speaker 1: fully breaks and crumbles to the ground. The encanto is broken,

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Speaker 1: everyone's powers are gone, and their house is in ruins,

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Speaker 1: looking like we're at the end of the second act.

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Speaker 1: It's almost like it's the second act low point. Things

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Speaker 1: can't get much whereas can they? And then and then

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Speaker 1: so in all the confusion, Mirabell sneaks off and a

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Speaker 1: boila Alma finds her at the river where Alma was

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Speaker 1: first given the miracle all those years ago. We flash

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Speaker 1: back to Alma and Pedro meeting, falling in love, starting

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Speaker 1: their family, fleeing to find safety, and again we see

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Speaker 1: the miracle saving Alma. She raises her babies on her

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Speaker 1: own and all admits to Mirabelle that she had lost

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Speaker 1: sight of who the miracle was for. It's for her family,

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Speaker 1: and she realizes that the miracle isn't the magic, it's

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Speaker 1: her family. Her family is the miracle. So she apologizes

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Speaker 1: to Mirabelle and realizes that the magic was broken because

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Speaker 1: of her, and Mirabelle was like, yeah, but we only

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Speaker 1: have a family in the first place because of you.

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Speaker 1: A boil, and so they have this tender reconciliation and

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Speaker 1: then Bruno shows up and Alma also apologizes to him.

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Speaker 1: So beautiful between the whole third act is just like

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Speaker 1: cry Cry Cry. The new ones. By the way, that's

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Speaker 1: that's the biggest miracle to have a Colombian mother apologized

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Speaker 1: to her kids. That's the biggest miracle in the Felon

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Speaker 1: the True and contem Then they all returned to the

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Speaker 1: rubble of their house and with the help of the community,

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Speaker 1: they rebuild Casita. The family gives Mutabell a door knob.

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Speaker 1: We are all cry cry, crying, and when Mutable puts

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Speaker 1: the door knob into place, Casita comes back to life.

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Speaker 1: Everyone gets their gift back and the whole family and

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Speaker 1: community rejoices, and that's the end of the movie. Let's

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Speaker 1: take a quick break and we will come back to discuss,

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Speaker 1: and we're back. Can I say I wish okay this

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Speaker 1: is I'll start with just an off the cuff, a

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Speaker 1: little observation. I really loved how this movie took care

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Speaker 1: for characters to apologize to each other who were owed apologies,

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Speaker 1: and not to stand up for a male character right away.

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Speaker 1: I feel like Bruno is owed a bit harder if

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Speaker 1: an a apology. He was gone for a long time,

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00:25:02,960 --> 00:25:06,000
Speaker 1: and like his mother did apologize to him and his

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00:25:06,080 --> 00:25:08,600
Speaker 1: sisters were thrilled to see him. But I was like, guys,

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Speaker 1: he's been gone for what fifteen years? And everyone's like

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Speaker 1: probably whoops. And I was like, like I mentioned, that

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00:25:17,520 --> 00:25:21,040
Speaker 1: was a lot. That was that apology. That was a lot.

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Speaker 1: A lot of Colombian children around the world were like, ah,

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Speaker 1: I wish you know, I'll take that. I would have

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Speaker 1: shaken up. You're good, I'm good, Like yeah, looked in

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Speaker 1: the walls for ten years but got the apology. All good. Okay,

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Speaker 1: where do we want to start? Yeah, Jessica, is there

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00:25:42,200 --> 00:25:45,520
Speaker 1: anywhere you'd you'd like to start. We've got so much

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Speaker 1: to discuss. Oh my gosh, there is so much discuss

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Speaker 1: I think the biggest conversation that I think that I um.

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00:25:55,520 --> 00:25:58,159
Speaker 1: I got a lot of comments about the film, and

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00:25:59,000 --> 00:26:02,119
Speaker 1: a lot of the things were brought up is the

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Speaker 1: trauma that our families, Columbian families specifically, but so many

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00:26:06,680 --> 00:26:09,960
Speaker 1: families around the world, the trauma that's passed down because

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Speaker 1: of displacement and because of violence. I think it was

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00:26:14,400 --> 00:26:16,520
Speaker 1: it was so unexpected for me to see this. I

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00:26:16,560 --> 00:26:19,040
Speaker 1: knew this film would be about Columbia and they would

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00:26:19,040 --> 00:26:23,000
Speaker 1: put Columbian cultural and maybe a little historical, but the

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00:26:23,040 --> 00:26:26,840
Speaker 1: fact that we cover, uh, the Hundred Days War, that's

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Speaker 1: basically what started this whole thing. To talk about that,

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Speaker 1: but then the trauma that you see passed down through generations,

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Speaker 1: I think it's such an important thing to discuss, to

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00:26:36,960 --> 00:26:40,560
Speaker 1: look at and to talk through. I certainly saw it

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00:26:40,560 --> 00:26:42,800
Speaker 1: in my family. I mentioned that in one of my

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00:26:42,920 --> 00:26:46,320
Speaker 1: YouTube videos that although you know that happened in the

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Speaker 1: late eight hundreds, early nineteen hundreds, we still talk about

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Speaker 1: it in my family because it moved our families around.

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Speaker 1: So I have where we all grew up in one

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Speaker 1: village one town. Now we have family and this part

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Speaker 1: of the country, and we a family in that part

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Speaker 1: of the country. And I think it's certainly relevant to

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00:27:03,840 --> 00:27:05,479
Speaker 1: a lot of what's happening today because there's a lot

424
00:27:05,480 --> 00:27:07,960
Speaker 1: of displacement due to due to violence and due too

425
00:27:07,960 --> 00:27:12,800
Speaker 1: many other things. So I thought it was ingenious really

426
00:27:12,840 --> 00:27:16,320
Speaker 1: to have that be the kickoff of this story. Yeah,

427
00:27:16,400 --> 00:27:21,399
Speaker 1: I was not expecting that because so many Disney movies

428
00:27:21,440 --> 00:27:25,000
Speaker 1: are just they're rooted in fairy tales, which like might

429
00:27:25,520 --> 00:27:30,359
Speaker 1: have some like vague historical references or context, but it's

430
00:27:30,600 --> 00:27:34,640
Speaker 1: based on mostly fiction, whereas this movie is like, yeah,

431
00:27:34,640 --> 00:27:39,760
Speaker 1: pulling from you know, historical events and really specific context

432
00:27:40,000 --> 00:27:42,760
Speaker 1: that informs so much of the movie, so much of

433
00:27:42,760 --> 00:27:48,959
Speaker 1: the family dynamics and generational trauma. And it was unexpected

434
00:27:49,000 --> 00:27:53,360
Speaker 1: but like really compelling and moving. Yeah it felt. Um.

435
00:27:53,640 --> 00:27:55,920
Speaker 1: I feel like there are a handful of Disney movies

436
00:27:55,960 --> 00:28:00,760
Speaker 1: that begin with like a traumatic event as like I

437
00:28:00,840 --> 00:28:02,720
Speaker 1: don't know why I'm thinking of the beginning of The

438
00:28:02,800 --> 00:28:06,480
Speaker 1: Hunchback of Notre doc but I am, but like something terrible,

439
00:28:06,800 --> 00:28:09,600
Speaker 1: A family member is lost, people are separated, but what

440
00:28:09,760 --> 00:28:12,280
Speaker 1: never happens and what I love what this movie does

441
00:28:12,320 --> 00:28:17,720
Speaker 1: with such thoughtfulness and specificity to my knowledge, is that

442
00:28:17,800 --> 00:28:21,320
Speaker 1: it brings that theme back where normally it's just like

443
00:28:21,520 --> 00:28:25,640
Speaker 1: inciting incidents someone does and that's kind of all you get,

444
00:28:25,680 --> 00:28:27,840
Speaker 1: but bringing it back and rooting it in history, and

445
00:28:27,880 --> 00:28:32,040
Speaker 1: then also like taking the the care to I'm just

446
00:28:32,080 --> 00:28:34,159
Speaker 1: starting to think if I've ever seen a kids movie

447
00:28:34,520 --> 00:28:38,920
Speaker 1: that takes time to do this that like shows that, yes,

448
00:28:39,720 --> 00:28:45,200
Speaker 1: Mirabel's grandmother has been careless with people's feelings and like

449
00:28:45,600 --> 00:28:49,560
Speaker 1: should be called out for that, but mirabel and as

450
00:28:49,600 --> 00:28:52,680
Speaker 1: part of growing up, needs to understand the context of

451
00:28:53,160 --> 00:28:56,320
Speaker 1: where that pain comes from instead of just because I

452
00:28:56,320 --> 00:28:58,720
Speaker 1: thought it would have been so easy to do. We've

453
00:28:58,760 --> 00:29:00,280
Speaker 1: been I feel like we've been talking about this on

454
00:29:00,280 --> 00:29:03,000
Speaker 1: the show a lot, just kind of girl boss character

455
00:29:03,080 --> 00:29:07,280
Speaker 1: decisions that are very rooted in the individual of like

456
00:29:07,920 --> 00:29:11,840
Speaker 1: screw you, mom, I'm gonna be a dancer, or like

457
00:29:12,000 --> 00:29:17,120
Speaker 1: you know that thing where it's like the older generation's

458
00:29:17,560 --> 00:29:20,920
Speaker 1: pain and experiences are just cast off as like you're old,

459
00:29:21,080 --> 00:29:24,440
Speaker 1: you don't get it. And like this movie is so

460
00:29:24,680 --> 00:29:27,320
Speaker 1: nuanced where it's like we are rooting for Mirabelle when

461
00:29:27,320 --> 00:29:29,600
Speaker 1: she stands up for herself because that is something she

462
00:29:29,680 --> 00:29:34,000
Speaker 1: hasn't been able to do so far, but also she

463
00:29:34,360 --> 00:29:38,560
Speaker 1: is open to hearing what her family's history is and

464
00:29:38,640 --> 00:29:41,360
Speaker 1: like work on it together. And I just there's I

465
00:29:41,360 --> 00:29:43,040
Speaker 1: I can't think of a lot of movies that do

466
00:29:43,160 --> 00:29:47,520
Speaker 1: that with such care. It's beautiful. Oh absolutely, And I'm

467
00:29:47,560 --> 00:29:50,960
Speaker 1: going to come out and say it, I am in

468
00:29:51,080 --> 00:29:55,719
Speaker 1: Abilla almost stand. I love her character. I love her

469
00:29:55,760 --> 00:29:58,400
Speaker 1: so much, and I think a big reason is because

470
00:29:58,600 --> 00:30:02,560
Speaker 1: I have an Abilla alm My family, and in order

471
00:30:02,600 --> 00:30:05,640
Speaker 1: for me to fully love someone, I have to understand

472
00:30:05,640 --> 00:30:07,640
Speaker 1: the context. I have to understand where they came from,

473
00:30:07,680 --> 00:30:11,040
Speaker 1: what happened to them, what trauma they've lived through that

474
00:30:11,080 --> 00:30:13,600
Speaker 1: has made them that way, that makes them maybe a

475
00:30:13,640 --> 00:30:17,160
Speaker 1: little bit colder, maybe a little bitter, maybe a little

476
00:30:17,200 --> 00:30:20,880
Speaker 1: more stern. But seeing especially, I just love the way

477
00:30:20,920 --> 00:30:24,880
Speaker 1: that you see, you know, in quote unquote what happened

478
00:30:24,880 --> 00:30:26,600
Speaker 1: in the beginning of the film, but then you really

479
00:30:26,600 --> 00:30:29,760
Speaker 1: see it through her eyes what happened, and the difference

480
00:30:29,840 --> 00:30:33,280
Speaker 1: between the trauma that you see when she's finally opening

481
00:30:33,320 --> 00:30:37,480
Speaker 1: up and explaining it or showing us what really happened

482
00:30:37,600 --> 00:30:40,480
Speaker 1: and how violent it was and how vicious. I also

483
00:30:40,520 --> 00:30:44,680
Speaker 1: appreciate that the directors have been very open with communicating

484
00:30:44,680 --> 00:30:49,719
Speaker 1: with fans, especially Jared Bush. He is constantly answering questions

485
00:30:49,760 --> 00:30:52,840
Speaker 1: on Twitter. And it's through these tweets that I got

486
00:30:52,840 --> 00:30:58,560
Speaker 1: confirmation from Jared that like, listen to this. Okay, this

487
00:30:58,560 --> 00:31:02,080
Speaker 1: this story when she gives birth right, that's exactly one

488
00:31:02,120 --> 00:31:04,840
Speaker 1: year after the war broke out. So she gives birth

489
00:31:05,000 --> 00:31:09,440
Speaker 1: through three kids, they flee their town, she hikes a

490
00:31:09,480 --> 00:31:13,480
Speaker 1: Columbian mountain, her husband is killed in front of her eyes,

491
00:31:14,480 --> 00:31:17,720
Speaker 1: and she's given a miracle and then becomes the facto

492
00:31:17,880 --> 00:31:21,920
Speaker 1: leader of this entire community on the same day the

493
00:31:22,040 --> 00:31:25,400
Speaker 1: same time. Wow. So, like, I don't care how much

494
00:31:25,480 --> 00:31:29,720
Speaker 1: yoga you do and meditation, how zen you are, that

495
00:31:29,880 --> 00:31:32,560
Speaker 1: is going to mess you up. Yeah, And so I

496
00:31:32,680 --> 00:31:36,840
Speaker 1: appreciated that story so much more and you can understand her,

497
00:31:36,880 --> 00:31:39,120
Speaker 1: and I hope it helps people understand her more when

498
00:31:39,120 --> 00:31:42,280
Speaker 1: you realize all of that happened to this one person

499
00:31:42,720 --> 00:31:45,920
Speaker 1: and why she holds onto her family and the miracle,

500
00:31:45,960 --> 00:31:49,040
Speaker 1: which she thinks is the protection that violence is still

501
00:31:49,040 --> 00:31:52,440
Speaker 1: out there, that violence lasted in Columbia for a very

502
00:31:52,440 --> 00:31:56,840
Speaker 1: long time, and other types of hardships happened in that country,

503
00:31:56,880 --> 00:31:59,840
Speaker 1: and that's all just that's just across that mountain. So

504
00:32:00,280 --> 00:32:03,080
Speaker 1: you have to understand all of that to understand why

505
00:32:03,160 --> 00:32:06,440
Speaker 1: she holds on so tightly to her family and why

506
00:32:06,480 --> 00:32:08,440
Speaker 1: she is the way that she is. Right because a

507
00:32:08,560 --> 00:32:11,760
Speaker 1: boiler almost the whole thing is protecting her family, protecting

508
00:32:11,760 --> 00:32:15,040
Speaker 1: the home that saved her from being killed and allowed

509
00:32:15,040 --> 00:32:19,959
Speaker 1: her to raise a family in this you know, safe haven.

510
00:32:20,040 --> 00:32:23,680
Speaker 1: So no wonder she has such a strong investment in

511
00:32:23,920 --> 00:32:28,600
Speaker 1: the thing that protected her from this violence, and you know,

512
00:32:28,760 --> 00:32:31,320
Speaker 1: and extends it to her whole community too. I love

513
00:32:31,400 --> 00:32:34,640
Speaker 1: that it's not just her immediate family who's protected, it's

514
00:32:34,680 --> 00:32:39,040
Speaker 1: this entire community that she's kind of the the unofficial

515
00:32:39,160 --> 00:32:43,200
Speaker 1: leader of and it's like she's their protector. And I

516
00:32:43,520 --> 00:32:46,360
Speaker 1: feel like it's at first and even as a viewer

517
00:32:46,360 --> 00:32:51,120
Speaker 1: because I was so like the best um because I'm

518
00:32:51,200 --> 00:32:53,440
Speaker 1: four years old when the first time I watch a movie,

519
00:32:54,480 --> 00:32:57,240
Speaker 1: But like the how you know, if you don't have

520
00:32:57,280 --> 00:33:01,280
Speaker 1: the context for who she is, that incredible pressure is

521
00:33:01,720 --> 00:33:06,080
Speaker 1: like easy to overlook, which is true of a lot

522
00:33:06,120 --> 00:33:11,040
Speaker 1: of like matriarchs in particular. And I also loved how

523
00:33:11,600 --> 00:33:15,560
Speaker 1: the middle generation, the parents or I guess Mirabell's parents

524
00:33:15,560 --> 00:33:18,720
Speaker 1: and aunts and uncles like where they fell and where

525
00:33:18,760 --> 00:33:22,360
Speaker 1: normally I feel like in Disney movies it's like parents

526
00:33:22,360 --> 00:33:25,200
Speaker 1: and children, and this the parents are kind of middle

527
00:33:25,720 --> 00:33:29,520
Speaker 1: people in a way in like mediating this a bit

528
00:33:29,600 --> 00:33:33,000
Speaker 1: on the sidelines, Yeah, which I thought, I mean, I

529
00:33:33,040 --> 00:33:36,239
Speaker 1: wouldn't outside of Teo Bruno. I feel like, you know,

530
00:33:36,280 --> 00:33:40,560
Speaker 1: he's the most prominent. But I liked how those characters

531
00:33:40,560 --> 00:33:43,560
Speaker 1: were often sort of used as a way of bridging

532
00:33:44,240 --> 00:33:49,080
Speaker 1: where Abela was coming from from versus Mirabelle's frustrations. And

533
00:33:49,400 --> 00:33:54,960
Speaker 1: it just works to to kind of return to the

534
00:33:55,120 --> 00:34:01,240
Speaker 1: generational trauma that informs this story. So a friend of

535
00:34:01,280 --> 00:34:06,320
Speaker 1: the show, Jose Maria Luna, also did a video essay

536
00:34:06,560 --> 00:34:09,719
Speaker 1: on this movie and he talked he spoke a lot

537
00:34:09,760 --> 00:34:13,960
Speaker 1: about about what we see on screen regarding Colombian culture

538
00:34:14,000 --> 00:34:17,200
Speaker 1: and you know, the representation of Columbia in this movie,

539
00:34:17,320 --> 00:34:20,360
Speaker 1: and it's and he explained that it's not just the

540
00:34:20,360 --> 00:34:25,040
Speaker 1: the food, the geography, the architecture, the plant and animal life,

541
00:34:25,120 --> 00:34:30,840
Speaker 1: the art, clothing, music, characters, gestures and expressions, which he

542
00:34:31,080 --> 00:34:34,400
Speaker 1: felt was all very authentic. The thing that screamed Colombian

543
00:34:34,440 --> 00:34:36,839
Speaker 1: the most was what you were talking about, Jessica, as

544
00:34:36,880 --> 00:34:40,320
Speaker 1: far as the themes of like dealing with trauma, trying

545
00:34:40,320 --> 00:34:44,319
Speaker 1: to heal a broken community, because it's a country with

546
00:34:44,360 --> 00:34:48,360
Speaker 1: a very complicated history fraught with violence, and that violence

547
00:34:48,480 --> 00:34:55,880
Speaker 1: was mostly a result of colonization, ethnic cleansing, extremist political movements,

548
00:34:56,480 --> 00:35:00,640
Speaker 1: killing and violently displacing people. So it's this again history

549
00:35:00,680 --> 00:35:06,000
Speaker 1: fraught with violence that affects every person from Columbia or

550
00:35:06,040 --> 00:35:09,920
Speaker 1: every person with family from Colombia. So that is like

551
00:35:10,120 --> 00:35:14,879
Speaker 1: really what made this movie feel Colombian to people who

552
00:35:14,880 --> 00:35:19,000
Speaker 1: would recognize that because like I, you know, prior to

553
00:35:19,400 --> 00:35:23,719
Speaker 1: seeing this movie or researching for this episode, I the

554
00:35:23,760 --> 00:35:26,040
Speaker 1: only things I knew about Columbia were what you tend

555
00:35:26,080 --> 00:35:31,600
Speaker 1: to see in media, which is like drug cartels and like,

556
00:35:31,960 --> 00:35:34,160
Speaker 1: and obviously knew that was like blown out of proportion

557
00:35:34,320 --> 00:35:38,800
Speaker 1: and that you can't trust most media to represent, especially

558
00:35:38,840 --> 00:35:42,879
Speaker 1: American media, to represent like a South American country responsibly

559
00:35:42,960 --> 00:35:47,040
Speaker 1: anything authentically. Yeah, so there was a lot that I

560
00:35:47,080 --> 00:35:51,360
Speaker 1: didn't totally know about Colombian history, and upon again, like

561
00:35:51,400 --> 00:35:55,360
Speaker 1: researching for this episode, I learned a lot more. But

562
00:35:55,480 --> 00:35:59,080
Speaker 1: um and I now have an even greater appreciation for

563
00:35:59,840 --> 00:36:04,840
Speaker 1: the story for incorporating all this historical and cultural context

564
00:36:05,520 --> 00:36:08,359
Speaker 1: so meaningfully in a way that because you can like,

565
00:36:09,000 --> 00:36:11,640
Speaker 1: and we'll talk about this, but like the directors of

566
00:36:11,680 --> 00:36:15,920
Speaker 1: the movie, it's It's three People, Jared Bush Byron Howard,

567
00:36:16,040 --> 00:36:19,959
Speaker 1: and it was co directed by Shari's Castro Smith, um,

568
00:36:20,000 --> 00:36:23,440
Speaker 1: who I think was brought on a bit after the fact.

569
00:36:23,600 --> 00:36:26,400
Speaker 1: And we'll talk about that. But um, I was like,

570
00:36:26,560 --> 00:36:31,920
Speaker 1: are these two white guy Americans? Like how do you know?

571
00:36:32,120 --> 00:36:35,600
Speaker 1: Which is the case for almost every Disney animated movie,

572
00:36:35,600 --> 00:36:38,480
Speaker 1: because that was we had this same discussion six six

573
00:36:38,560 --> 00:36:42,880
Speaker 1: years ago when Moanna came out. We're just like why

574
00:36:42,880 --> 00:36:46,480
Speaker 1: why and and and for I mean, well, well, we'll

575
00:36:46,480 --> 00:36:50,160
Speaker 1: talk about the production and it seems like everyone tried

576
00:36:50,400 --> 00:36:53,600
Speaker 1: to but it's just like, but why but why two

577
00:36:53,600 --> 00:36:55,879
Speaker 1: white guys? I mean, we know why, but right right,

578
00:36:56,680 --> 00:37:00,960
Speaker 1: you don't expect that a movie directed I too white

579
00:37:00,960 --> 00:37:04,560
Speaker 1: guys are going to really fully incorporate all of the

580
00:37:05,160 --> 00:37:08,560
Speaker 1: historical and cultural context as well as they seem to

581
00:37:08,640 --> 00:37:12,080
Speaker 1: have done. But they seem too so um, but you're

582
00:37:12,080 --> 00:37:15,319
Speaker 1: but you're absolutely right. You know, growing up, when I

583
00:37:15,320 --> 00:37:18,960
Speaker 1: would tell people that I was Columbian, what can I

584
00:37:19,000 --> 00:37:22,080
Speaker 1: show them that says, Hey, here's where my family is

585
00:37:22,080 --> 00:37:24,760
Speaker 1: from I didn't have anything. I didn't have anything because

586
00:37:24,880 --> 00:37:29,160
Speaker 1: everything that was out there was drug cartels, and even

587
00:37:29,280 --> 00:37:32,000
Speaker 1: to this day, what is out there, it's still the

588
00:37:32,080 --> 00:37:35,239
Speaker 1: same kind of violence, drug cartels. You know, a guy

589
00:37:35,239 --> 00:37:37,919
Speaker 1: who's been dead for like thirty years, Like that's all

590
00:37:38,040 --> 00:37:40,839
Speaker 1: that is ever represented in media. And so I think

591
00:37:40,880 --> 00:37:42,840
Speaker 1: that's one of the reasons why I certainly watched this

592
00:37:42,880 --> 00:37:44,880
Speaker 1: film feeling like a four year old, because I was

593
00:37:44,920 --> 00:37:47,520
Speaker 1: so excited that I have finally something that I can

594
00:37:47,560 --> 00:37:49,319
Speaker 1: share and say, like, this is where we come from.

595
00:37:49,320 --> 00:37:53,040
Speaker 1: Look at all these you know, beautiful plants and animals,

596
00:37:53,160 --> 00:37:55,360
Speaker 1: and look at the food and listen to the music,

597
00:37:55,440 --> 00:37:58,880
Speaker 1: and this is where your family is from. And it

598
00:37:59,480 --> 00:38:05,000
Speaker 1: feels like it represents the people of Columbia in a

599
00:38:05,040 --> 00:38:07,799
Speaker 1: way the most media doesn't. Where you have, you know,

600
00:38:07,840 --> 00:38:11,440
Speaker 1: you see a multi generational Latin X family, You have

601
00:38:11,560 --> 00:38:17,440
Speaker 1: indigenous representation, You have Afro latin X representation in Felix

602
00:38:17,640 --> 00:38:22,160
Speaker 1: and his kids are mixed Afro Indigenous characters, and the

603
00:38:22,520 --> 00:38:26,480
Speaker 1: movie seems appropriately cast as well, where like Afro Ladina

604
00:38:26,719 --> 00:38:30,480
Speaker 1: characters are being voiced by Afro Latina actors. For example,

605
00:38:31,160 --> 00:38:34,840
Speaker 1: you have representation of different body types, especially with the

606
00:38:34,880 --> 00:38:37,240
Speaker 1: female characters. This is something we talk about all the time,

607
00:38:37,280 --> 00:38:41,520
Speaker 1: where like an animation, male characters tend to be you know,

608
00:38:41,560 --> 00:38:45,080
Speaker 1: animated any which way, like a huge variety of body

609
00:38:45,120 --> 00:38:49,160
Speaker 1: shapes and sizes, whereas the women tend to be you know,

610
00:38:49,280 --> 00:38:55,160
Speaker 1: like Barbie esque, uh in their design and animation sexy Ghost,

611
00:38:55,800 --> 00:39:00,360
Speaker 1: Sexy Ghost and Ghostbusters. Why this is most notable with Lisa.

612
00:39:00,440 --> 00:39:03,480
Speaker 1: But you have different body types represented on screen in

613
00:39:03,520 --> 00:39:08,640
Speaker 1: the female characters, while also like not defining any character

614
00:39:08,880 --> 00:39:12,840
Speaker 1: by their body type or like you get. Obviously, Louisa's

615
00:39:12,880 --> 00:39:15,120
Speaker 1: strength is a huge element of her character, but that

616
00:39:15,280 --> 00:39:18,560
Speaker 1: is not what defines her. What defines her is um

617
00:39:18,680 --> 00:39:21,640
Speaker 1: the Bob of the movie, and you know her her

618
00:39:21,719 --> 00:39:26,600
Speaker 1: struggle to hold everything together. And yeah, I um, I

619
00:39:26,640 --> 00:39:29,640
Speaker 1: think we talked about this one we were prepping for this,

620
00:39:29,680 --> 00:39:33,879
Speaker 1: but I really loved learning about the production of this

621
00:39:33,960 --> 00:39:39,239
Speaker 1: movie and how this movie forced new technology in order

622
00:39:39,280 --> 00:39:44,239
Speaker 1: to better represent a wider particularly with hair. This is

623
00:39:44,360 --> 00:39:48,320
Speaker 1: I heard, the first movie that is inclusive of every

624
00:39:48,360 --> 00:39:53,040
Speaker 1: hair texture, which the technology because animation, as we've discussed

625
00:39:53,080 --> 00:39:57,359
Speaker 1: many times, is so centered on white protagonists, as is

626
00:39:57,600 --> 00:40:01,600
Speaker 1: most media, still that the technology literally did not exist

627
00:40:02,160 --> 00:40:06,640
Speaker 1: to animate every hair texture. And so one of the

628
00:40:06,760 --> 00:40:09,560
Speaker 1: I mean, of the many incredible legacies of this movie

629
00:40:09,600 --> 00:40:14,120
Speaker 1: that technology now exists. It started I guess the it

630
00:40:14,160 --> 00:40:17,000
Speaker 1: was the whole thing, but it like started back with Tangled,

631
00:40:17,280 --> 00:40:22,040
Speaker 1: the hair movie. Uh, and then in Moana they had

632
00:40:22,040 --> 00:40:27,440
Speaker 1: to develop technology that allowed them to authentically animate just

633
00:40:27,680 --> 00:40:31,880
Speaker 1: darker hair in general because it's such a blonde, you know,

634
00:40:32,360 --> 00:40:36,960
Speaker 1: white princess centric franchise at Disney. And then in Conto

635
00:40:37,239 --> 00:40:41,080
Speaker 1: they continued to push the technology even further. So now um,

636
00:40:41,160 --> 00:40:45,239
Speaker 1: the studio and animators everywhere have a very easy, accessible

637
00:40:45,239 --> 00:40:48,800
Speaker 1: tool that will allow them to animate every hair texture,

638
00:40:48,880 --> 00:40:53,360
Speaker 1: which is huge and as an animation nerd, I was

639
00:40:53,440 --> 00:40:58,600
Speaker 1: very excited to see that. I love it. Yeah, beautiful. Um.

640
00:40:58,640 --> 00:41:03,080
Speaker 1: Another thinging the and this has been pointed out before

641
00:41:03,280 --> 00:41:06,240
Speaker 1: and by you, Jessica in in one of your videos

642
00:41:06,239 --> 00:41:10,040
Speaker 1: about Incanto, but another thing that uh makes this movie

643
00:41:10,080 --> 00:41:15,799
Speaker 1: feel especially Colombian is um so magical realism um is

644
00:41:15,840 --> 00:41:19,640
Speaker 1: something that is very prominent in Colombian fiction literature, just

645
00:41:19,680 --> 00:41:24,080
Speaker 1: like storytelling that takes place among family and and friends,

646
00:41:24,400 --> 00:41:28,800
Speaker 1: stories that get passed down and most notably the work

647
00:41:28,920 --> 00:41:32,640
Speaker 1: of Gabrielle Garcia Marquez, who of course wrote A hundred

648
00:41:32,719 --> 00:41:36,040
Speaker 1: Years of Solitude, and it seems as though the movie

649
00:41:36,080 --> 00:41:41,120
Speaker 1: in Kanto was loosely inspired by that novel UM. A

650
00:41:41,120 --> 00:41:44,319
Speaker 1: lot of like narrative liberties were taken, but there's there

651
00:41:44,320 --> 00:41:47,840
Speaker 1: are different parallels that you can clearly draw that exists

652
00:41:47,840 --> 00:41:52,000
Speaker 1: across both works UM as far as like different characters

653
00:41:52,040 --> 00:41:55,279
Speaker 1: being similar in UM the movie in the book UM

654
00:41:55,560 --> 00:41:59,960
Speaker 1: yellow butterflies being a motif in both, there's like interjet

655
00:42:00,040 --> 00:42:02,440
Speaker 1: narrational tension and trauma. There's all these like kind of

656
00:42:02,680 --> 00:42:07,319
Speaker 1: common elements across both this movie and the book one

657
00:42:07,440 --> 00:42:09,600
Speaker 1: hundred Years of Solitude. So I just wanted to point

658
00:42:09,600 --> 00:42:12,319
Speaker 1: that out. Yeah, absolutely, And that's one of the first

659
00:42:12,360 --> 00:42:14,959
Speaker 1: things that I wanted to cover in my videos because

660
00:42:15,000 --> 00:42:18,640
Speaker 1: I feel like it can be a difficult film to

661
00:42:18,840 --> 00:42:23,640
Speaker 1: understand if you don't understand that aspect of the inspiration

662
00:42:23,680 --> 00:42:27,560
Speaker 1: behind and Khanto and Khanto is not magical realism, but

663
00:42:27,880 --> 00:42:31,560
Speaker 1: it is inspired by magical realism because magical realism is

664
00:42:31,600 --> 00:42:36,080
Speaker 1: so important in the Colombian, you know world. So we

665
00:42:36,160 --> 00:42:41,480
Speaker 1: see elements of things that were specifically written by the

666
00:42:41,520 --> 00:42:45,960
Speaker 1: butterflies and the different generations of family A hundred years

667
00:42:46,000 --> 00:42:49,480
Speaker 1: of Solitude. Actually, originally this story was going to go

668
00:42:49,560 --> 00:42:53,960
Speaker 1: through a hundred years of one family and Kanto was yes.

669
00:42:54,320 --> 00:42:56,479
Speaker 1: And so anyone who wants to go more in depth

670
00:42:56,480 --> 00:42:59,680
Speaker 1: into this, I really encourage you to look at um

671
00:42:59,719 --> 00:43:03,440
Speaker 1: the book uh oh, I forget the name now, but

672
00:43:03,520 --> 00:43:06,040
Speaker 1: it's it's a book about the making of the film.

673
00:43:06,880 --> 00:43:09,799
Speaker 1: Do you see some of the original characters animated and

674
00:43:09,840 --> 00:43:12,719
Speaker 1: how they combine certain characters together too, so that it's

675
00:43:12,760 --> 00:43:15,840
Speaker 1: just these three generations. But it was going to go

676
00:43:15,960 --> 00:43:19,880
Speaker 1: originally over a hundred years. Um. But I think one

677
00:43:19,920 --> 00:43:23,880
Speaker 1: of the important things that when people were telling me

678
00:43:23,880 --> 00:43:26,120
Speaker 1: that they didn't understand it or they didn't get it,

679
00:43:26,239 --> 00:43:30,759
Speaker 1: or it's it's mainly because in magical realism, things are

680
00:43:31,000 --> 00:43:33,760
Speaker 1: magical and that's just the way that they are. There's

681
00:43:33,800 --> 00:43:37,919
Speaker 1: no real explanation behind it. It's just this person has

682
00:43:37,960 --> 00:43:40,680
Speaker 1: lived a thousand years and okay, and so we just

683
00:43:40,960 --> 00:43:43,560
Speaker 1: it's just accepted. And I think there's elements of that

684
00:43:43,640 --> 00:43:46,799
Speaker 1: in Incanto, like the house is alive and you don't

685
00:43:46,840 --> 00:43:49,040
Speaker 1: need to know why or who it is. The house

686
00:43:49,160 --> 00:43:52,320
Speaker 1: is just alive and it interacts with the family members. Um.

687
00:43:52,440 --> 00:43:55,960
Speaker 1: So once you grasp that explanation, I feel like it's

688
00:43:55,960 --> 00:43:58,640
Speaker 1: more becomes a little more comfortable to accept the story

689
00:43:59,000 --> 00:44:02,160
Speaker 1: a little bit. And that does feel it feels like

690
00:44:02,239 --> 00:44:05,880
Speaker 1: that fits in very cleanly with like the Disney tradition,

691
00:44:06,160 --> 00:44:10,040
Speaker 1: but in a very culturally specific way. I loved the

692
00:44:10,320 --> 00:44:13,160
Speaker 1: way that the house is animated is so cool. The

693
00:44:13,200 --> 00:44:14,960
Speaker 1: book is called the Art of Incanto. It just came

694
00:44:15,000 --> 00:44:17,880
Speaker 1: to me. It's not some complicated title. It's called the

695
00:44:18,000 --> 00:44:23,200
Speaker 1: Art of Incanto. The I'm adding I want Kanto stuff. Yeah,

696
00:44:23,239 --> 00:44:26,799
Speaker 1: I wanted to um and and I learned about this

697
00:44:26,880 --> 00:44:30,240
Speaker 1: in part again, Jessica, from your series of videos about Encanto,

698
00:44:30,360 --> 00:44:35,520
Speaker 1: about the process of how because anytime a movie like

699
00:44:35,680 --> 00:44:38,759
Speaker 1: Encanto that is directed by two white guys and ends

700
00:44:38,840 --> 00:44:42,040
Speaker 1: up being good, you're like, Okay, let's let's follow this.

701
00:44:42,200 --> 00:44:46,800
Speaker 1: How did this happen? Um? Because it's never because two

702
00:44:46,800 --> 00:44:51,520
Speaker 1: white guys were automatically like, I'm so committed to doing

703
00:44:51,719 --> 00:44:54,919
Speaker 1: you know. So, UM, I wanted to talk about the

704
00:44:54,960 --> 00:44:57,560
Speaker 1: development process of this movie a little bit before we

705
00:44:57,640 --> 00:45:03,360
Speaker 1: jump into the character Yer's proper. So these are the

706
00:45:03,400 --> 00:45:10,960
Speaker 1: guys I believe that co directed um copaganda masterpiece Zootopia

707
00:45:11,960 --> 00:45:17,719
Speaker 1: eclipsed only by Pop Patrol as UM this developing generations

708
00:45:17,960 --> 00:45:23,319
Speaker 1: defining copaganda, But it sounds like um Incanto went through

709
00:45:23,560 --> 00:45:28,319
Speaker 1: quite a few different versions before it arrived at this

710
00:45:28,840 --> 00:45:33,799
Speaker 1: like you're saying, Jessica the three generation Colombian story lin Man,

711
00:45:33,800 --> 00:45:38,520
Speaker 1: while Miranda was brought on very early, and it sounds

712
00:45:38,560 --> 00:45:42,160
Speaker 1: like was the one to push for not just a

713
00:45:42,200 --> 00:45:46,000
Speaker 1: full blown musical, but also for a full cast of

714
00:45:46,040 --> 00:45:49,000
Speaker 1: the family, which I feel like is very unusual for

715
00:45:49,520 --> 00:45:53,040
Speaker 1: a Disney movie to have so many um main characters.

716
00:45:53,120 --> 00:45:57,120
Speaker 1: And then they also as production continued, I think realized

717
00:45:57,160 --> 00:45:58,880
Speaker 1: even though I'm like, how did you not realize on

718
00:45:58,920 --> 00:46:02,560
Speaker 1: the first day? But whatever, uh that they needed to

719
00:46:02,600 --> 00:46:06,440
Speaker 1: do quite a bit of consulting work and and so

720
00:46:06,520 --> 00:46:09,560
Speaker 1: I wanted to talk about uh that a little bit

721
00:46:09,560 --> 00:46:12,040
Speaker 1: and how they put together what was it called the

722
00:46:12,040 --> 00:46:17,759
Speaker 1: the Colombian Cultural trust Trusts. Yeah, so I think, like

723
00:46:17,880 --> 00:46:20,279
Speaker 1: a lot of movies, there was a lot, quite a

724
00:46:20,320 --> 00:46:24,160
Speaker 1: bit of research done, But in terms of how many

725
00:46:24,200 --> 00:46:27,600
Speaker 1: people were paid to consult on this movie, it sounds

726
00:46:27,600 --> 00:46:31,479
Speaker 1: like it really shows where they had a um what's

727
00:46:31,520 --> 00:46:37,360
Speaker 1: the word for flower person a botany consulting, Yes, to

728
00:46:37,480 --> 00:46:43,120
Speaker 1: make sure that Isabel's storyline was not just beautiful Disney Girl.

729
00:46:43,200 --> 00:46:46,399
Speaker 1: It was authentically Colombian and all the flowers that were

730
00:46:46,400 --> 00:46:52,560
Speaker 1: being shown, and they brought in Teri's Castro Smith, who

731
00:46:52,600 --> 00:46:55,120
Speaker 1: I also wanted to talk. So she is I believe

732
00:46:55,280 --> 00:47:00,439
Speaker 1: Cuban American. Yes, she's not Colombian, but did have kind

733
00:47:00,480 --> 00:47:03,040
Speaker 1: of a huge Her career is kind of fascinating. I

734
00:47:03,400 --> 00:47:06,400
Speaker 1: had not learned very much about her before, but she

735
00:47:06,560 --> 00:47:09,160
Speaker 1: like started as an she was like an actor player, right,

736
00:47:09,600 --> 00:47:13,239
Speaker 1: and then um sort of pivoted to being a full

737
00:47:13,239 --> 00:47:17,600
Speaker 1: time writer and this was sort of her huge break. Um.

738
00:47:17,640 --> 00:47:22,200
Speaker 1: So they did bring in a Latina woman writer, but

739
00:47:22,360 --> 00:47:24,920
Speaker 1: she wasn't there from the very beginning, right. But and

740
00:47:25,000 --> 00:47:28,520
Speaker 1: specifically because she writes about magical realism, where she incorporates

741
00:47:28,520 --> 00:47:32,120
Speaker 1: magical realism in her works, that's why they decided to

742
00:47:32,160 --> 00:47:36,040
Speaker 1: work with her. Yeah. So what I from what I

743
00:47:36,080 --> 00:47:40,760
Speaker 1: read and understand is that Jared Bush and Byron Howard

744
00:47:40,880 --> 00:47:43,800
Speaker 1: were like, Hmmm, we're going to write the first Latin

745
00:47:43,840 --> 00:47:47,440
Speaker 1: a Disney animated musical. What do we do? Like they

746
00:47:47,440 --> 00:47:50,120
Speaker 1: weren't sure what the story should be or what country

747
00:47:50,160 --> 00:47:54,480
Speaker 1: to set it in, but they were collaborators with two filmmakers,

748
00:47:55,040 --> 00:47:59,120
Speaker 1: One Rendon and Natalie Osma, who are both Colombian, and

749
00:47:59,160 --> 00:48:01,840
Speaker 1: they were like, well, why don't you go to Columbia.

750
00:48:02,160 --> 00:48:08,000
Speaker 1: So Jared Byron, Juan, Natalie, and Lynn Manuel Miranda went

751
00:48:08,040 --> 00:48:11,320
Speaker 1: to Columbia, did some research, started to conceive the story.

752
00:48:11,360 --> 00:48:15,000
Speaker 1: From there, One and Natalie were then kind of brought

753
00:48:15,040 --> 00:48:19,600
Speaker 1: on as consultants for the film, and then Charis who

754
00:48:19,600 --> 00:48:23,759
Speaker 1: started out as a co writer. Nine months into I'm

755
00:48:23,760 --> 00:48:26,040
Speaker 1: not sure if it was like the development or production

756
00:48:26,160 --> 00:48:29,200
Speaker 1: or exactly what stage, but at some point Jared Bush

757
00:48:29,280 --> 00:48:32,600
Speaker 1: was like, hey, Scheriz, why don't you co direct this

758
00:48:32,680 --> 00:48:36,520
Speaker 1: with us? Which felt like a similar trajectory as Um.

759
00:48:36,520 --> 00:48:40,280
Speaker 1: We talked about this for Coco, where director Lee Unkridge,

760
00:48:40,360 --> 00:48:45,120
Speaker 1: who is like, you know, legacy Pixar white Man director,

761
00:48:45,840 --> 00:48:50,400
Speaker 1: was like, I'm gonna make Coco. And then um Adrian Molina,

762
00:48:50,800 --> 00:48:54,920
Speaker 1: who started out as I think a conceptual artist or

763
00:48:55,200 --> 00:48:58,640
Speaker 1: or um not a writer or co director on the movie,

764
00:48:58,680 --> 00:49:02,400
Speaker 1: but he eventually became the those things because he just

765
00:49:02,480 --> 00:49:06,600
Speaker 1: had so much insight about Mexican culture and family dynamics

766
00:49:06,640 --> 00:49:09,880
Speaker 1: and things like that that Leonor kind of realized, oh,

767
00:49:09,920 --> 00:49:11,799
Speaker 1: I'm maybe a little out of my depth here. Let

768
00:49:11,880 --> 00:49:15,000
Speaker 1: me bring on a collaborator to like I would always

769
00:49:15,040 --> 00:49:17,879
Speaker 1: take them two years to be like, perhaps I'm out

770
00:49:17,880 --> 00:49:21,880
Speaker 1: of my depth, Like and I'm very glad that, you know,

771
00:49:22,239 --> 00:49:26,160
Speaker 1: Jared bush Is is enthusiastic and wants to interact with fans,

772
00:49:26,239 --> 00:49:28,239
Speaker 1: and he seems like a lovely person. I just like,

773
00:49:28,280 --> 00:49:32,320
Speaker 1: I'm very ready for this era of like two white

774
00:49:32,320 --> 00:49:36,000
Speaker 1: directors realized two years into production that maybe they're not

775
00:49:36,040 --> 00:49:40,319
Speaker 1: the appropriate director, and then they bring in a co director.

776
00:49:40,800 --> 00:49:43,600
Speaker 1: And I feel like, I I hope that we are

777
00:49:43,719 --> 00:49:46,799
Speaker 1: sort of exiting that era with I mean, we we

778
00:49:46,880 --> 00:49:52,000
Speaker 1: just covered Turning Red, which was completely Domy. She's you know,

779
00:49:52,120 --> 00:49:54,600
Speaker 1: a lot of her life experience and commenting on her

780
00:49:54,600 --> 00:49:57,319
Speaker 1: own culture, and like, it just feels like we need

781
00:49:57,360 --> 00:49:59,440
Speaker 1: to get to a point where that is the standard

782
00:50:00,239 --> 00:50:03,279
Speaker 1: because she co wrote and directed that movie rather than

783
00:50:03,280 --> 00:50:06,560
Speaker 1: like being brought on a year or two later. If anything,

784
00:50:06,560 --> 00:50:09,319
Speaker 1: it'll save them money, to save them money not having

785
00:50:09,360 --> 00:50:14,040
Speaker 1: to pay all those consultants. It'll save time because like

786
00:50:14,719 --> 00:50:17,879
Speaker 1: the movie doesn't need to be in development hell for

787
00:50:18,000 --> 00:50:20,680
Speaker 1: three years if you just bring on people who like

788
00:50:20,719 --> 00:50:23,160
Speaker 1: if if people who already know what they're talking about

789
00:50:23,239 --> 00:50:26,279
Speaker 1: are the people to conceive and write these stories and

790
00:50:26,320 --> 00:50:29,279
Speaker 1: then direct them like it saves time and money and

791
00:50:29,320 --> 00:50:33,040
Speaker 1: everything and everything will be a development hell forever. But

792
00:50:33,120 --> 00:50:34,960
Speaker 1: it does seem like it will save a lot of

793
00:50:34,960 --> 00:50:37,440
Speaker 1: time and money to not have to like hire people

794
00:50:37,480 --> 00:50:40,680
Speaker 1: to explain the movie that the guys are directed to

795
00:50:40,800 --> 00:50:44,600
Speaker 1: the guys directing it, who probably also cost a shipload

796
00:50:44,600 --> 00:50:48,800
Speaker 1: of money because they directed the animal capaganda movie, so

797
00:50:49,120 --> 00:50:55,560
Speaker 1: probably cost a lot to hire. Right again, all due respect, uh,

798
00:50:56,239 --> 00:50:59,800
Speaker 1: but yeah, it it seems like a very round about

799
00:51:00,040 --> 00:51:03,360
Speaker 1: Hollywood way to uphold a system that is costing the

800
00:51:03,480 --> 00:51:06,760
Speaker 1: money time and you would get I mean, this movie

801
00:51:06,800 --> 00:51:09,640
Speaker 1: is absolutely incredible, but if you know, if if you

802
00:51:09,680 --> 00:51:14,200
Speaker 1: had just had a Colombian animation director from the beginning,

803
00:51:14,920 --> 00:51:18,200
Speaker 1: how much easier and and maybe even better with the

804
00:51:18,239 --> 00:51:20,960
Speaker 1: final product. B But it does seem I mean, I

805
00:51:21,000 --> 00:51:25,879
Speaker 1: will not to hand it to a multi bajillion dollar corporation,

806
00:51:27,000 --> 00:51:30,280
Speaker 1: but it does seem like there is a concerted effort

807
00:51:30,320 --> 00:51:34,000
Speaker 1: going on within that company to make sure that there

808
00:51:34,000 --> 00:51:37,680
Speaker 1: are non white and non male filmmakers that are being

809
00:51:37,719 --> 00:51:41,480
Speaker 1: actively mentored to take on because to take on projects

810
00:51:41,480 --> 00:51:44,719
Speaker 1: of this size. But I just I'm like, Okay, let's

811
00:51:44,760 --> 00:51:47,000
Speaker 1: get to the era where it's like we don't need

812
00:51:47,120 --> 00:51:52,520
Speaker 1: this like Middleman, legacy, white guy director. Yes, But the

813
00:51:52,600 --> 00:51:56,400
Speaker 1: question I always come back to is, yeah, Disney is

814
00:51:56,440 --> 00:51:59,399
Speaker 1: putting in an effort to be more inclusive in their

815
00:51:59,400 --> 00:52:04,680
Speaker 1: storytelling and the people they hire to tell stories. But

816
00:52:05,040 --> 00:52:09,080
Speaker 1: is it only because that's a hot and profitable thing

817
00:52:09,200 --> 00:52:14,200
Speaker 1: right now and this company just wants to turn a profit.

818
00:52:14,320 --> 00:52:17,080
Speaker 1: And yes, of course, I mean yes, I mean for sure,

819
00:52:17,760 --> 00:52:20,759
Speaker 1: maybe it's partly a company that does have a very

820
00:52:20,840 --> 00:52:26,240
Speaker 1: nasty history of racism, anti Semitism, all kinds of really

821
00:52:26,880 --> 00:52:31,319
Speaker 1: nasty things that they put into their movies targeted at

822
00:52:31,480 --> 00:52:34,760
Speaker 1: children and families. Maybe they are like, oh, we should

823
00:52:34,760 --> 00:52:38,040
Speaker 1: course correct this. But is it course correcting for the

824
00:52:38,120 --> 00:52:41,319
Speaker 1: right reasons? You know, I think there's individuals within that

825
00:52:41,400 --> 00:52:44,360
Speaker 1: company that certainly feel that way and have a vested

826
00:52:44,440 --> 00:52:46,879
Speaker 1: artistic interest in doing that. But yeah, I know, like

827
00:52:47,480 --> 00:52:50,440
Speaker 1: I'm not, no one's going to argue like Disney famously

828
00:52:50,480 --> 00:52:54,680
Speaker 1: anti capitalist, like they they want money. I think what

829
00:52:54,920 --> 00:52:58,759
Speaker 1: is important is, because that is always going to be

830
00:52:58,840 --> 00:53:03,640
Speaker 1: the situation with Knee, is them being able to realize that.

831
00:53:03,960 --> 00:53:08,560
Speaker 1: I mean, in Conto, it was gigantically stupendously successful, and

832
00:53:09,320 --> 00:53:12,440
Speaker 1: as was Mowanna, as was Coco, and it's like these

833
00:53:12,560 --> 00:53:16,200
Speaker 1: there's a huge demand for stories that do not center

834
00:53:16,320 --> 00:53:19,680
Speaker 1: around the same you know, four white French people or

835
00:53:19,680 --> 00:53:24,000
Speaker 1: whatever that they've been making movies about for five hundred years. So,

836
00:53:24,360 --> 00:53:28,040
Speaker 1: you know, because they're freaky scary capitalists, I want them

837
00:53:28,080 --> 00:53:31,920
Speaker 1: to put that capital in the hands of the right people,

838
00:53:31,960 --> 00:53:35,000
Speaker 1: in the right directors of stuff, for sure. I mean,

839
00:53:35,040 --> 00:53:37,640
Speaker 1: how many times are we going to say Latinos are

840
00:53:37,680 --> 00:53:41,840
Speaker 1: in Like when Jennifer Lopez and Ricky Marcot Valley Latinos

841
00:53:41,840 --> 00:53:45,279
Speaker 1: it's the new thing. Guess yeah, guess what, Maybe we

842
00:53:45,400 --> 00:53:49,000
Speaker 1: might be in always and so let's let's just keep going.

843
00:53:49,280 --> 00:53:52,759
Speaker 1: Maybe it's a long term thing, which is like why

844
00:53:52,800 --> 00:53:56,240
Speaker 1: it's so important to have people like I mean, as

845
00:53:56,280 --> 00:53:58,600
Speaker 1: incredibly important as it was to have the consulting team

846
00:53:58,640 --> 00:54:00,719
Speaker 1: built out for this off you to work the way

847
00:54:00,760 --> 00:54:03,960
Speaker 1: it did. It's like, we need more Latino people in

848
00:54:04,280 --> 00:54:07,600
Speaker 1: like leadership roles so that you can't just be like, actually,

849
00:54:07,640 --> 00:54:10,120
Speaker 1: this moment is over and we're gonna have these two

850
00:54:10,160 --> 00:54:13,560
Speaker 1: white guys go back to animal capaganda because it does

851
00:54:13,640 --> 00:54:17,200
Speaker 1: feel like that by by keeping these sorts of patterns

852
00:54:17,200 --> 00:54:21,080
Speaker 1: and systems in place, Disney's giving themselves, the freedom to

853
00:54:21,200 --> 00:54:25,200
Speaker 1: opt in and out of UM giving a ship about

854
00:54:25,640 --> 00:54:30,120
Speaker 1: not the same for white French people. Right, let's take

855
00:54:30,120 --> 00:54:34,000
Speaker 1: another quick break and then come back for more discussion.

856
00:54:41,120 --> 00:54:43,920
Speaker 1: But yeah, that that reminded me. I was telling a friend,

857
00:54:43,960 --> 00:54:47,400
Speaker 1: I'm like, listen, I love Limanda as much as anybody.

858
00:54:47,560 --> 00:54:50,920
Speaker 1: He's a genius. That's just like a fact. But he can't.

859
00:54:51,360 --> 00:54:55,120
Speaker 1: He can't write everything. We can't. Someone else's doing the

860
00:54:55,160 --> 00:54:58,400
Speaker 1: Cuban thing, the Colombian thing, like he can't do it

861
00:54:58,440 --> 00:55:02,000
Speaker 1: for everybody, so record. Yeah. One of the one of

862
00:55:02,040 --> 00:55:06,080
Speaker 1: the few criticisms I saw around this movie was um,

863
00:55:06,160 --> 00:55:10,279
Speaker 1: and I mean I I just genuinely don't have the

864
00:55:10,280 --> 00:55:13,920
Speaker 1: scope of knowledge to know, but that some of the

865
00:55:14,000 --> 00:55:18,200
Speaker 1: songs like they wanted people wanted more authentic Colombian music

866
00:55:18,520 --> 00:55:23,240
Speaker 1: worked into the soundtrack than was there, which again I'm

867
00:55:23,280 --> 00:55:26,239
Speaker 1: not familiar enough with music native to Columbia to know.

868
00:55:26,400 --> 00:55:29,760
Speaker 1: But I was curious of your thoughts on that, Jessica, Sure,

869
00:55:29,880 --> 00:55:35,240
Speaker 1: I do have thoughts on that. Um, I think that, listen,

870
00:55:35,280 --> 00:55:38,080
Speaker 1: it's a Disney musical. It's not going to be like,

871
00:55:38,760 --> 00:55:40,520
Speaker 1: I don't know, I don't even know what to compare

872
00:55:40,520 --> 00:55:43,560
Speaker 1: it to, where like everything like it's not like, um,

873
00:55:43,680 --> 00:55:46,880
Speaker 1: like when there's a musical and it's all like Abba

874
00:55:47,000 --> 00:55:49,640
Speaker 1: songs or it's all Beatles songs. You know that, like

875
00:55:49,719 --> 00:55:51,960
Speaker 1: that's not going to happen. And I think I think

876
00:55:52,000 --> 00:55:54,520
Speaker 1: lin Monel Miranda did do a really great job in this.

877
00:55:54,600 --> 00:55:56,479
Speaker 1: He did a lot of research and so what he's

878
00:55:56,520 --> 00:55:59,640
Speaker 1: been what he said in interviews, is that he took

879
00:55:59,640 --> 00:56:02,200
Speaker 1: not only music that was born in Colombia, but that

880
00:56:02,480 --> 00:56:04,520
Speaker 1: that is popular in Colombia, that it is in the

881
00:56:04,560 --> 00:56:10,479
Speaker 1: Colombian world. So for example, like um, surface Pressure, it's

882
00:56:10,600 --> 00:56:14,200
Speaker 1: it's uh, it's like a reggaeton song. Reggaeton wasn't born

883
00:56:14,200 --> 00:56:17,480
Speaker 1: in Colombia, but it's definitely something that's heard all over Colombia.

884
00:56:18,080 --> 00:56:22,840
Speaker 1: Isabel song is based on Rocuan Espanio from the nineties,

885
00:56:22,880 --> 00:56:25,279
Speaker 1: which was huge in Columbia. There's a lot of Rocan

886
00:56:25,400 --> 00:56:28,440
Speaker 1: Espanio bands from Columbia, so that was a way for

887
00:56:28,520 --> 00:56:33,200
Speaker 1: him to incorporate Colombian style music and um the song

888
00:56:33,320 --> 00:56:36,200
Speaker 1: by Carlos Bibs. I was shocked when I found out

889
00:56:36,239 --> 00:56:39,040
Speaker 1: that Linn Ramira wrote that song. I could have sworn

890
00:56:39,080 --> 00:56:40,800
Speaker 1: that that was just another Carlos Via song. If I

891
00:56:40,800 --> 00:56:42,320
Speaker 1: would have heard it on the radio. I was like, Okay,

892
00:56:42,320 --> 00:56:43,840
Speaker 1: I guess he must be out with a new album.

893
00:56:43,920 --> 00:56:50,640
Speaker 1: Is that the No, that's some Columbia right, Okay, yes, yes?

894
00:56:50,760 --> 00:56:54,680
Speaker 1: So um, so he clearly had You have to be

895
00:56:54,719 --> 00:56:56,720
Speaker 1: a fan, he said he was a fan of Carlos Vibas.

896
00:56:56,760 --> 00:56:58,600
Speaker 1: You have to have known that music in order to

897
00:56:58,640 --> 00:57:02,279
Speaker 1: write a song in his style that goes so well

898
00:57:02,280 --> 00:57:06,560
Speaker 1: with him. So um, there were even those songs that

899
00:57:06,640 --> 00:57:09,839
Speaker 1: don't sound Colombian. There there is a Colombian element to it,

900
00:57:10,280 --> 00:57:12,960
Speaker 1: but the part where you really get Columbian sound is

901
00:57:13,000 --> 00:57:17,760
Speaker 1: through the score and U Jermaine Franco, the person who

902
00:57:17,760 --> 00:57:20,680
Speaker 1: did the score, did an excellent job. I mean she

903
00:57:20,760 --> 00:57:24,320
Speaker 1: brought an instruments that were made in Colombia in Joco.

904
00:57:24,720 --> 00:57:29,520
Speaker 1: They had an Afro Colombian chorus sing background on it.

905
00:57:29,960 --> 00:57:33,760
Speaker 1: So there definitely was elements. I think just people were

906
00:57:33,760 --> 00:57:38,040
Speaker 1: expecting like all all like Gumbias or all those and

907
00:57:38,120 --> 00:57:41,440
Speaker 1: we're maybe surprised by that. But I as you know,

908
00:57:41,520 --> 00:57:46,720
Speaker 1: someone who who like who saw, um, what's the evil?

909
00:57:47,440 --> 00:57:48,960
Speaker 1: Like I knew like it's not going to be all

910
00:57:49,080 --> 00:57:51,240
Speaker 1: like Cuban styles to songs throughout the whole thing because

911
00:57:51,280 --> 00:57:54,440
Speaker 1: that personally, I could see that being boring to someone else.

912
00:57:54,480 --> 00:57:56,520
Speaker 1: If you're not from that culture, you may not have

913
00:57:56,560 --> 00:57:59,440
Speaker 1: the appreciation of hearing those songs over and over or

914
00:57:59,440 --> 00:58:01,640
Speaker 1: that style of music over and over again. So I

915
00:58:01,640 --> 00:58:03,640
Speaker 1: think they did a really good job with making the

916
00:58:03,760 --> 00:58:08,360
Speaker 1: score very traditional Colombian from all over Columbia, and then

917
00:58:08,440 --> 00:58:12,520
Speaker 1: having the main musical numbers that Liman went met on

918
00:58:12,520 --> 00:58:17,120
Speaker 1: the road be Colombian inspired or based on Columbia music

919
00:58:17,160 --> 00:58:20,600
Speaker 1: that was popular throughout the years. Thank you, Yeah, I was,

920
00:58:20,680 --> 00:58:25,000
Speaker 1: I was curious and and Limo ran the man can

921
00:58:25,120 --> 00:58:32,280
Speaker 1: ride an earworm. Holy also shout out to the Titanic

922
00:58:32,400 --> 00:58:36,040
Speaker 1: reference in surfers Pressure. Caitlyn and I are number one

923
00:58:36,040 --> 00:58:43,600
Speaker 1: Titanic fans. Jessica, there's you see a very Titanic looking

924
00:58:43,600 --> 00:58:48,560
Speaker 1: ship was approaching an iceberg, and then there's the lyric

925
00:58:48,880 --> 00:58:52,560
Speaker 1: the ship doesn't serve hasn't heard how big the iceberg is,

926
00:58:53,160 --> 00:58:56,480
Speaker 1: and then you see I think it's three donkeys playing

927
00:58:56,880 --> 00:59:00,400
Speaker 1: like a string quartet on the deck of the ship.

928
00:59:00,440 --> 00:59:02,600
Speaker 1: That really did it for me. Oh my gosh. Yeah,

929
00:59:02,680 --> 00:59:05,160
Speaker 1: I was like, they did this for me and Jamie.

930
00:59:05,160 --> 00:59:08,800
Speaker 1: I'm pretty sure. Yeah. Embarrassing, how I was like, okaylen

931
00:59:08,840 --> 00:59:12,160
Speaker 1: saw that exciting for us. I can't wait to talk

932
00:59:12,200 --> 00:59:15,560
Speaker 1: about I guess that's all I have to say about it,

933
00:59:15,600 --> 00:59:20,320
Speaker 1: but yes, I did notice just a shout out. Let's well, actually,

934
00:59:20,480 --> 00:59:22,960
Speaker 1: before we move into the characters, Jessica, is there anything

935
00:59:23,040 --> 00:59:25,680
Speaker 1: else you wanted to touch on or discuss about the

936
00:59:25,680 --> 00:59:29,760
Speaker 1: way that Colombian culture is represented within the movie with

937
00:59:29,840 --> 00:59:32,640
Speaker 1: any sort of specificity. I didn't want to move out

938
00:59:32,640 --> 00:59:36,400
Speaker 1: of that too fast. Sure, and to continue the discussion

939
00:59:36,400 --> 00:59:39,920
Speaker 1: about having, you know, white directors at the forefront of

940
00:59:39,960 --> 00:59:43,600
Speaker 1: a movie that is not about their culture. I will

941
00:59:43,640 --> 00:59:45,720
Speaker 1: say that I personally feel like they did a really

942
00:59:45,800 --> 00:59:49,800
Speaker 1: good job. They were respectful about it, They knew what

943
00:59:49,840 --> 00:59:53,040
Speaker 1: the burden was, and that they went out and did

944
00:59:53,080 --> 00:59:55,120
Speaker 1: a lot of research because you can see it throughout

945
00:59:55,160 --> 00:59:57,400
Speaker 1: the film. I think most of the people that I

946
00:59:57,440 --> 01:00:01,880
Speaker 1: spoke to, I would say, more than of the comment

947
01:00:01,960 --> 01:00:04,320
Speaker 1: that I got from people who were Colombian or Colombian

948
01:00:04,360 --> 01:00:08,040
Speaker 1: descendants said that they saw their family reflected in there.

949
01:00:08,040 --> 01:00:14,080
Speaker 1: They saw their homes um, they saw even like gestures, um,

950
01:00:14,120 --> 01:00:16,840
Speaker 1: even the choreography, which the first time I saw it,

951
01:00:16,880 --> 01:00:20,520
Speaker 1: I personally, I will speak for myself don't think about

952
01:00:20,880 --> 01:00:25,120
Speaker 1: how that comes together. But um, they brought on a

953
01:00:25,160 --> 01:00:28,760
Speaker 1: Colombian choreographer who's actually from my neighborhood, Jackson Heights. Jackson

954
01:00:28,840 --> 01:00:33,160
Speaker 1: Heights has a rich Colombian population, John Leguiz almost from

955
01:00:33,280 --> 01:00:38,640
Speaker 1: Jackson Heights, and so they hired Jamal Sims. He's the choreographer,

956
01:00:38,680 --> 01:00:42,160
Speaker 1: but he bought on Kaye Martinez. And that's why those

957
01:00:42,240 --> 01:00:45,760
Speaker 1: movements where you see the way that they you know,

958
01:00:45,880 --> 01:00:49,840
Speaker 1: wave around their skirt the bodad like, that's truly Colombian.

959
01:00:49,920 --> 01:00:52,720
Speaker 1: That's how we dance, the little the gestures of pointing

960
01:00:52,720 --> 01:00:55,120
Speaker 1: to stuff with your lips, like, that's how you know

961
01:00:55,160 --> 01:00:57,920
Speaker 1: when you get into those details, like do know that

962
01:00:57,960 --> 01:01:02,080
Speaker 1: they did the work? Yeah? Yeah, I was reading about

963
01:01:02,120 --> 01:01:05,120
Speaker 1: the choreography process because it's also just something I don't

964
01:01:05,200 --> 01:01:07,760
Speaker 1: think about when it comes to animation at all because

965
01:01:07,760 --> 01:01:10,400
Speaker 1: you're like, oh, yeah, so one had to do it, um,

966
01:01:10,440 --> 01:01:14,480
Speaker 1: And it seems like they were. The choreographers were like

967
01:01:14,520 --> 01:01:18,920
Speaker 1: involved in production, like way earlier than an animation choreographer

968
01:01:18,960 --> 01:01:20,840
Speaker 1: normally would be just to make sure that like the

969
01:01:21,240 --> 01:01:25,280
Speaker 1: like you're saying, like the emotions were authentic and also

970
01:01:25,480 --> 01:01:30,000
Speaker 1: just like beautifully animated and it just and one of

971
01:01:30,040 --> 01:01:32,480
Speaker 1: my favorite Columbian moments, and I talked about it in

972
01:01:32,800 --> 01:01:37,200
Speaker 1: my video, is when meet but his father catches her

973
01:01:37,560 --> 01:01:42,120
Speaker 1: with the vision and the lords sees them. He says, miracles.

974
01:01:42,320 --> 01:01:44,160
Speaker 1: Do you guys know what that means? Oh? Is it?

975
01:01:44,240 --> 01:01:47,240
Speaker 1: Because he was just trying to say it's the way

976
01:01:47,280 --> 01:01:50,480
Speaker 1: that like English speaking people will say like sugar instead

977
01:01:50,520 --> 01:01:55,240
Speaker 1: of ship. It's like him saying rite exactly exactly, and

978
01:01:55,280 --> 01:01:58,640
Speaker 1: that is like I do that like that, We we

979
01:01:58,760 --> 01:02:02,200
Speaker 1: do that. So it was you you you were hanging

980
01:02:02,200 --> 01:02:05,040
Speaker 1: around with some colum means. I know you were. It's

981
01:02:05,160 --> 01:02:08,440
Speaker 1: very funny, I know. I was like, I think I

982
01:02:08,520 --> 01:02:13,000
Speaker 1: get this joke. Thanks two years of duelingo Spanish and

983
01:02:13,040 --> 01:02:15,200
Speaker 1: shout out to my two Spanish tutors who I know

984
01:02:15,280 --> 01:02:19,760
Speaker 1: listen to the podcast, Mercedes and Adriana. Yeah. Shall we

985
01:02:19,800 --> 01:02:25,439
Speaker 1: get into the characters that story? Baby, There's so many

986
01:02:25,440 --> 01:02:29,440
Speaker 1: good characters to discuss. Um, shall we start with Mirabelle.

987
01:02:29,800 --> 01:02:35,120
Speaker 1: Let's do it, especially because so much of the movie

988
01:02:35,320 --> 01:02:39,400
Speaker 1: and the story centers around female characters and their relationships

989
01:02:39,480 --> 01:02:42,440
Speaker 1: with each other. Also was not totally expecting that to

990
01:02:42,440 --> 01:02:47,720
Speaker 1: be such a like cornerstone of the narrative. But yeah,

991
01:02:47,760 --> 01:02:51,840
Speaker 1: there's there's a lot so meta. Bell's whole thing is

992
01:02:52,240 --> 01:02:58,440
Speaker 1: she is the one like non magic family member or

993
01:02:58,440 --> 01:03:01,120
Speaker 1: at least of like the Madrials. You know, obviously her

994
01:03:01,160 --> 01:03:04,919
Speaker 1: father and Teo Felix don't have magical powers because they

995
01:03:05,080 --> 01:03:07,880
Speaker 1: married into the family, but she was expected to have

996
01:03:08,440 --> 01:03:12,480
Speaker 1: a gift and she doesn't get one and then continues

997
01:03:12,520 --> 01:03:17,040
Speaker 1: to deal with the aftermath of that throughout her life.

998
01:03:17,160 --> 01:03:19,960
Speaker 1: I think she's a teenager. I think it's maybe like

999
01:03:20,000 --> 01:03:22,920
Speaker 1: a decade after she um she was supposed to get

1000
01:03:22,960 --> 01:03:27,080
Speaker 1: her gift. She's and so you know, she's had like

1001
01:03:27,160 --> 01:03:30,040
Speaker 1: kind of a decade of like the community and like

1002
01:03:30,240 --> 01:03:33,600
Speaker 1: certain members of her family not taking her fully seriously.

1003
01:03:34,320 --> 01:03:39,160
Speaker 1: Relationships with her sisters have developed over the years in

1004
01:03:38,920 --> 01:03:43,000
Speaker 1: an interesting ways that will discuss, and her a Boila

1005
01:03:43,360 --> 01:03:47,400
Speaker 1: is like kind of the main perpetrator of this. I

1006
01:03:47,440 --> 01:03:51,400
Speaker 1: think kind of like repressed inadequacy that she feels where

1007
01:03:51,440 --> 01:03:53,880
Speaker 1: she tries so hard to impress her family, she tries

1008
01:03:53,960 --> 01:03:57,760
Speaker 1: so hard to impress her a Boila, and her A

1009
01:03:57,840 --> 01:04:00,360
Speaker 1: Boila is just like maybe you should just kind of

1010
01:04:00,400 --> 01:04:03,760
Speaker 1: stay out of the way and like probably secretly feel

1011
01:04:03,800 --> 01:04:06,320
Speaker 1: bitter that you don't have a gift and but don't

1012
01:04:06,440 --> 01:04:10,040
Speaker 1: like project that like keep that, keep that repressed please

1013
01:04:10,240 --> 01:04:13,120
Speaker 1: is like sort of the vibes I really like. I mean,

1014
01:04:13,360 --> 01:04:15,840
Speaker 1: it's it's just like such a just a character you

1015
01:04:15,880 --> 01:04:18,480
Speaker 1: don't see very often of like a character who is

1016
01:04:18,520 --> 01:04:21,640
Speaker 1: being asked to make herself small and be okay with it,

1017
01:04:22,200 --> 01:04:24,400
Speaker 1: and like kind of the toll that that takes on

1018
01:04:24,480 --> 01:04:30,600
Speaker 1: her over time, and like people pleaser representation is a strong,

1019
01:04:31,160 --> 01:04:34,880
Speaker 1: strong and mirror yes um and to have a whole

1020
01:04:34,880 --> 01:04:38,240
Speaker 1: song dedicated to like her whole I like, I want song.

1021
01:04:38,240 --> 01:04:43,080
Speaker 1: It's like I want to be seen as valuable to

1022
01:04:43,160 --> 01:04:45,240
Speaker 1: my family and to my community, and I want to

1023
01:04:45,280 --> 01:04:48,360
Speaker 1: like feel good about myself and like it seems like

1024
01:04:48,400 --> 01:04:51,520
Speaker 1: a lot of where her self esteem and where her

1025
01:04:51,560 --> 01:04:54,480
Speaker 1: like sense of value comes from is feeling valued by

1026
01:04:54,520 --> 01:04:57,280
Speaker 1: her community. And that is sort of a trend for

1027
01:04:57,320 --> 01:04:59,560
Speaker 1: the whole family. That's also something that comes up with

1028
01:04:59,640 --> 01:05:01,640
Speaker 1: Louise Suck quite a bit. It's like she needs to

1029
01:05:01,680 --> 01:05:05,000
Speaker 1: feel like she is being a productive addition to the

1030
01:05:05,080 --> 01:05:08,840
Speaker 1: family and to the community. And it's like breaks your

1031
01:05:08,840 --> 01:05:12,120
Speaker 1: heart from the very beginning, because Mirabel is extremely valuable

1032
01:05:12,160 --> 01:05:14,400
Speaker 1: to her family and her community. We see her doing

1033
01:05:14,760 --> 01:05:18,520
Speaker 1: all kinds of ship. She is beloved by the whole community,

1034
01:05:18,560 --> 01:05:20,960
Speaker 1: but it's but it's also very easy to see why

1035
01:05:21,040 --> 01:05:26,040
Speaker 1: she can't see that right away. And yeah, I just

1036
01:05:26,080 --> 01:05:29,080
Speaker 1: love her. Yeah, I really really enjoyed that scene of

1037
01:05:29,240 --> 01:05:31,720
Speaker 1: when the guy gives her the gift because she doesn't

1038
01:05:31,720 --> 01:05:35,520
Speaker 1: have any gifts, you know, but not special special That

1039
01:05:35,600 --> 01:05:37,880
Speaker 1: happens so much in our cultural They will point out

1040
01:05:38,000 --> 01:05:42,000
Speaker 1: your deficiencies in a loving way, though it's like it's

1041
01:05:42,120 --> 01:05:46,280
Speaker 1: totally fine, like no, I'm dying inside, but okay, right,

1042
01:05:46,320 --> 01:05:49,160
Speaker 1: And then you hear Mirabell's song Waiting on a Miracle,

1043
01:05:49,240 --> 01:05:53,160
Speaker 1: where she's like, I'm not fine, and I'm like, I

1044
01:05:53,200 --> 01:05:56,880
Speaker 1: also repress my emotions, but in a way that is

1045
01:05:57,040 --> 01:05:59,840
Speaker 1: more emotionally mature than I was when I was fifteen.

1046
01:06:00,880 --> 01:06:04,080
Speaker 1: She does not take that out on other people in

1047
01:06:04,120 --> 01:06:07,040
Speaker 1: the way I think that we often see teenage characters do,

1048
01:06:07,320 --> 01:06:10,280
Speaker 1: which I don't feel it's like necessarily good or bad.

1049
01:06:10,320 --> 01:06:12,880
Speaker 1: It's just different than what I'm used to seeing. Is

1050
01:06:13,000 --> 01:06:17,000
Speaker 1: like she I love her relationship with Antonio, where it

1051
01:06:17,040 --> 01:06:20,120
Speaker 1: could be so easy for her to see a kid

1052
01:06:20,120 --> 01:06:22,840
Speaker 1: that is about to get something that she did not

1053
01:06:22,960 --> 01:06:26,000
Speaker 1: get and take that anger out on them or create

1054
01:06:26,080 --> 01:06:29,240
Speaker 1: distance between the two of them. But she's so loving

1055
01:06:29,640 --> 01:06:31,880
Speaker 1: even though she still has to live in the nursery

1056
01:06:31,960 --> 01:06:34,320
Speaker 1: because she never I was like, well, let her out

1057
01:06:34,320 --> 01:06:38,720
Speaker 1: of that damn nursery. They build her a room of

1058
01:06:38,880 --> 01:06:43,200
Speaker 1: her own. But but I just I love her character

1059
01:06:43,440 --> 01:06:46,520
Speaker 1: so much because she is like a fully realized person

1060
01:06:46,560 --> 01:06:51,360
Speaker 1: and we know what she feels like, why she feels deficient,

1061
01:06:51,800 --> 01:06:54,760
Speaker 1: and also it's very clear that that's not actually true,

1062
01:06:55,360 --> 01:06:58,920
Speaker 1: and she still finds like a way to be very

1063
01:06:59,200 --> 01:07:03,040
Speaker 1: kind and empathetic towards people who can't extend her the

1064
01:07:03,120 --> 01:07:06,760
Speaker 1: same right away, which I think is you know, it's

1065
01:07:06,960 --> 01:07:10,160
Speaker 1: it's beautiful and it's also a burden all its own.

1066
01:07:10,160 --> 01:07:12,760
Speaker 1: In the movie actually explores that, because she does get

1067
01:07:12,760 --> 01:07:15,440
Speaker 1: her moment of being like a boil of fuck you

1068
01:07:15,840 --> 01:07:19,640
Speaker 1: like right, But then again, we also understand why a

1069
01:07:19,720 --> 01:07:22,840
Speaker 1: Boila is the way that she is because she's dealing

1070
01:07:23,040 --> 01:07:27,120
Speaker 1: with trauma that is so hard to deal with and

1071
01:07:27,120 --> 01:07:30,640
Speaker 1: and Mirabelle has the empathy and the capacity to like

1072
01:07:30,760 --> 01:07:33,640
Speaker 1: want to know and understand. I just she's a great

1073
01:07:33,720 --> 01:07:36,960
Speaker 1: she's a great characters, and I like that they're both

1074
01:07:37,200 --> 01:07:40,800
Speaker 1: the only Marias that don't have power like that, you're

1075
01:07:40,840 --> 01:07:43,040
Speaker 1: they're kind of like setting up like these are the matriarchs.

1076
01:07:43,320 --> 01:07:45,600
Speaker 1: Then this is the next one in line that you

1077
01:07:45,640 --> 01:07:50,240
Speaker 1: need someone who doesn't have power two guide the ship

1078
01:07:50,280 --> 01:07:56,920
Speaker 1: of the family guard the Titanic. Well not well, Yeah,

1079
01:07:57,120 --> 01:08:00,320
Speaker 1: that famously did not end very well. Ship that doesn't

1080
01:08:00,320 --> 01:08:04,480
Speaker 1: think right, Yeah I did. I like the elements of

1081
01:08:04,800 --> 01:08:07,720
Speaker 1: um that's always like a family story that I think

1082
01:08:07,760 --> 01:08:11,160
Speaker 1: it's like compelling to watch of an older generation looking

1083
01:08:11,200 --> 01:08:14,320
Speaker 1: at someone of the younger generation of being like I

1084
01:08:14,360 --> 01:08:16,719
Speaker 1: am in this picture and I don't like it kind

1085
01:08:16,720 --> 01:08:20,280
Speaker 1: of thing where it does seem like there is so

1086
01:08:20,400 --> 01:08:24,200
Speaker 1: much of a Boila in Mirabelle that she she can't

1087
01:08:24,200 --> 01:08:27,080
Speaker 1: know because she didn't know her Abela when she was younger,

1088
01:08:27,160 --> 01:08:30,240
Speaker 1: and being able to connect on those points and see

1089
01:08:30,360 --> 01:08:34,479
Speaker 1: their similarities and how I don't know, I feel like

1090
01:08:34,760 --> 01:08:38,840
Speaker 1: it's a you know, sometime sometimes someone in your family

1091
01:08:38,920 --> 01:08:41,840
Speaker 1: sees themselves in you and sees that as a threat

1092
01:08:42,080 --> 01:08:45,400
Speaker 1: or like a deficiency because of how they feel about themselves.

1093
01:08:46,040 --> 01:08:49,920
Speaker 1: And just so many, so many layers. We got a

1094
01:08:49,920 --> 01:08:54,360
Speaker 1: Shrek style onions. Okay, I was wondering when Shrek is

1095
01:08:54,439 --> 01:08:59,800
Speaker 1: gonna come up? Yeah, I find that relationship between Mirabelle

1096
01:08:59,840 --> 01:09:06,160
Speaker 1: and a Bola just like rich and complex, and the

1097
01:09:06,200 --> 01:09:08,880
Speaker 1: more the story unfolds, the more you understand where both

1098
01:09:08,920 --> 01:09:13,040
Speaker 1: characters are coming from. And again, because like as we discussed,

1099
01:09:13,160 --> 01:09:17,200
Speaker 1: Alma was violently displaced from her home, she lost her husband,

1100
01:09:18,000 --> 01:09:21,600
Speaker 1: was made the leader of this community in a single day,

1101
01:09:22,040 --> 01:09:24,080
Speaker 1: and then and then over the course of the next

1102
01:09:24,320 --> 01:09:28,719
Speaker 1: many years, had to raise three babies as a widowed mother,

1103
01:09:29,479 --> 01:09:32,800
Speaker 1: living in constant fear that it could happen all over again,

1104
01:09:32,840 --> 01:09:36,160
Speaker 1: because it very well could because of what was going

1105
01:09:36,280 --> 01:09:40,000
Speaker 1: on in Columbia at the time. And this is trauma

1106
01:09:40,040 --> 01:09:43,040
Speaker 1: that you can't help but like pass down to the

1107
01:09:43,080 --> 01:09:48,920
Speaker 1: next generations. And because a Boola is so concerned with

1108
01:09:49,200 --> 01:09:54,400
Speaker 1: losing this like safe haven, she is so hyper concentrated

1109
01:09:54,479 --> 01:09:57,160
Speaker 1: on like keeping the magic and like making sure it's

1110
01:09:57,280 --> 01:10:00,479
Speaker 1: it's there, and and so anyone who doesn't really have

1111
01:10:01,240 --> 01:10:03,360
Speaker 1: magic to contribute, she kind of feels like it's sort

1112
01:10:03,400 --> 01:10:05,719
Speaker 1: of in the way. So she feels like Mirabell doesn't.

1113
01:10:05,760 --> 01:10:08,799
Speaker 1: There's not much she can really do, which obviously weighs

1114
01:10:08,800 --> 01:10:12,439
Speaker 1: on Mirabelle, and she does so much, but then like

1115
01:10:12,640 --> 01:10:15,320
Speaker 1: she knows she has worth, like she's like I can

1116
01:10:15,400 --> 01:10:18,160
Speaker 1: help out, And so that's why she like sets out

1117
01:10:18,200 --> 01:10:21,200
Speaker 1: to like save the miracle, prove herself. You know, she's

1118
01:10:21,240 --> 01:10:23,560
Speaker 1: trying to live up to her family's expectations, which is

1119
01:10:23,600 --> 01:10:25,920
Speaker 1: like such a relatable thing for so many people. It's like,

1120
01:10:25,960 --> 01:10:30,240
Speaker 1: you know, like the pressure. And then these expectations and

1121
01:10:30,240 --> 01:10:35,120
Speaker 1: pressures are something that um Isabella and Luisa also feel,

1122
01:10:35,160 --> 01:10:38,840
Speaker 1: which they sing about beautifully in their songs. But so

1123
01:10:39,040 --> 01:10:42,439
Speaker 1: it's these three sisters all feeling the pressure and burden

1124
01:10:42,600 --> 01:10:46,400
Speaker 1: of these expectations and dealing with past trauma, and everyone's

1125
01:10:46,400 --> 01:10:49,680
Speaker 1: sort of bottling up their emotions. Everyone feels so much

1126
01:10:49,680 --> 01:10:52,320
Speaker 1: pressure to like be perfect and live up to these

1127
01:10:52,400 --> 01:10:57,040
Speaker 1: unrealistic expectations. It's just like, ah, there's so much right

1128
01:10:57,080 --> 01:10:59,880
Speaker 1: and continue to be worthy of the miracle because you don't, yeah,

1129
01:11:00,080 --> 01:11:04,719
Speaker 1: when that's going away. So that's another added pressure that

1130
01:11:04,800 --> 01:11:07,200
Speaker 1: will admas in and what she instills in her children.

1131
01:11:07,280 --> 01:11:09,479
Speaker 1: It's like, I don't know why I got this miracle.

1132
01:11:09,520 --> 01:11:11,040
Speaker 1: I don't know when it's going away, So we need

1133
01:11:11,080 --> 01:11:14,640
Speaker 1: to make sure that we are deserving of it exactly exactly.

1134
01:11:15,280 --> 01:11:18,920
Speaker 1: And then, like as we've discussed endlessly on the podcast

1135
01:11:19,000 --> 01:11:23,880
Speaker 1: at this point earlier Disney movies didn't have mother daughter

1136
01:11:24,040 --> 01:11:28,040
Speaker 1: or like daughter grandmother relationship, like any type of like

1137
01:11:28,479 --> 01:11:32,800
Speaker 1: mother figure and daughter relationships. And in this movie, you know,

1138
01:11:32,840 --> 01:11:36,280
Speaker 1: centers on the relationship between a young female character and

1139
01:11:36,439 --> 01:11:40,439
Speaker 1: the matriarch of the family, which it's a refreshing change

1140
01:11:40,479 --> 01:11:43,439
Speaker 1: of pace when it comes to Disney movies. And I

1141
01:11:43,439 --> 01:11:45,679
Speaker 1: would say it's just an interesting dynamic that doesn't get

1142
01:11:45,680 --> 01:11:50,200
Speaker 1: explored enough in movies in general, So that that relationship

1143
01:11:50,280 --> 01:11:54,080
Speaker 1: is like at the crux of the movie is really cool.

1144
01:11:54,360 --> 01:11:58,720
Speaker 1: I really Yeah. The last thing I had about Mirabell's

1145
01:11:58,760 --> 01:12:01,720
Speaker 1: relationship with a Boila is just there's there's so many

1146
01:12:01,760 --> 01:12:04,240
Speaker 1: similar The more I watched the movie, the more you're like, oh,

1147
01:12:04,280 --> 01:12:09,360
Speaker 1: these two are so similar. Like one of Aboila and

1148
01:12:09,640 --> 01:12:15,360
Speaker 1: Mirabelle's huge similarities is compartmentalizing in the moment and then

1149
01:12:15,640 --> 01:12:19,880
Speaker 1: privately expressing their frustration and emotion, which Mirabel doesn't even

1150
01:12:19,920 --> 01:12:24,080
Speaker 1: seem to really realize Aboila is doing until she overhears

1151
01:12:24,560 --> 01:12:29,240
Speaker 1: a Boila talking about how because a Boila has to,

1152
01:12:29,880 --> 01:12:32,320
Speaker 1: Mirabel realizes over the course of the movie put up

1153
01:12:32,360 --> 01:12:35,760
Speaker 1: such a strong front of like everything is fine, which

1154
01:12:35,840 --> 01:12:39,479
Speaker 1: is exactly what mirabel does that you know, she seems

1155
01:12:39,520 --> 01:12:42,080
Speaker 1: to think that her Aboila does not realize that something

1156
01:12:42,280 --> 01:12:45,720
Speaker 1: is incredibly wrong, and it isn't until she overhears her

1157
01:12:45,760 --> 01:12:47,920
Speaker 1: a boiler that she's like, oh, a Boila does know,

1158
01:12:48,080 --> 01:12:52,160
Speaker 1: but she just can't acknowledge it because it's just it's

1159
01:12:52,200 --> 01:12:55,240
Speaker 1: too much, and acknowledging it makes it real and if

1160
01:12:55,280 --> 01:12:58,640
Speaker 1: it's real, the magic will go away and right yeah,

1161
01:12:58,760 --> 01:13:02,559
Speaker 1: which is like such a team in throughout the entire family,

1162
01:13:02,560 --> 01:13:04,879
Speaker 1: but I think particularly with the women in this family,

1163
01:13:04,960 --> 01:13:08,639
Speaker 1: because it also kind of popped for me with certainly

1164
01:13:08,680 --> 01:13:12,479
Speaker 1: with mirabel sisters, but also with Tia Peppa, whose whole

1165
01:13:12,680 --> 01:13:16,000
Speaker 1: power is she controls the weather, which is like visually

1166
01:13:17,080 --> 01:13:20,880
Speaker 1: so fun, but also like there are like all of

1167
01:13:20,920 --> 01:13:24,639
Speaker 1: these moments and I feel like we've seen other characters

1168
01:13:24,680 --> 01:13:27,479
Speaker 1: I'm trying to think of the movie that's like rattling

1169
01:13:27,479 --> 01:13:29,400
Speaker 1: around in the back of my head, but controlling the

1170
01:13:29,439 --> 01:13:32,519
Speaker 1: weather as sort of a way of like you have

1171
01:13:32,640 --> 01:13:35,960
Speaker 1: to control your emotions or it will affect your whole

1172
01:13:36,000 --> 01:13:40,240
Speaker 1: community in a negative way, and just yet another way

1173
01:13:40,240 --> 01:13:43,040
Speaker 1: to sort of use the story and the imagery to

1174
01:13:43,280 --> 01:13:46,920
Speaker 1: show how controlled the emotions have to be in order

1175
01:13:47,000 --> 01:13:49,680
Speaker 1: to or that's how they operate, at least at the

1176
01:13:49,720 --> 01:13:53,559
Speaker 1: beginning of the movie, to uphold this miracle um and

1177
01:13:53,640 --> 01:13:56,599
Speaker 1: like the sacrifices that come with it. What I will say,

1178
01:13:56,680 --> 01:13:59,439
Speaker 1: what I really enjoyed about it. But yes, that's all

1179
01:14:00,000 --> 01:14:04,240
Speaker 1: really true. But it was surprising to me and even

1180
01:14:04,280 --> 01:14:06,600
Speaker 1: shocking too. I think I was watching it with my

1181
01:14:06,640 --> 01:14:11,000
Speaker 1: aunt that she talks back to with that like, what

1182
01:14:11,040 --> 01:14:13,200
Speaker 1: do you want for me? You're lucky? It's not you

1183
01:14:13,240 --> 01:14:15,559
Speaker 1: know this. I remember watching her with my aunt and

1184
01:14:15,560 --> 01:14:17,559
Speaker 1: my a went and I was like, yeah, because we

1185
01:14:17,600 --> 01:14:20,679
Speaker 1: don't do that. We don't do that. So even though

1186
01:14:20,840 --> 01:14:24,120
Speaker 1: she yes, she needs to control her emotions obviously, but

1187
01:14:24,200 --> 01:14:27,160
Speaker 1: the fact that she talks back, you know, there's some

1188
01:14:27,200 --> 01:14:30,040
Speaker 1: strong women in this film. Yeah, she definitely gets And

1189
01:14:30,120 --> 01:14:32,640
Speaker 1: also it's like I liked I don't know, I'm like

1190
01:14:32,760 --> 01:14:34,920
Speaker 1: and I feel like sometimes we hand it to male

1191
01:14:35,040 --> 01:14:37,519
Speaker 1: characters for the bare minimum, But I just liked how

1192
01:14:38,400 --> 01:14:41,320
Speaker 1: much Felix loved her and like didn't give a ship

1193
01:14:41,360 --> 01:14:44,120
Speaker 1: that Like there was a hurricane on their their wedding

1194
01:14:44,280 --> 01:14:46,280
Speaker 1: and he was like, yeah, I guess that that's what's

1195
01:14:46,280 --> 01:14:48,479
Speaker 1: being married, Like what being with you was just like

1196
01:14:48,600 --> 01:14:51,479
Speaker 1: and I just I loved. You don't get a lot

1197
01:14:51,560 --> 01:14:55,280
Speaker 1: of their relationship mostly and we don't talk about Bruno.

1198
01:14:55,280 --> 01:14:56,439
Speaker 1: I feel like this is the most time you get

1199
01:14:56,479 --> 01:14:58,960
Speaker 1: to spend with them. But I just thought their relationship

1200
01:14:59,040 --> 01:15:02,880
Speaker 1: was very sweet and they were so and also taller

1201
01:15:03,000 --> 01:15:06,599
Speaker 1: wife representation. We love to see it. She is taller

1202
01:15:06,640 --> 01:15:11,320
Speaker 1: than her husband. Yes, yeah, yeah. Can we talk about

1203
01:15:12,280 --> 01:15:17,720
Speaker 1: Metabel's relationship relationships with her sisters starting with um, let's

1204
01:15:17,680 --> 01:15:22,799
Speaker 1: start with Isabella where they don't get along. It feels

1205
01:15:22,840 --> 01:15:27,000
Speaker 1: to me like a you know, familiar sibling rivalry where

1206
01:15:27,040 --> 01:15:31,040
Speaker 1: Isabella kind of echoes, they're Aboila's feelings that Mirabel is

1207
01:15:31,080 --> 01:15:34,720
Speaker 1: kind of in the way. And then Mutabelle seems to

1208
01:15:35,320 --> 01:15:38,880
Speaker 1: sort of resent Isabella for being so perfect, and she

1209
01:15:39,000 --> 01:15:43,519
Speaker 1: thinks that Isabella is selfish and entitled. But we learned

1210
01:15:43,520 --> 01:15:46,640
Speaker 1: that Isabella feels this pressure to please her family, like

1211
01:15:46,680 --> 01:15:49,200
Speaker 1: she was going to marry that guy, Mariano and have

1212
01:15:49,360 --> 01:15:52,000
Speaker 1: babies with him even though she didn't want to. But

1213
01:15:52,240 --> 01:15:54,360
Speaker 1: that's what a Boila wanted. She wants to keep the

1214
01:15:54,360 --> 01:15:58,639
Speaker 1: family miracle, going into pass the magic down generation after generation,

1215
01:15:58,720 --> 01:16:02,200
Speaker 1: so she was gonna basically the sacrifice for the family.

1216
01:16:03,000 --> 01:16:06,439
Speaker 1: And then she sings her song, which you know me

1217
01:16:06,640 --> 01:16:10,960
Speaker 1: about helps inspire this shift in her character where she

1218
01:16:11,160 --> 01:16:16,280
Speaker 1: starts um making cactuses and you know, prickly sharp plans

1219
01:16:16,320 --> 01:16:20,280
Speaker 1: instead of these beautiful flowers that I mean cactus is

1220
01:16:20,320 --> 01:16:23,679
Speaker 1: also beautiful, but like things have shifted, and she's singing

1221
01:16:23,720 --> 01:16:28,360
Speaker 1: about how she wants to express herself more authentically than

1222
01:16:28,439 --> 01:16:33,040
Speaker 1: Mirabel realizes that she misunderstood Isabella for her entire life,

1223
01:16:33,120 --> 01:16:35,719
Speaker 1: basically that she was like bottling up so much and

1224
01:16:35,720 --> 01:16:40,639
Speaker 1: and putting on this kind of facade of perfection when

1225
01:16:40,720 --> 01:16:45,559
Speaker 1: she actually wanted to be way more chaotic maybe or

1226
01:16:45,640 --> 01:16:49,320
Speaker 1: just like make her own decisions. And and that that

1227
01:16:49,439 --> 01:16:51,960
Speaker 1: that the sisters are able to again just like operating

1228
01:16:52,000 --> 01:16:54,320
Speaker 1: on a way higher maturity level than I was at fifteen,

1229
01:16:55,400 --> 01:16:58,000
Speaker 1: able to identify like, oh, we are reacting to this

1230
01:16:58,080 --> 01:17:01,800
Speaker 1: pressure put up on us very differently. And I mean

1231
01:17:02,040 --> 01:17:05,439
Speaker 1: it is like a really for for Mirabel has to

1232
01:17:05,479 --> 01:17:08,800
Speaker 1: be a traumatic thing to be constantly told you know,

1233
01:17:08,880 --> 01:17:13,160
Speaker 1: your sister is fundamentally better than you because of how

1234
01:17:13,320 --> 01:17:17,080
Speaker 1: she looks and because of how she is, and and

1235
01:17:17,479 --> 01:17:21,799
Speaker 1: that is abs I mean, I is mirrable. She the youngest,

1236
01:17:21,880 --> 01:17:24,679
Speaker 1: or she the middle child, she she has middle child

1237
01:17:24,800 --> 01:17:27,639
Speaker 1: energy to me, but understood her as she's the youngest.

1238
01:17:27,720 --> 01:17:30,479
Speaker 1: She's the youngest, she's the youngest of the three. Um,

1239
01:17:30,600 --> 01:17:33,000
Speaker 1: but just to be told like that, yeah, that your

1240
01:17:33,040 --> 01:17:36,200
Speaker 1: older sibling is just fundamentally better than you. And of course,

1241
01:17:36,600 --> 01:17:40,560
Speaker 1: because you're like teenagers, the older sibling is going to

1242
01:17:40,640 --> 01:17:43,160
Speaker 1: be like, yeah, and I'm better than you. And I

1243
01:17:43,200 --> 01:17:45,599
Speaker 1: was sort of I wasn't sure at the beginning what

1244
01:17:45,640 --> 01:17:49,760
Speaker 1: direction they were going to take Isabel in because there

1245
01:17:49,880 --> 01:17:52,240
Speaker 1: was like a direction I saw going that I would

1246
01:17:52,240 --> 01:17:55,240
Speaker 1: not have liked as much as what happens, which is like,

1247
01:17:56,360 --> 01:17:59,080
Speaker 1: I don't know, like Disney has like this I think

1248
01:17:59,160 --> 01:18:01,720
Speaker 1: tendency and more recent years to like want to like

1249
01:18:01,880 --> 01:18:05,920
Speaker 1: comment on its past work. And so Isabel is a

1250
01:18:06,000 --> 01:18:10,240
Speaker 1: character that we would have, you know, like the the beautiful,

1251
01:18:10,400 --> 01:18:14,040
Speaker 1: like chosen one stereotype. Um is a character that is

1252
01:18:14,080 --> 01:18:17,840
Speaker 1: like very often glorified in Disney movies. And and so

1253
01:18:17,880 --> 01:18:19,439
Speaker 1: I was sort of wondering, like, is she just being

1254
01:18:19,439 --> 01:18:23,160
Speaker 1: presented as the villain, because this is who Disney would

1255
01:18:23,200 --> 01:18:26,680
Speaker 1: normally consider the hero, But it goes way deeper than that,

1256
01:18:26,840 --> 01:18:29,680
Speaker 1: and it's like, I just love this movie does so

1257
01:18:29,760 --> 01:18:34,080
Speaker 1: much in such a short amount of time to develop, like, well,

1258
01:18:34,120 --> 01:18:36,120
Speaker 1: what would that feel like to have that pressure put

1259
01:18:36,120 --> 01:18:38,559
Speaker 1: on you? And how how would you be? I mean,

1260
01:18:38,600 --> 01:18:42,599
Speaker 1: she's compartmentalizing all sorts of ship as well because of

1261
01:18:43,040 --> 01:18:45,000
Speaker 1: the pressure being put on her and the fact that

1262
01:18:45,080 --> 01:18:48,840
Speaker 1: she and her younger sister can meet each other in

1263
01:18:48,880 --> 01:18:51,839
Speaker 1: the middle and be able to see and and respect

1264
01:18:51,880 --> 01:18:54,200
Speaker 1: that and want something different for themselves. I just it's

1265
01:18:54,240 --> 01:18:59,960
Speaker 1: great totally. And then similarly with Mirabelle's other sister, Luisa,

1266
01:19:00,439 --> 01:19:04,639
Speaker 1: she is under this intense pressure or feels intense pressure

1267
01:19:05,320 --> 01:19:09,360
Speaker 1: to basically do everything for the family and the whole community,

1268
01:19:09,439 --> 01:19:12,720
Speaker 1: anything that will require physical strength. She's like, I have

1269
01:19:12,840 --> 01:19:15,080
Speaker 1: to do it. Everyone's relying on me. I have to

1270
01:19:15,080 --> 01:19:18,080
Speaker 1: do it. And she sings in her song about how

1271
01:19:18,120 --> 01:19:20,760
Speaker 1: she places so much of her self worth, if not

1272
01:19:20,840 --> 01:19:24,360
Speaker 1: all of her self worth, on whether she can be

1273
01:19:24,439 --> 01:19:27,720
Speaker 1: of service to people and help people, and that she

1274
01:19:27,800 --> 01:19:31,240
Speaker 1: carries such a large burden and never has a chance

1275
01:19:31,320 --> 01:19:34,800
Speaker 1: to like take a break and have and like relax,

1276
01:19:35,680 --> 01:19:40,360
Speaker 1: and she confides in Mirabelle. So both of the sisters

1277
01:19:40,560 --> 01:19:45,839
Speaker 1: songs are basically mirrabel showing up and being like anything

1278
01:19:45,880 --> 01:19:48,799
Speaker 1: you wanna share any like do you want to talk

1279
01:19:48,880 --> 01:19:50,640
Speaker 1: and then they're like, oh my god, thank you, so

1280
01:19:50,680 --> 01:19:53,760
Speaker 1: I need to get this off my chest and they

1281
01:19:53,800 --> 01:19:58,760
Speaker 1: like have these wonderful either confiding in Mirabelle or a

1282
01:19:58,760 --> 01:20:01,559
Speaker 1: reconciliation and and I don't know, I was. I wasn't

1283
01:20:01,560 --> 01:20:06,799
Speaker 1: expecting that either. To have you know, complicated relationships between

1284
01:20:06,840 --> 01:20:09,960
Speaker 1: sisters again another thing that you don't see in in

1285
01:20:10,000 --> 01:20:14,040
Speaker 1: Disney movies, especially in most media in general. But then uh,

1286
01:20:14,080 --> 01:20:18,719
Speaker 1: to have those relationships change over the course of the story.

1287
01:20:18,960 --> 01:20:23,040
Speaker 1: And for like the way that mirabel is to allow

1288
01:20:23,160 --> 01:20:27,719
Speaker 1: her sisters to kind of grow and evolve as people

1289
01:20:27,920 --> 01:20:30,799
Speaker 1: because they like, I don't know, Merbell just like helps

1290
01:20:31,280 --> 01:20:37,680
Speaker 1: people look inward and communicate and express her special gift. Yeah, funny,

1291
01:20:37,680 --> 01:20:40,600
Speaker 1: funnily not that she doesn't share her own things, what

1292
01:20:40,800 --> 01:20:44,840
Speaker 1: she's feeling internally, but she's amazing at getting other people

1293
01:20:44,880 --> 01:20:47,840
Speaker 1: to finally let out what they've needed to let out.

1294
01:20:47,960 --> 01:20:50,800
Speaker 1: And you know, you said you weren't expecting that. I was.

1295
01:20:51,000 --> 01:20:53,080
Speaker 1: I certainly was not expecting it. When I'm sitting in

1296
01:20:53,080 --> 01:20:56,120
Speaker 1: that theater, like, okay, let's see how they represent Colombia

1297
01:20:56,120 --> 01:20:59,439
Speaker 1: and talk about areas and the coffee. And then there's

1298
01:20:59,479 --> 01:21:03,840
Speaker 1: this character who just like spoke to me and like

1299
01:21:03,960 --> 01:21:07,680
Speaker 1: said everything that I've been feeling forever, being like the

1300
01:21:07,720 --> 01:21:12,000
Speaker 1: older responsible child, where you you're you're in the accountant,

1301
01:21:12,040 --> 01:21:15,160
Speaker 1: you're the lawyer, you're you're looking at I think that's

1302
01:21:15,160 --> 01:21:17,800
Speaker 1: why it resonates with so many people, like I saw

1303
01:21:17,800 --> 01:21:20,679
Speaker 1: on TikTok, a lot of like older kids, a lot

1304
01:21:20,720 --> 01:21:24,880
Speaker 1: of first generation Americans or like they have all these responsibilities,

1305
01:21:24,920 --> 01:21:28,439
Speaker 1: all these pressure on them to do certain things, and

1306
01:21:28,560 --> 01:21:31,479
Speaker 1: that I mean, I was under my mask. I was

1307
01:21:31,560 --> 01:21:34,360
Speaker 1: just I lost it when I heard that song. It

1308
01:21:34,400 --> 01:21:39,560
Speaker 1: was incredible. Luisa song, Yeah, Luisa song. And actually Linnomidana

1309
01:21:39,640 --> 01:21:42,120
Speaker 1: said that he had his older sister in mind when

1310
01:21:42,160 --> 01:21:46,040
Speaker 1: he wrote it because she he saw how much under

1311
01:21:46,080 --> 01:21:49,559
Speaker 1: pressure their parents, how much pressure the parents put on

1312
01:21:49,720 --> 01:21:53,400
Speaker 1: his older sister, and so that that inspired that character.

1313
01:21:55,400 --> 01:21:58,840
Speaker 1: That that song is the hint of the movie. And

1314
01:21:58,880 --> 01:22:02,360
Speaker 1: I again, I was very curious what they were going

1315
01:22:02,400 --> 01:22:05,200
Speaker 1: to do with Luis's character. And I mean, I guess

1316
01:22:05,240 --> 01:22:08,000
Speaker 1: the only this is like a very very small grip,

1317
01:22:08,200 --> 01:22:10,759
Speaker 1: but like the in the song, because it's a Disney

1318
01:22:10,760 --> 01:22:13,759
Speaker 1: story and like the storytelling sometimes has to be pretty

1319
01:22:14,160 --> 01:22:16,120
Speaker 1: I get. I don't know, but they kept kind of

1320
01:22:16,120 --> 01:22:21,320
Speaker 1: referring to Isabel and Luisa as beauty and braun and

1321
01:22:21,800 --> 01:22:24,519
Speaker 1: there are, and then sometimes I'm just like, but but

1322
01:22:24,600 --> 01:22:27,559
Speaker 1: Luisa is beautiful. Like I wish that there was that

1323
01:22:27,640 --> 01:22:30,400
Speaker 1: was at least acknowledged, even in like, because I do

1324
01:22:30,560 --> 01:22:35,720
Speaker 1: appreciate that Luisa's power is concentrated in her body in

1325
01:22:35,760 --> 01:22:38,040
Speaker 1: a lot of ways where it's like she has super strength.

1326
01:22:38,360 --> 01:22:41,080
Speaker 1: And then I would say, on top of that, she

1327
01:22:41,280 --> 01:22:45,200
Speaker 1: has a really strong drive to help other people, because

1328
01:22:45,600 --> 01:22:48,240
Speaker 1: outside of that, what is super strengthful if you're not

1329
01:22:48,360 --> 01:22:50,360
Speaker 1: like using it to help other people seems to be

1330
01:22:50,439 --> 01:22:54,000
Speaker 1: kind of her ethos um. And I was really happy

1331
01:22:54,040 --> 01:22:56,400
Speaker 1: to see that, Like there was a lot of female

1332
01:22:56,400 --> 01:23:01,280
Speaker 1: bodybuilders or just like physically strong women, We're really really

1333
01:23:01,320 --> 01:23:05,040
Speaker 1: happy to have a character like Louisa be celebrated and

1334
01:23:05,080 --> 01:23:08,879
Speaker 1: complicated and and have all these different facets to her because,

1335
01:23:09,520 --> 01:23:12,480
Speaker 1: like I mean, this is like the history of animation

1336
01:23:12,600 --> 01:23:17,160
Speaker 1: and American entertainment in general, Like there's twenty years ago,

1337
01:23:17,200 --> 01:23:20,120
Speaker 1: I feel like Louisa would have been treated very differently

1338
01:23:20,400 --> 01:23:23,360
Speaker 1: based on her body type. And so the fact that

1339
01:23:23,400 --> 01:23:26,840
Speaker 1: this movie, I mean again, it's like cheering someone on

1340
01:23:26,960 --> 01:23:30,360
Speaker 1: for giving you pebbles but like the fact that she

1341
01:23:30,600 --> 01:23:34,679
Speaker 1: is strong and that that is celebrated by the movie

1342
01:23:34,680 --> 01:23:37,760
Speaker 1: and it's not the only thing we know about her,

1343
01:23:37,800 --> 01:23:40,599
Speaker 1: which I feel like would have been even a movie

1344
01:23:40,640 --> 01:23:43,760
Speaker 1: ten years ago, um would have like made either a

1345
01:23:43,840 --> 01:23:46,200
Speaker 1: joke of that or like had that be the only

1346
01:23:46,200 --> 01:23:49,640
Speaker 1: thing we would know about Luisa. And I like that

1347
01:23:49,640 --> 01:23:53,280
Speaker 1: the movie, you know, is concentrated on like, well, her

1348
01:23:53,320 --> 01:23:56,800
Speaker 1: real thing is this incredible pressure that she's under and

1349
01:23:57,200 --> 01:24:00,400
Speaker 1: how that has affected her, and how that causes her

1350
01:24:00,520 --> 01:24:03,800
Speaker 1: to like, you know, sort of want to ignore what's

1351
01:24:03,880 --> 01:24:06,439
Speaker 1: right in front of her, because if the house is

1352
01:24:06,439 --> 01:24:11,599
Speaker 1: falling apart, then what is her purpose? So yeah, she's Yeah.

1353
01:24:12,240 --> 01:24:16,040
Speaker 1: And then just with these fleshed out female characters and

1354
01:24:16,200 --> 01:24:20,559
Speaker 1: the flesh out relationships between them. Also, we haven't really

1355
01:24:20,600 --> 01:24:24,559
Speaker 1: talked that much yet about Meta Bell's mom, Julietta. She

1356
01:24:24,640 --> 01:24:26,920
Speaker 1: doesn't get that much screen time, but I really like

1357
01:24:27,000 --> 01:24:30,120
Speaker 1: her character and her relationship with Meta Belle. You know,

1358
01:24:30,200 --> 01:24:34,200
Speaker 1: she's very supportive. She seems to be more tuned into

1359
01:24:34,320 --> 01:24:36,840
Speaker 1: what Meta Bell is feeling. She's just like a very

1360
01:24:36,880 --> 01:24:41,640
Speaker 1: supportive parent, and I appreciate that their relationship feels a

1361
01:24:41,640 --> 01:24:45,120
Speaker 1: lot different from the relationship between Meta Bell and a

1362
01:24:45,240 --> 01:24:50,280
Speaker 1: Boila and feels different from Meta Bell's relationship with her sisters.

1363
01:24:50,760 --> 01:24:55,560
Speaker 1: So it just adds to the wide variety of relationship

1364
01:24:55,600 --> 01:24:59,840
Speaker 1: dynamics within the family. All this to say, this movie

1365
01:25:00,040 --> 01:25:04,599
Speaker 1: has such rich relationships between the women in the family,

1366
01:25:04,920 --> 01:25:11,880
Speaker 1: which present these really relatable and meaningful themes and messages

1367
01:25:12,040 --> 01:25:15,760
Speaker 1: that are in the movie, like knowing your value and

1368
01:25:15,800 --> 01:25:19,360
Speaker 1: your worth and loving yourself and not comparing yourself to others.

1369
01:25:19,920 --> 01:25:22,160
Speaker 1: It's things like, you know, the pressure that we put

1370
01:25:22,280 --> 01:25:24,880
Speaker 1: on ourselves and that we put on others, and how

1371
01:25:24,920 --> 01:25:30,320
Speaker 1: that affects individuals, how it affects families. Um, a lesson

1372
01:25:30,400 --> 01:25:33,799
Speaker 1: in not to make assumptions about people and their lives

1373
01:25:34,400 --> 01:25:36,439
Speaker 1: and what they're feeling and what they're going through, which

1374
01:25:36,479 --> 01:25:39,240
Speaker 1: is something that like Mirabel does to begin with, especially

1375
01:25:39,240 --> 01:25:41,439
Speaker 1: with Isabella, but then she's like, oh my gosh, I

1376
01:25:41,960 --> 01:25:44,720
Speaker 1: made assumptions and I shouldn't have done that. Um, it's

1377
01:25:44,720 --> 01:25:49,759
Speaker 1: a lesson in the negative consequences of repressing your feelings

1378
01:25:49,760 --> 01:25:53,800
Speaker 1: and your pain. It's uh, you know. Again, it explores

1379
01:25:53,960 --> 01:25:57,760
Speaker 1: intergenerational trauma and how that affects a family, but it's

1380
01:25:57,800 --> 01:26:02,639
Speaker 1: also about like family joy and community working together and

1381
01:26:02,680 --> 01:26:08,639
Speaker 1: helping each other out and everyone having a valuable part

1382
01:26:08,720 --> 01:26:12,240
Speaker 1: in a community, whether or not you have a special

1383
01:26:12,320 --> 01:26:16,599
Speaker 1: magical gift. And all these themes are at the core

1384
01:26:16,640 --> 01:26:19,720
Speaker 1: of this movie and it's just beautiful and it makes

1385
01:26:19,760 --> 01:26:24,160
Speaker 1: me cry so so much. The last thing I had

1386
01:26:24,200 --> 01:26:27,679
Speaker 1: about the sisters and I, Jessica, you may have pointed

1387
01:26:27,680 --> 01:26:30,240
Speaker 1: this out in a video on trying to I've taken

1388
01:26:30,280 --> 01:26:32,960
Speaker 1: in so much incanto content at this point, so I

1389
01:26:33,000 --> 01:26:36,439
Speaker 1: hope I correct. Is um just a small detail that

1390
01:26:36,600 --> 01:26:38,760
Speaker 1: I honestly didn't even register for me the first time

1391
01:26:38,800 --> 01:26:41,800
Speaker 1: I watched it, But I was like, oh, yeah, the

1392
01:26:41,840 --> 01:26:46,000
Speaker 1: fact that um Isabel is celebrated in her community as

1393
01:26:46,040 --> 01:26:49,439
Speaker 1: the most beautiful of them all, whatever, the fairest of

1394
01:26:49,479 --> 01:26:52,240
Speaker 1: them all vibe and has the darkest skin tone of

1395
01:26:52,280 --> 01:26:56,200
Speaker 1: the three sisters in animation company that has been so

1396
01:26:56,720 --> 01:27:02,639
Speaker 1: notorious for racism and colorism. Definitely Like, I didn't realize

1397
01:27:02,640 --> 01:27:03,800
Speaker 1: that at first, but I was like, oh, that is

1398
01:27:03,840 --> 01:27:07,439
Speaker 1: actually a really impactful thing. Yeah, I don't think. I

1399
01:27:07,800 --> 01:27:09,639
Speaker 1: don't think I brought that up, but I'll take credit

1400
01:27:09,680 --> 01:27:14,880
Speaker 1: for it. Sure, yeah, but what idea? But what I do.

1401
01:27:15,240 --> 01:27:19,439
Speaker 1: What I do say is how she's clearly shown with

1402
01:27:19,720 --> 01:27:27,200
Speaker 1: indigenous features, and there is like no Latin American indigenous

1403
01:27:27,240 --> 01:27:32,960
Speaker 1: like good indigenous representation, like going back to in particular Disney,

1404
01:27:33,120 --> 01:27:37,879
Speaker 1: like there's no real good Latin American representation in media

1405
01:27:38,160 --> 01:27:42,360
Speaker 1: but also in politics and all of that. So so

1406
01:27:42,400 --> 01:27:45,400
Speaker 1: many people. That's why it like it really did touch

1407
01:27:45,439 --> 01:27:47,599
Speaker 1: a lot of people to see someone like they that

1408
01:27:47,680 --> 01:27:49,759
Speaker 1: looks like me, you know, that looks like my aunt,

1409
01:27:49,960 --> 01:27:52,559
Speaker 1: you know, my family, women in my family who live

1410
01:27:52,600 --> 01:27:56,599
Speaker 1: in Ecuador, Like that's you know that that that person

1411
01:27:56,640 --> 01:28:02,759
Speaker 1: looks like me and she's beautiful and and yeah, I wonder, Jamie,

1412
01:28:02,760 --> 01:28:06,400
Speaker 1: if you're referring to a quote and a piece I

1413
01:28:06,520 --> 01:28:12,599
Speaker 1: found by Vanessa Hiron in Refinery twenty nine, I definitely

1414
01:28:12,640 --> 01:28:15,360
Speaker 1: degree that. So it could be critics in TikTok Love

1415
01:28:15,400 --> 01:28:17,400
Speaker 1: and Conto, but as a Latin X woman, it means

1416
01:28:17,439 --> 01:28:21,040
Speaker 1: a lot more quote from this piece. A lot of

1417
01:28:21,080 --> 01:28:24,519
Speaker 1: praise for Incanto has centered on its diversity within the family,

1418
01:28:24,920 --> 01:28:28,479
Speaker 1: with a female dominated character lineup, Felix and his children

1419
01:28:28,520 --> 01:28:32,280
Speaker 1: being Afro Latin X and Isabella being the perfect beautiful

1420
01:28:32,360 --> 01:28:37,240
Speaker 1: young woman while not reflecting whitewashed standards of beauty unquote.

1421
01:28:37,479 --> 01:28:40,639
Speaker 1: And and that's the case even within Latin American media,

1422
01:28:40,880 --> 01:28:43,640
Speaker 1: Like you don't see a lot of indigenous characters in

1423
01:28:43,720 --> 01:28:46,600
Speaker 1: Latin American produce media unless they're like the boat of

1424
01:28:46,600 --> 01:28:51,040
Speaker 1: the joke. Well, and I think it's I just like

1425
01:28:51,160 --> 01:28:53,680
Speaker 1: took me back to time as a flat circle. But

1426
01:28:54,400 --> 01:28:59,800
Speaker 1: Disney had a huge and rightfully so call out in

1427
01:29:00,840 --> 01:29:05,439
Speaker 1: one for failing to represent after Latino people in When

1428
01:29:05,520 --> 01:29:08,519
Speaker 1: in the Heights came out, and that was obviously a

1429
01:29:08,520 --> 01:29:11,920
Speaker 1: project that like Limanuell Miranda, was very close to. I

1430
01:29:11,960 --> 01:29:14,879
Speaker 1: sort of forgot that those projects came out so close together,

1431
01:29:15,040 --> 01:29:20,320
Speaker 1: and I at the time, Limnuel Miranda released a statement

1432
01:29:20,680 --> 01:29:24,040
Speaker 1: um the notes ap apology, which did seem sincere but

1433
01:29:24,080 --> 01:29:27,320
Speaker 1: like notes ap apology after the movie was completed and released,

1434
01:29:28,080 --> 01:29:30,439
Speaker 1: But that is not an issue that Encanto has, So

1435
01:29:30,479 --> 01:29:32,320
Speaker 1: I just thought it was I don't know, I mean,

1436
01:29:32,360 --> 01:29:35,679
Speaker 1: it could be for and who knows how many Disney

1437
01:29:35,840 --> 01:29:40,280
Speaker 1: related production related reasons that that that these two movies. Um,

1438
01:29:40,320 --> 01:29:42,880
Speaker 1: one movie has the issue, one does not have the issue.

1439
01:29:42,920 --> 01:29:45,960
Speaker 1: But it did sort of make me appreciate even more

1440
01:29:46,040 --> 01:29:49,120
Speaker 1: how Afro Latino people are just a part of this world,

1441
01:29:49,360 --> 01:29:52,320
Speaker 1: like no questions asked, because as you can see from

1442
01:29:52,320 --> 01:29:55,160
Speaker 1: a movie that came out like two months before that

1443
01:29:55,320 --> 01:30:00,639
Speaker 1: is still not a given in UM in big budget movies, right, totally.

1444
01:30:01,760 --> 01:30:04,879
Speaker 1: The last thing I wanted to discuss is the magical

1445
01:30:04,920 --> 01:30:12,440
Speaker 1: gifts because it felt to me as though for the women, especially,

1446
01:30:12,680 --> 01:30:17,240
Speaker 1: some of their gifts felt kind of like stereotypically feminine

1447
01:30:17,400 --> 01:30:20,880
Speaker 1: or felt like they kind of leaned into some prescribed

1448
01:30:21,080 --> 01:30:24,599
Speaker 1: gender roles for women in a way that it didn't

1449
01:30:24,600 --> 01:30:29,439
Speaker 1: feel quite so gendered for the male characters. For example,

1450
01:30:29,880 --> 01:30:36,960
Speaker 1: Isabella creating flowers. Flowers are generally associated with femininity. Julietta

1451
01:30:37,520 --> 01:30:40,400
Speaker 1: is kind of like the caregiver slash healer, and she

1452
01:30:40,479 --> 01:30:44,960
Speaker 1: heals people with cooking and food, another kind of prescribed

1453
01:30:45,240 --> 01:30:50,880
Speaker 1: gender role for women to cook and feed her family. Uh. Peppa,

1454
01:30:51,200 --> 01:30:54,320
Speaker 1: I would say, like doesn't control the weather. It's more

1455
01:30:54,360 --> 01:30:57,080
Speaker 1: that like she has emotions and then the weather around

1456
01:30:57,080 --> 01:31:02,760
Speaker 1: her is affected her emotion. Yeah, responsor emotions UM in

1457
01:31:02,800 --> 01:31:05,240
Speaker 1: a way that kind of felt like women are so

1458
01:31:05,280 --> 01:31:09,799
Speaker 1: emotional and like the weathers having a storm because of it. Uh.

1459
01:31:09,840 --> 01:31:12,919
Speaker 1: The two that didn't felt gendered to me where Dolores,

1460
01:31:13,080 --> 01:31:18,080
Speaker 1: who can hear super well, and then Luisa was kind

1461
01:31:18,080 --> 01:31:21,040
Speaker 1: of the only female characters gift that felt more masculine

1462
01:31:21,400 --> 01:31:25,120
Speaker 1: because her gift is to be very physically strong, or

1463
01:31:25,160 --> 01:31:28,280
Speaker 1: like what we're conditioned to think should be a masculine gift.

1464
01:31:28,520 --> 01:31:31,040
Speaker 1: Exactly right, I see what you're saying, and I feel

1465
01:31:31,040 --> 01:31:35,000
Speaker 1: like that is such a across the board, like guys

1466
01:31:35,040 --> 01:31:38,040
Speaker 1: always get the fun powers, you know, like it's always right,

1467
01:31:38,280 --> 01:31:41,840
Speaker 1: the shape shifting and getting to talk to the animals

1468
01:31:42,000 --> 01:31:45,960
Speaker 1: and getting to see the future. Yes, all felt like

1469
01:31:46,120 --> 01:31:49,880
Speaker 1: so those are all those are like the three male powers,

1470
01:31:50,280 --> 01:31:53,720
Speaker 1: and all of those feel just gender neutral to me.

1471
01:31:54,240 --> 01:31:57,439
Speaker 1: So it makes me wonder why the like women's powers

1472
01:31:57,479 --> 01:32:01,240
Speaker 1: couldn't also feel more gender neutral. But there also might

1473
01:32:01,240 --> 01:32:05,360
Speaker 1: be like a cultural context that informs those powers that

1474
01:32:05,439 --> 01:32:09,720
Speaker 1: I'm not fully understanding, but just kind of on the

1475
01:32:09,760 --> 01:32:13,280
Speaker 1: surface surface pressure, it felt to me like some of

1476
01:32:13,320 --> 01:32:16,640
Speaker 1: those powers felt a bit gendered and a bit kind

1477
01:32:16,640 --> 01:32:21,280
Speaker 1: of like stereotypically feminine but curious about other people. And again,

1478
01:32:21,320 --> 01:32:23,439
Speaker 1: like to be clear, I'm not saying that feminine things

1479
01:32:23,520 --> 01:32:26,880
Speaker 1: are bad or that you know, masculine or gender neutral

1480
01:32:26,920 --> 01:32:29,639
Speaker 1: things are good. It's just more that, like, you know,

1481
01:32:30,160 --> 01:32:32,120
Speaker 1: why do people have to be put in a box?

1482
01:32:32,880 --> 01:32:36,120
Speaker 1: But also it felt like there was enough departure with Louise,

1483
01:32:36,240 --> 01:32:39,240
Speaker 1: I don't know, like, yeah, curious about other people's thoughts. Yeah,

1484
01:32:39,280 --> 01:32:43,400
Speaker 1: I can see that with La with her thing being

1485
01:32:43,479 --> 01:32:47,839
Speaker 1: beauty and flowers, and certainly, you know, creating life in nature,

1486
01:32:48,000 --> 01:32:53,840
Speaker 1: that's more of a feminine uh feel to it. But um,

1487
01:32:53,960 --> 01:32:58,880
Speaker 1: I don't yet. Certainly Luisa getting strength, that's definitely not

1488
01:33:00,240 --> 01:33:03,519
Speaker 1: something that we see typically for a feminine character. And

1489
01:33:03,560 --> 01:33:06,080
Speaker 1: even foresight, I feel like I feel like foresight, like

1490
01:33:06,120 --> 01:33:08,800
Speaker 1: seeing into the future, might be gender neutral, because you know,

1491
01:33:09,280 --> 01:33:11,639
Speaker 1: I agree, you know, when I think psychics, I think

1492
01:33:11,680 --> 01:33:15,960
Speaker 1: women sometimes. Oh yeah, that's true. Yeah, like they into

1493
01:33:16,000 --> 01:33:19,639
Speaker 1: the whole like intuition sort of thing. Yeah, or like

1494
01:33:19,760 --> 01:33:24,680
Speaker 1: you know, the witches looking into the cauldron and seeing something. Yeah.

1495
01:33:24,760 --> 01:33:27,000
Speaker 1: I was thinking of X Men because a lot of

1496
01:33:27,000 --> 01:33:29,840
Speaker 1: the X Men powers are also powers that and conto

1497
01:33:29,920 --> 01:33:34,200
Speaker 1: characters have where where um, oh my gosh, and I'm

1498
01:33:34,200 --> 01:33:37,800
Speaker 1: gonna get the names wrong. Storm controls the weather. She's

1499
01:33:37,800 --> 01:33:40,000
Speaker 1: a female character. But then you have oh my gosh,

1500
01:33:40,040 --> 01:33:43,120
Speaker 1: what's the Blue Lady. I'm so I'm embarrassing myself right now,

1501
01:33:43,160 --> 01:33:46,679
Speaker 1: but she's the shape shifter, Miss Rebecca. Roma's name mose

1502
01:33:47,160 --> 01:33:49,760
Speaker 1: Mystique is that right? Yeah, I know that I've ever

1503
01:33:49,880 --> 01:33:53,040
Speaker 1: seen an X Men movie. Wow, I don't know. I

1504
01:33:53,080 --> 01:33:56,240
Speaker 1: didn't interpret that the Men is having traditionally masculine powers.

1505
01:33:56,240 --> 01:33:59,160
Speaker 1: I just thought they were like a little cooler like

1506
01:33:59,320 --> 01:34:03,439
Speaker 1: that that was more of like women were given. I

1507
01:34:03,479 --> 01:34:06,000
Speaker 1: guess I don't know that this and and this didn't

1508
01:34:06,040 --> 01:34:07,920
Speaker 1: like super bother me. I think I feel like again,

1509
01:34:07,960 --> 01:34:10,719
Speaker 1: like isabel is the one character where you're like, Okay,

1510
01:34:10,760 --> 01:34:13,800
Speaker 1: this is a bit much and at first, I mean,

1511
01:34:13,840 --> 01:34:17,960
Speaker 1: I I don't know. I mean, with with Mirabelle's mom,

1512
01:34:18,960 --> 01:34:22,080
Speaker 1: I think that like defaulting to food is a very

1513
01:34:22,120 --> 01:34:24,960
Speaker 1: easy thing to do, but also it's so culturally important.

1514
01:34:25,120 --> 01:34:28,600
Speaker 1: But also it wouldn't have lessened the impact for a

1515
01:34:28,600 --> 01:34:31,680
Speaker 1: man to be, you know, making traditional Colombian food as well.

1516
01:34:31,760 --> 01:34:34,439
Speaker 1: So I could go a lot of ways on that,

1517
01:34:35,240 --> 01:34:38,200
Speaker 1: but I just in general, like man, I like Bruno

1518
01:34:38,280 --> 01:34:41,439
Speaker 1: can see the few like he has the narratively impactful power,

1519
01:34:41,560 --> 01:34:44,600
Speaker 1: like I think that's maybe more aware of, like, Okay,

1520
01:34:44,880 --> 01:34:48,000
Speaker 1: being able to like that is the most powerful power

1521
01:34:48,080 --> 01:34:50,479
Speaker 1: in the movie. And it's I mean, I guess it

1522
01:34:50,560 --> 01:34:56,160
Speaker 1: did ruin his life, So you're milash Fabery. This is

1523
01:34:56,200 --> 01:34:59,559
Speaker 1: also something that I didn't even notice on the first watch,

1524
01:34:59,760 --> 01:35:03,200
Speaker 1: the like, you know, arguably gendered nature of the gifts,

1525
01:35:03,240 --> 01:35:06,320
Speaker 1: the magical powers, but just something that I wanted to

1526
01:35:06,680 --> 01:35:10,000
Speaker 1: bring up. But um, yeah, does anyone else have anything

1527
01:35:10,240 --> 01:35:14,120
Speaker 1: they'd like to talk about? Um? Well, I wouldn't we

1528
01:35:14,320 --> 01:35:19,439
Speaker 1: speaking about characters? UM. I wanted to clarify my Dolores gossip.

1529
01:35:21,680 --> 01:35:23,920
Speaker 1: I feel like if she were a gossip, she would

1530
01:35:23,920 --> 01:35:29,800
Speaker 1: have used what she overheard from um Mariano's house to

1531
01:35:29,880 --> 01:35:32,800
Speaker 1: benefit her true, because she was in love with him

1532
01:35:32,840 --> 01:35:36,400
Speaker 1: the whole time, and she at the end of the film,

1533
01:35:36,479 --> 01:35:38,680
Speaker 1: she says that she knew that Bruno was in the

1534
01:35:38,720 --> 01:35:41,240
Speaker 1: walls the whole time, but she didn't say anything. I

1535
01:35:41,240 --> 01:35:43,320
Speaker 1: could feel like she was protecting him and because it

1536
01:35:43,360 --> 01:35:46,720
Speaker 1: wasn't affecting the house or the powers in a negative way.

1537
01:35:46,760 --> 01:35:49,360
Speaker 1: But as soon as it did, that's when she let

1538
01:35:49,400 --> 01:35:53,160
Speaker 1: that information out. I I'm fully on board with this.

1539
01:35:53,360 --> 01:35:58,439
Speaker 1: I really love Dolores's character. I hope that too. I

1540
01:35:58,479 --> 01:36:02,280
Speaker 1: hope that that Disney plus were is true. Um, but

1541
01:36:02,320 --> 01:36:04,479
Speaker 1: that that does bring up something that we didn't hit on,

1542
01:36:04,560 --> 01:36:07,439
Speaker 1: because I think that this movie, I mean, anytime whatever,

1543
01:36:07,479 --> 01:36:11,439
Speaker 1: another Disney classic is a teenage girl protagonist that we

1544
01:36:11,479 --> 01:36:14,000
Speaker 1: need to have fall in love. And then in the

1545
01:36:14,040 --> 01:36:17,800
Speaker 1: case when you get around to like Frozen era, it's like, oh,

1546
01:36:17,880 --> 01:36:19,559
Speaker 1: they're gonna fall in love, but they're gonna be it's

1547
01:36:19,560 --> 01:36:22,160
Speaker 1: gonna be like self aware and like we're gonna we're

1548
01:36:22,160 --> 01:36:24,360
Speaker 1: gonna maybe comment on it a little too much to

1549
01:36:24,360 --> 01:36:27,559
Speaker 1: the point where maybe it's a little annoying. Um. And

1550
01:36:27,560 --> 01:36:31,360
Speaker 1: then in this movie it's like there's no need for

1551
01:36:31,560 --> 01:36:34,000
Speaker 1: you're about to have a love interest. One doesn't even

1552
01:36:34,120 --> 01:36:37,160
Speaker 1: really get presented because it's like a family story, not

1553
01:36:37,320 --> 01:36:40,120
Speaker 1: that you know whatever. You know, fifteen year old have

1554
01:36:40,520 --> 01:36:42,960
Speaker 1: crushes and all this stuff, but it's just like it

1555
01:36:43,000 --> 01:36:45,840
Speaker 1: would have muddied up the story in an unnecessary way.

1556
01:36:46,439 --> 01:36:49,080
Speaker 1: And I like that you do get like side stories

1557
01:36:49,120 --> 01:36:54,040
Speaker 1: about relationships between characters, where like we were discussing Isabelle

1558
01:36:54,120 --> 01:36:56,439
Speaker 1: was going to be basically married off to a guy

1559
01:36:56,479 --> 01:37:00,640
Speaker 1: she didn't love and then extracted herself from the relationship,

1560
01:37:00,720 --> 01:37:04,320
Speaker 1: and then Dolores like got you know, I don't know.

1561
01:37:04,360 --> 01:37:07,880
Speaker 1: That didn't bug me at all because there was so

1562
01:37:07,960 --> 01:37:10,320
Speaker 1: much too because I mean, we've been talking about this

1563
01:37:10,360 --> 01:37:12,960
Speaker 1: on this show for years, where it's like a relationship

1564
01:37:12,960 --> 01:37:16,439
Speaker 1: being added to a character is mostly frustrating for us

1565
01:37:16,479 --> 01:37:20,120
Speaker 1: when like that's the defining thing of their character. It's

1566
01:37:20,120 --> 01:37:23,160
Speaker 1: but that isn't who Like, like you were just saying, Jessica,

1567
01:37:23,200 --> 01:37:25,639
Speaker 1: there's so much going on with Dolores in the very

1568
01:37:25,640 --> 01:37:28,719
Speaker 1: little time we get with her that I was rooting

1569
01:37:28,760 --> 01:37:31,080
Speaker 1: for her to get the men of her dreams, like

1570
01:37:31,240 --> 01:37:35,200
Speaker 1: because she deserves it. You know, she's she's great, So

1571
01:37:35,560 --> 01:37:39,840
Speaker 1: I did. I liked how relationships were, um and it

1572
01:37:40,240 --> 01:37:44,400
Speaker 1: is all hetero relationships in this movie, but I thought

1573
01:37:44,439 --> 01:37:47,639
Speaker 1: that the way that they were woven in was pretty

1574
01:37:47,640 --> 01:37:50,240
Speaker 1: cool and realistic, and and you see like a lot

1575
01:37:50,280 --> 01:37:55,360
Speaker 1: of different kinds of relationships to like the Pepa and

1576
01:37:55,840 --> 01:37:59,200
Speaker 1: Felix have like a very very sweet relationship that I

1577
01:37:59,479 --> 01:38:03,400
Speaker 1: um in jealous of, and then very bells parents also

1578
01:38:03,479 --> 01:38:06,479
Speaker 1: have like a different kind of sweet relationship. I also

1579
01:38:06,520 --> 01:38:14,000
Speaker 1: just a quick shout out to Wilmar Valderrama, who voices Dad,

1580
01:38:14,360 --> 01:38:17,680
Speaker 1: and he kind of fell off my radar after that

1581
01:38:17,800 --> 01:38:20,120
Speaker 1: seventies show, but then I saw a recent picture of

1582
01:38:20,200 --> 01:38:22,120
Speaker 1: him and I'm like, oh my god, he's the hottest

1583
01:38:22,160 --> 01:38:29,040
Speaker 1: man alive that's neither here nor there. He's He's intensely attractive.

1584
01:38:29,840 --> 01:38:33,479
Speaker 1: I wanted to say, shout out to a protagonist who

1585
01:38:33,520 --> 01:38:38,679
Speaker 1: wears glasses. This should not be noteworthy, but you rarely

1586
01:38:38,720 --> 01:38:43,360
Speaker 1: see main characters, especially women. I mean, it shouldn't be

1587
01:38:43,400 --> 01:38:45,759
Speaker 1: not worthy that like a person who is wearing glasses,

1588
01:38:45,760 --> 01:38:47,960
Speaker 1: because so many people wear glasses but like and have

1589
01:38:48,040 --> 01:38:51,200
Speaker 1: it not be like and they are smart, like just

1590
01:38:51,240 --> 01:38:53,360
Speaker 1: like the laziest and they need to take them off

1591
01:38:53,400 --> 01:38:56,519
Speaker 1: in order to be sexy. But yeah, you just have

1592
01:38:56,640 --> 01:39:00,679
Speaker 1: mere Bell wearing glasses and that's just part of her look.

1593
01:39:01,160 --> 01:39:04,400
Speaker 1: And and on that note, one final shout out to

1594
01:39:04,920 --> 01:39:09,840
Speaker 1: a friend of the cast, Melissa Lozada Oliva, who is

1595
01:39:10,320 --> 01:39:14,720
Speaker 1: Colombian American and is a dead ringer from Verabel to

1596
01:39:14,760 --> 01:39:17,600
Speaker 1: the point where her family got her Bearabell Dolls to

1597
01:39:17,640 --> 01:39:21,000
Speaker 1: piss her off for Christmas because she was so like.

1598
01:39:22,640 --> 01:39:25,760
Speaker 1: Melissa was like, I know I was on someone at

1599
01:39:25,800 --> 01:39:28,639
Speaker 1: Disney's vision board, Like I know I was because it's

1600
01:39:29,040 --> 01:39:31,400
Speaker 1: the side by side went viral. It was the whole thing.

1601
01:39:31,800 --> 01:39:37,679
Speaker 1: Um him, Melissa, Yeah, yes, shut up to Melissa, Um

1602
01:39:37,720 --> 01:39:41,840
Speaker 1: with that. Does the movie in conto pass the Bechdel test?

1603
01:39:42,640 --> 01:39:47,440
Speaker 1: Oh yeah, oh yeah, oh yeah. Between multiple combinations of characters,

1604
01:39:48,120 --> 01:39:53,200
Speaker 1: very frequently throughout the film UM, which brings us to

1605
01:39:53,640 --> 01:39:58,800
Speaker 1: our media metric, the nipple scale, in which we rate

1606
01:39:58,920 --> 01:40:01,880
Speaker 1: the movie on a scale of zero to five nipples

1607
01:40:02,240 --> 01:40:07,400
Speaker 1: based on examining the movie through an intersectional feminist lens

1608
01:40:07,439 --> 01:40:12,479
Speaker 1: and how how well it does through that lens. I'm

1609
01:40:12,479 --> 01:40:17,840
Speaker 1: gonna go four and a half nipples. It's getting a

1610
01:40:17,960 --> 01:40:21,880
Speaker 1: pretty high rating for all it does in terms of

1611
01:40:22,680 --> 01:40:29,640
Speaker 1: responsibly representing Colombian family and community and culture. That you

1612
01:40:29,720 --> 01:40:35,360
Speaker 1: get UM representation of people that you tend not to

1613
01:40:35,400 --> 01:40:39,040
Speaker 1: see on screen, as we've discussed UM, indigenous representation, Afro

1614
01:40:39,160 --> 01:40:48,640
Speaker 1: Latina representation, representation of glasses, character wearing glasses, strong like

1615
01:40:48,720 --> 01:40:52,360
Speaker 1: physically strong women like that is genuinely a huge one. Yeah,

1616
01:40:52,479 --> 01:40:55,920
Speaker 1: different hair textures, different skin tones exactly, so much as

1617
01:40:55,960 --> 01:40:58,719
Speaker 1: far as representation goes, so much, as far as UM

1618
01:40:59,080 --> 01:41:03,640
Speaker 1: female characters and their relationships being thoroughly fleshed out and

1619
01:41:03,680 --> 01:41:08,599
Speaker 1: developed and just like compelling and you know, relatable family

1620
01:41:08,680 --> 01:41:12,040
Speaker 1: dynamics and just so much. I'm only just taking a

1621
01:41:12,120 --> 01:41:15,240
Speaker 1: little bit off for not for the movie itself, but

1622
01:41:15,439 --> 01:41:19,960
Speaker 1: for and even though the two White Guide directors did

1623
01:41:19,960 --> 01:41:24,559
Speaker 1: the research, they made a terrific movie, it still begs

1624
01:41:24,600 --> 01:41:30,719
Speaker 1: the question why weren't Colombian filmmakers the people to make

1625
01:41:30,800 --> 01:41:35,720
Speaker 1: a movie about their own lives and culture. Why did

1626
01:41:35,720 --> 01:41:38,439
Speaker 1: these white guys feel entitled to be the ones to

1627
01:41:39,120 --> 01:41:41,960
Speaker 1: make this movie. UM also shout out to co director

1628
01:41:42,600 --> 01:41:46,360
Speaker 1: shari's Castro Smith, who also a co writer and was

1629
01:41:46,479 --> 01:41:49,720
Speaker 1: brought on later in the process of the film being

1630
01:41:49,720 --> 01:41:53,240
Speaker 1: made as a co director. But um, this is more

1631
01:41:53,280 --> 01:41:58,320
Speaker 1: criticism of the Disney Corporation than the movie itself, because again,

1632
01:41:58,520 --> 01:42:00,720
Speaker 1: the movie is terrific. I love it. Uh, it makes

1633
01:42:00,760 --> 01:42:04,920
Speaker 1: me feel more feelings than I realized I even had.

1634
01:42:06,120 --> 01:42:10,760
Speaker 1: And I'll give it four and a half nipples, one

1635
01:42:10,840 --> 01:42:14,519
Speaker 1: to mut Abell, one to a Boila Alma, one to

1636
01:42:15,760 --> 01:42:19,519
Speaker 1: Luisa went to Isabella, and one half nipple to the

1637
01:42:19,640 --> 01:42:25,000
Speaker 1: Titanic reference I'll meet you there at at four and

1638
01:42:25,000 --> 01:42:28,080
Speaker 1: a half. I agree that in terms of like I'm

1639
01:42:28,520 --> 01:42:30,760
Speaker 1: I think the movie is very well directed, and I

1640
01:42:30,800 --> 01:42:36,160
Speaker 1: am glad that Disney did all their research, which again

1641
01:42:36,240 --> 01:42:41,360
Speaker 1: it's like should be a standard, but it is not, um,

1642
01:42:41,439 --> 01:42:43,599
Speaker 1: which you know, it's kind of only been a thing

1643
01:42:43,640 --> 01:42:45,200
Speaker 1: for them for in the last ten years or so.

1644
01:42:46,040 --> 01:42:49,280
Speaker 1: In any case, this movie is so beautiful and it

1645
01:42:49,280 --> 01:42:52,240
Speaker 1: gives all sorts of representation. And I like, not only

1646
01:42:52,360 --> 01:42:55,960
Speaker 1: in a story sense and in an authentic casting sense

1647
01:42:56,000 --> 01:42:59,760
Speaker 1: and an authentic research sense, but also literally developing technology,

1648
01:43:00,200 --> 01:43:03,680
Speaker 1: more movies like this can more easily exist. I feel like,

1649
01:43:03,680 --> 01:43:07,479
Speaker 1: like that is just so huge and the fact that

1650
01:43:07,680 --> 01:43:10,120
Speaker 1: a you know, company that has the resources to do

1651
01:43:10,160 --> 01:43:14,639
Speaker 1: that actually did it is pretty impressive to me. Um,

1652
01:43:15,280 --> 01:43:17,680
Speaker 1: So I'll I'll go what you said, Caitlin, and I

1653
01:43:17,720 --> 01:43:21,439
Speaker 1: think it is beautiful. Also, like just for me and

1654
01:43:21,479 --> 01:43:23,880
Speaker 1: for you know, a whole generation of kids, this is

1655
01:43:23,920 --> 01:43:26,400
Speaker 1: going to be like a primer on Colombian culture and

1656
01:43:26,439 --> 01:43:30,479
Speaker 1: will be how they understand Colombian culture versus you know,

1657
01:43:30,560 --> 01:43:34,240
Speaker 1: the heaps of kind of disingenuous stuff that we grew

1658
01:43:34,320 --> 01:43:36,800
Speaker 1: up with. So I'm absolutely, very very glad that this

1659
01:43:36,840 --> 01:43:39,240
Speaker 1: movie exists, and I just think it's going to be

1660
01:43:39,280 --> 01:43:44,080
Speaker 1: a new comfort movie for me personally the same. So

1661
01:43:44,280 --> 01:43:47,520
Speaker 1: four and a half nipples. I'm going to give one Tamirabelle,

1662
01:43:47,840 --> 01:43:50,400
Speaker 1: I give one to Luisa, give one to a Boiler,

1663
01:43:50,640 --> 01:43:53,280
Speaker 1: I give one to Dolores, and I'll give my last

1664
01:43:53,320 --> 01:43:57,320
Speaker 1: half to Tia Pepper. No offenses about I just ran out,

1665
01:43:58,760 --> 01:44:04,320
Speaker 1: how about you, Jessica? Um, I'll just you know, I'm biased.

1666
01:44:04,439 --> 01:44:07,960
Speaker 1: I'm giving them five nipples. I just love that film

1667
01:44:08,080 --> 01:44:11,920
Speaker 1: so much. There's just so much in there that, you know,

1668
01:44:12,040 --> 01:44:15,479
Speaker 1: being Colombian of Columbian descent, having you know, spent my

1669
01:44:15,479 --> 01:44:18,479
Speaker 1: summers in Columbia, seeing my family represented in the film,

1670
01:44:18,680 --> 01:44:22,800
Speaker 1: seeing the food that I I could almost smell, you know,

1671
01:44:22,880 --> 01:44:27,720
Speaker 1: the flowers, seeing my cities, different cities um represented in

1672
01:44:27,760 --> 01:44:30,599
Speaker 1: the film. I just I just love it. And again

1673
01:44:30,840 --> 01:44:33,160
Speaker 1: you're right on, Jamie, Like, I have so much appreciation

1674
01:44:33,160 --> 01:44:36,599
Speaker 1: that now that my daughters can say to their friends, oh,

1675
01:44:36,640 --> 01:44:39,720
Speaker 1: my family, you know, my mom's have Colombian and this

1676
01:44:39,800 --> 01:44:44,000
Speaker 1: is what my you know, where she her family comes from.

1677
01:44:44,080 --> 01:44:46,720
Speaker 1: You know that I can show that to them, um,

1678
01:44:46,760 --> 01:44:48,400
Speaker 1: and that they can show that to their friends, which

1679
01:44:48,400 --> 01:44:51,080
Speaker 1: is something that I didn't have. UM. So yeah, they're

1680
01:44:51,080 --> 01:44:56,080
Speaker 1: getting five. If they had more Colombian representation in the forefront,

1681
01:44:56,360 --> 01:44:58,960
Speaker 1: you know when it comes to like directors, writers, music,

1682
01:44:59,280 --> 01:45:02,360
Speaker 1: they would have gotten complete six sets. I mean it's

1683
01:45:02,360 --> 01:45:08,120
Speaker 1: six h nipples, complete three sets of nipples. But but

1684
01:45:08,479 --> 01:45:10,840
Speaker 1: don't get five from me. And I'll split it between

1685
01:45:10,920 --> 01:45:15,880
Speaker 1: Lisa and Abula Alma. And they deserve it. They do,

1686
01:45:16,080 --> 01:45:17,840
Speaker 1: They do and I hope, I hope that now that

1687
01:45:17,920 --> 01:45:20,200
Speaker 1: this I mean, I think Disney has expressed like this

1688
01:45:20,280 --> 01:45:22,680
Speaker 1: is a whole franchise forever because it made us a

1689
01:45:22,760 --> 01:45:25,559
Speaker 1: lot of money and it sold a lot of backpacks. Honestly,

1690
01:45:25,640 --> 01:45:28,160
Speaker 1: like DIF, people like, if you can sell backpacks, your

1691
01:45:28,160 --> 01:45:31,560
Speaker 1: set for life. So I do hope and I'm optimistic

1692
01:45:31,640 --> 01:45:35,240
Speaker 1: that as this franchise continues, and as there's Disney plus

1693
01:45:35,320 --> 01:45:38,880
Speaker 1: shows and sequels or whatever it is, that more Colombian

1694
01:45:39,000 --> 01:45:44,120
Speaker 1: filmmakers will be brought in ahead of the institutional white guys.

1695
01:45:44,240 --> 01:45:48,000
Speaker 1: So we'll see for sure. Jessica, thank you so much

1696
01:45:48,160 --> 01:45:50,920
Speaker 1: for joining us and for having this discussion with us.

1697
01:45:51,000 --> 01:45:55,800
Speaker 1: It's been our absolute I'd call it an encanto, you know.

1698
01:45:56,600 --> 01:45:58,680
Speaker 1: Thank you so much for having me. This was this

1699
01:45:58,760 --> 01:46:00,640
Speaker 1: was great. You don't have to tweet my arm to

1700
01:46:00,800 --> 01:46:03,120
Speaker 1: get me to talk about this film. So I'm happy

1701
01:46:03,120 --> 01:46:05,599
Speaker 1: to be here. Well, come back and bring another movie

1702
01:46:05,640 --> 01:46:08,520
Speaker 1: you love next time. We would love to have you back, definitely.

1703
01:46:08,920 --> 01:46:13,080
Speaker 1: Where can people check out your stuff? Follow you online?

1704
01:46:13,520 --> 01:46:17,160
Speaker 1: Plug away? Okay, so my blog has domesticated me dot com.

1705
01:46:17,320 --> 01:46:21,000
Speaker 1: My YouTube channel is YouTube dot com. Backslash domesticated me

1706
01:46:21,360 --> 01:46:24,200
Speaker 1: and you can find me on Instagram at Jessica why

1707
01:46:24,520 --> 01:46:29,160
Speaker 1: like yellow Floris f l O r ees awesome, amazing,

1708
01:46:29,240 --> 01:46:31,120
Speaker 1: And we'll link you to your in counter videos in

1709
01:46:31,120 --> 01:46:33,880
Speaker 1: the description as well. If you haven't watched them, listeners,

1710
01:46:34,840 --> 01:46:40,040
Speaker 1: y're missing out. Buddy you with that, you gotta watch

1711
01:46:40,120 --> 01:46:43,720
Speaker 1: the videos. Thank you. Thanks. Oh that was good. I

1712
01:46:43,800 --> 01:46:46,880
Speaker 1: was like I lost control of the sentence in the middle.

1713
01:46:49,560 --> 01:46:53,320
Speaker 1: You can follow us buddies on That's what I'm gonna

1714
01:46:53,320 --> 01:46:55,920
Speaker 1: call our listeners from now and hey, buddies, you can

1715
01:46:55,960 --> 01:47:01,760
Speaker 1: follow us I take it back at bactel Cast on

1716
01:47:01,800 --> 01:47:04,960
Speaker 1: Twitter and Instagram. You can scoot on over to our

1717
01:47:05,520 --> 01:47:09,160
Speaker 1: Patreon a k a. Matreon, where we released two bonus

1718
01:47:09,240 --> 01:47:14,040
Speaker 1: episodes every month on fun little themes that we cook up. Yeah.

1719
01:47:14,160 --> 01:47:17,200
Speaker 1: Plus you get access to the entire back catalog of bonuses,

1720
01:47:17,280 --> 01:47:20,880
Speaker 1: of which there are over one hundred bonus episodes and

1721
01:47:20,920 --> 01:47:24,639
Speaker 1: that is all at patreon dot com. Slash backtel Cast

1722
01:47:24,880 --> 01:47:27,679
Speaker 1: for five dollars a month, and we're getting into horror

1723
01:47:27,720 --> 01:47:32,519
Speaker 1: movie season and we'll be covering some popular horror requests over. Yeah,

1724
01:47:33,120 --> 01:47:36,479
Speaker 1: Trial Malignant, Ever heard of it? I can'tot wait to

1725
01:47:36,479 --> 01:47:39,920
Speaker 1: watch Blignance again. Uh, And you get if you need

1726
01:47:39,960 --> 01:47:41,599
Speaker 1: merch you can go to tea PAP with dot com,

1727
01:47:41,680 --> 01:47:46,799
Speaker 1: slash get backtel cast for all your merchandizing needs. And

1728
01:47:47,120 --> 01:47:50,120
Speaker 1: uh with that, how do we close up? There's so

1729
01:47:50,120 --> 01:47:54,839
Speaker 1: many there's so many possibilities. Well, we did talk about Bruno,

1730
01:47:55,000 --> 01:47:57,880
Speaker 1: but we also talked about Mutabell and we talked about

1731
01:47:57,880 --> 01:48:01,000
Speaker 1: a Boia. We talked about we talked but Luisa and

1732
01:48:01,080 --> 01:48:06,000
Speaker 1: many other characters, and so we we did it. We

1733
01:48:06,040 --> 01:48:08,280
Speaker 1: did it. We talked about everybody. So we can go home.

1734
01:48:09,120 --> 01:48:12,240
Speaker 1: So we can go home now, Okay, bye bye, bye

1735
01:48:12,240 --> 01:48:12,639
Speaker 1: bye