1
00:00:01,720 --> 00:00:04,440
Speaker 1: And That's what you really missed with Jenna.

2
00:00:04,440 --> 00:00:07,080
Speaker 2: And Kevin an iHeartRadio podcast.

3
00:00:09,200 --> 00:00:13,640
Speaker 1: Welcome to and That's what You're the most podcast. Hello Kevin.

4
00:00:14,680 --> 00:00:17,720
Speaker 1: It's a big day, Happy Wicked, Wicked Weekend.

5
00:00:17,600 --> 00:00:24,720
Speaker 2: Happy Wicked for Good weekend, Wicked everywhere. It is like

6
00:00:25,320 --> 00:00:29,320
Speaker 2: the premiere was really close to where I live last week.

7
00:00:29,880 --> 00:00:33,040
Speaker 2: Oh it really in pink and green. Yeah.

8
00:00:33,280 --> 00:00:37,600
Speaker 3: So John stood like Colgate with them like on the broom,

9
00:00:37,880 --> 00:00:43,400
Speaker 3: like like toothpaste, and he was like sure, Like we.

10
00:00:43,520 --> 00:00:47,320
Speaker 2: Really, I mean I feel like, you know, when Barbie

11
00:00:47,400 --> 00:00:50,599
Speaker 2: came out, the brand deals were like we had never

12
00:00:50,600 --> 00:00:51,479
Speaker 2: seen anything like that.

13
00:00:52,120 --> 00:00:55,480
Speaker 1: I think we've never seen put that shame No, truly,

14
00:00:55,480 --> 00:00:57,320
Speaker 1: I think it was like one hundred and forty or

15
00:00:57,360 --> 00:01:05,479
Speaker 1: hundred thirty seven partnerships. It's crazy, get your money, you know. Okay,

16
00:01:05,720 --> 00:01:10,720
Speaker 1: well we are. This is Wicked for Good Weekend. Wicked

17
00:01:10,800 --> 00:01:15,160
Speaker 1: premiered on November twenty first, twenty twenty five. We both

18
00:01:15,200 --> 00:01:20,559
Speaker 1: saw it this past weekend opening weekend. Oh my goodness.

19
00:01:20,920 --> 00:01:24,119
Speaker 2: You know, before we even say anything, I love an event.

20
00:01:25,240 --> 00:01:27,280
Speaker 2: I you know, I love a big event. I love

21
00:01:27,280 --> 00:01:29,240
Speaker 2: when people get excited to go to the movies, to

22
00:01:29,319 --> 00:01:32,319
Speaker 2: like go experience something together and the fact that this

23
00:01:32,520 --> 00:01:36,120
Speaker 2: is such an event, like especially for a musical. Musicals

24
00:01:36,120 --> 00:01:39,040
Speaker 2: are not that popular at the movies, and it's it

25
00:01:39,160 --> 00:01:42,480
Speaker 2: is really nice that this has happened.

26
00:01:42,880 --> 00:01:45,839
Speaker 1: I mean I went to the AMC Universal City Walk

27
00:01:45,920 --> 00:01:48,919
Speaker 1: and it was the Christmas Tree, like the Wicked Christmas Tree,

28
00:01:49,280 --> 00:01:52,680
Speaker 1: and then inside were the costumes. So it was Cynthia's

29
00:01:52,760 --> 00:01:58,880
Speaker 1: robes and also the Glinda dress, the gown ooh, pretty downs,

30
00:01:58,920 --> 00:02:03,280
Speaker 1: the beautiful gowns, gowns, beautiful gowns. She's they're both tiny,

31
00:02:03,680 --> 00:02:07,720
Speaker 1: they're so small. But it was a lovely experience. So

32
00:02:08,720 --> 00:02:11,239
Speaker 1: in the news, the Fate of Ophelia by Taylor Swift

33
00:02:11,280 --> 00:02:11,839
Speaker 1: is number one.

34
00:02:12,320 --> 00:02:13,840
Speaker 2: Damn yeah.

35
00:02:14,040 --> 00:02:17,800
Speaker 1: So and uh, the movie is Wicked for good.

36
00:02:18,200 --> 00:02:20,760
Speaker 2: I mean, it broke all kinds of records. It broke

37
00:02:20,800 --> 00:02:24,399
Speaker 2: the first movies records. It's it has made it over

38
00:02:24,480 --> 00:02:27,680
Speaker 2: like two hundred and thirty million dollars opening weekend worldwide

39
00:02:27,720 --> 00:02:31,840
Speaker 2: or something. It's it's crazy. Yeah, oh yeah, two hundred

40
00:02:31,840 --> 00:02:33,160
Speaker 2: and twenty six million worldwide.

41
00:02:34,520 --> 00:02:34,760
Speaker 4: Man.

42
00:02:35,040 --> 00:02:35,760
Speaker 2: Yeah.

43
00:02:36,200 --> 00:02:39,800
Speaker 1: Glea Casses continues to take over New York City. Kellen Kevin,

44
00:02:39,840 --> 00:02:43,720
Speaker 1: you're in still in spelling Bee and chest just you

45
00:02:43,800 --> 00:02:46,160
Speaker 1: both just opened, Darren is back in Maybe Happy Ending,

46
00:02:46,200 --> 00:02:49,320
Speaker 1: Alex just opened in Chicago, Groff is just in time,

47
00:02:49,400 --> 00:02:52,360
Speaker 1: Kristin Chenna with Is and Queen of Versailles. I saw

48
00:02:52,440 --> 00:02:54,800
Speaker 1: you had many friends come with you this weekend, Kevin

49
00:02:55,400 --> 00:02:56,080
Speaker 1: at the Bee.

50
00:02:56,080 --> 00:03:01,120
Speaker 2: We did Chris Cofer with Will. It was so sweet.

51
00:03:01,200 --> 00:03:02,480
Speaker 2: I was like, do you want to be a guest speller.

52
00:03:02,520 --> 00:03:05,480
Speaker 2: He's like, nope, no, But you.

53
00:03:05,480 --> 00:03:08,240
Speaker 1: Did actually have a very special guest speller this weekend.

54
00:03:08,400 --> 00:03:10,959
Speaker 1: You had the one and only Harry Potter.

55
00:03:11,200 --> 00:03:12,720
Speaker 2: We had Daniel Radcliffe.

56
00:03:13,080 --> 00:03:13,959
Speaker 1: What a sweet man.

57
00:03:14,280 --> 00:03:17,120
Speaker 2: And it was a crazy time. The fire alarm went

58
00:03:17,120 --> 00:03:18,919
Speaker 2: off in the building. So we're at New World Stages.

59
00:03:18,960 --> 00:03:22,520
Speaker 2: There are five different theaters within one building, so if

60
00:03:22,560 --> 00:03:26,080
Speaker 2: the fire alarm goes off, everybody has to stop the

61
00:03:26,120 --> 00:03:28,880
Speaker 2: show and go outside and all your shows. All the

62
00:03:28,919 --> 00:03:32,080
Speaker 2: shows stopped, and we were right at the end. I

63
00:03:32,120 --> 00:03:35,640
Speaker 2: Love You song was just starting. Oh like Lily got

64
00:03:35,640 --> 00:03:39,520
Speaker 2: out her first Wow.

65
00:03:39,840 --> 00:03:41,560
Speaker 1: Crazy. We love live theater.

66
00:03:42,040 --> 00:03:44,040
Speaker 2: But it was it was an adventure every you know,

67
00:03:44,120 --> 00:03:46,400
Speaker 2: nothing was wrong, the fire department showed up, it was

68
00:03:46,400 --> 00:03:50,800
Speaker 2: all safe. But Daniel Radcliffe is just an excellent sport.

69
00:03:50,840 --> 00:03:52,720
Speaker 2: What a kind person. I had never met him before.

70
00:03:53,000 --> 00:03:56,360
Speaker 2: Oh my god, he had never seen the show before. Wow,

71
00:03:56,600 --> 00:03:59,680
Speaker 2: he knows Leanna who plays Marshy Park because they were

72
00:04:00,400 --> 00:04:06,000
Speaker 2: and merrily together with Craft and so he evacuated with

73
00:04:06,080 --> 00:04:10,760
Speaker 2: us and just a sweet sweet man.

74
00:04:11,240 --> 00:04:14,200
Speaker 1: You know, did he get bombarded?

75
00:04:16,160 --> 00:04:18,120
Speaker 2: The crowd went crazy for him. We sort of ran

76
00:04:18,160 --> 00:04:20,839
Speaker 2: security for him, you know, yeah, for sure, we were

77
00:04:20,880 --> 00:04:23,400
Speaker 2: trying to keep him safe. But he hung out with us.

78
00:04:23,520 --> 00:04:27,719
Speaker 2: And I love when somebody like that too, because he's

79
00:04:27,720 --> 00:04:30,960
Speaker 2: a theater boy. He has always he's done theater for

80
00:04:31,040 --> 00:04:35,360
Speaker 2: decades now, and like he wanted to come in and

81
00:04:35,400 --> 00:04:38,360
Speaker 2: not know anything about the show and he was one

82
00:04:38,400 --> 00:04:42,080
Speaker 2: of the guest spellers and just had He's like, if

83
00:04:42,120 --> 00:04:43,800
Speaker 2: I had known there was dancing, I would not have

84
00:04:43,839 --> 00:04:44,159
Speaker 2: done that.

85
00:04:46,800 --> 00:04:51,320
Speaker 1: Well, that's the joy. It was great, how fun. This

86
00:04:51,400 --> 00:04:54,520
Speaker 1: is directed by John M. Jew Obviously, this is part

87
00:04:54,640 --> 00:04:57,840
Speaker 1: two the screenplays when he Holtzman and Dana Fox.

88
00:04:58,400 --> 00:05:00,480
Speaker 2: Yes, And like we said before, it's based stuff that

89
00:05:00,760 --> 00:05:03,160
Speaker 2: he doesn't three musical by Stephen Shore so many Holtzman,

90
00:05:03,640 --> 00:05:05,960
Speaker 2: which is also based off of Gregor McGuire's nineteen eety

91
00:05:06,000 --> 00:05:10,720
Speaker 2: five novel Wicked, which again I did read last year

92
00:05:11,800 --> 00:05:16,480
Speaker 2: and choarographed and choreographed by Chris Scott, and it's a

93
00:05:16,560 --> 00:05:21,279
Speaker 2: reimagining of L. Frank Baum's nineteen hundred classic The Wonderful

94
00:05:21,320 --> 00:05:23,640
Speaker 2: Wizard of Oz and the nineteen thirty nine film. It's

95
00:05:23,720 --> 00:05:26,000
Speaker 2: all of those things in one.

96
00:05:26,440 --> 00:05:33,440
Speaker 1: Okay, before we get into too deep into this, Kevin, Yeah,

97
00:05:33,760 --> 00:05:39,880
Speaker 1: I just need everybody to take a deep breath, because

98
00:05:40,720 --> 00:05:42,880
Speaker 1: I came out of that theater and the two people

99
00:05:42,920 --> 00:05:46,080
Speaker 1: in front of me like they did Cynthia so dirty

100
00:05:46,120 --> 00:05:50,320
Speaker 1: with her song, and oh they tried to expand the world,

101
00:05:50,480 --> 00:05:53,839
Speaker 1: but like they didn't need it, and ah blah blah blah.

102
00:05:54,040 --> 00:05:59,320
Speaker 1: And I'm like, look the fact that a musical is

103
00:05:59,480 --> 00:06:09,880
Speaker 1: so being recognized worldwide to this scale and degree, the number,

104
00:06:10,400 --> 00:06:13,599
Speaker 1: we have an Asian director, we have a diverse cast

105
00:06:14,040 --> 00:06:18,159
Speaker 1: from a story about two, three, four very strong, flawed

106
00:06:18,279 --> 00:06:23,840
Speaker 1: female characters at the home. We have breaking box office

107
00:06:23,880 --> 00:06:30,400
Speaker 1: breaking records. We have the part one which was stupendous

108
00:06:31,279 --> 00:06:38,640
Speaker 1: with high regard and accolades galore. And the expectation is

109
00:06:38,720 --> 00:06:43,760
Speaker 1: so high, and this, to me is reminiscent of when

110
00:06:43,880 --> 00:06:49,280
Speaker 1: somebody gets too high up in the industry, there's nowhere

111
00:06:49,279 --> 00:06:54,480
Speaker 1: else but to take them down. So I'm just asking

112
00:06:54,560 --> 00:07:01,359
Speaker 1: everybody to just take a deep in breath because it's wicked.

113
00:07:02,320 --> 00:07:06,200
Speaker 1: There's great songs. They're not as good as Part one.

114
00:07:06,360 --> 00:07:10,560
Speaker 1: But as long as you're mine, no good deed for

115
00:07:10,880 --> 00:07:14,000
Speaker 1: good even Girl in the Bubble, which might be a

116
00:07:14,040 --> 00:07:21,720
Speaker 1: hot take, but let's just let's just celebrate that. I

117
00:07:21,840 --> 00:07:27,480
Speaker 1: understand there was you know, my opinions will come out,

118
00:07:27,520 --> 00:07:31,080
Speaker 1: but as long as you're mine, and then we just

119
00:07:31,160 --> 00:07:33,840
Speaker 1: hit astride. Okay, we got back into the show, the

120
00:07:33,880 --> 00:07:36,080
Speaker 1: act that we know, the play that we know, the

121
00:07:36,160 --> 00:07:39,360
Speaker 1: musical that we know. I'm curious to hear from you, Kevin,

122
00:07:39,520 --> 00:07:43,239
Speaker 1: like what they pulled from the novel and the book

123
00:07:44,320 --> 00:07:46,480
Speaker 1: prior to that came back in because it was a

124
00:07:46,520 --> 00:07:48,800
Speaker 1: lot more of the animals and else of the story

125
00:07:48,800 --> 00:07:50,440
Speaker 1: about the animals, and I was like, that had to

126
00:07:50,520 --> 00:07:52,320
Speaker 1: be in the book, and if not, they ate it up.

127
00:07:52,640 --> 00:07:55,400
Speaker 1: So I'm curious because, like, I see what they were

128
00:07:55,400 --> 00:07:56,840
Speaker 1: trying to do, which is what we talked about in

129
00:07:56,840 --> 00:08:00,560
Speaker 1: the first one, was expanding the world, expanding the character development,

130
00:08:00,760 --> 00:08:05,400
Speaker 1: expanding all of that. Like, but I'm just gonna I'm

131
00:08:05,400 --> 00:08:09,480
Speaker 1: just gonna like take a deep breath. I enjoyed it.

132
00:08:10,360 --> 00:08:15,040
Speaker 1: I enjoyed everybody's performances. I thought the world was still there.

133
00:08:15,160 --> 00:08:19,240
Speaker 1: I thought the girls were remarkable. They were so good,

134
00:08:20,000 --> 00:08:26,920
Speaker 1: and I'm just like, really solid, really solid. I'm not

135
00:08:27,000 --> 00:08:30,960
Speaker 1: hating on it. I'm not bringing it down. Like they

136
00:08:31,120 --> 00:08:35,200
Speaker 1: obviously loved this, they loved making it. It's part of it,

137
00:08:35,280 --> 00:08:38,800
Speaker 1: Like I, I appreciate it, and I'm just I'm just

138
00:08:38,800 --> 00:08:40,680
Speaker 1: gonna get off the soapbox now.

139
00:08:41,400 --> 00:08:41,439
Speaker 3: No.

140
00:08:41,679 --> 00:08:45,040
Speaker 2: I think that's good. And that's also I always need

141
00:08:45,080 --> 00:08:53,880
Speaker 2: to be reminded of those things. You know, I'm a

142
00:08:53,880 --> 00:08:54,640
Speaker 2: critical bitch.

143
00:08:57,440 --> 00:09:01,080
Speaker 1: It's not a bad thing, but it's just sometime but

144
00:09:01,160 --> 00:09:06,400
Speaker 1: sometimes it's not about that, right, you know, right, right? Well,

145
00:09:06,600 --> 00:09:10,000
Speaker 1: I also think all of these things can coexist. I

146
00:09:10,040 --> 00:09:13,320
Speaker 1: think I do think so. A lot of the complaints too,

147
00:09:13,360 --> 00:09:14,880
Speaker 1: were like I hate that they broke it up into

148
00:09:14,880 --> 00:09:17,439
Speaker 1: two movies, and that's been coming up a lot.

149
00:09:17,480 --> 00:09:20,360
Speaker 2: I've had a lot of conversations the past week about that,

150
00:09:20,840 --> 00:09:22,880
Speaker 2: and it gets clearly just a cash grab, and I'm

151
00:09:22,880 --> 00:09:27,440
Speaker 2: like that. I I hard disagree with that because the

152
00:09:27,480 --> 00:09:31,520
Speaker 2: first movie, I enjoyed the pacing, I enjoyed living in

153
00:09:31,559 --> 00:09:34,120
Speaker 2: that world. Sure do I think some of those scenes

154
00:09:34,440 --> 00:09:36,560
Speaker 2: could have been shortened, and you could have probably taken

155
00:09:36,600 --> 00:09:42,800
Speaker 2: out twenty minutes maybe sure, but like that's not like

156
00:09:42,880 --> 00:09:46,600
Speaker 2: a deal breaker for me at all. With that first movie.

157
00:09:47,200 --> 00:09:51,400
Speaker 2: This movie, it probably could have been an hour and

158
00:09:51,400 --> 00:09:55,079
Speaker 2: a half. Yeah, I do think that. I do think

159
00:09:55,120 --> 00:09:58,600
Speaker 2: it could have been tightened, But like I do think

160
00:09:58,679 --> 00:10:02,720
Speaker 2: there is enough there too, you know, be deserving of

161
00:10:02,760 --> 00:10:07,960
Speaker 2: its own movie. Act two is historically not as good

162
00:10:08,000 --> 00:10:11,199
Speaker 2: as Act one. It has some like you said.

163
00:10:11,240 --> 00:10:13,679
Speaker 1: My argument is that if you were to make this

164
00:10:13,760 --> 00:10:16,719
Speaker 1: one movie, Act one would have had to be less

165
00:10:17,360 --> 00:10:19,880
Speaker 1: an Act one being as good, or the part one

166
00:10:19,920 --> 00:10:22,120
Speaker 1: of the movie being as good as it was was

167
00:10:22,120 --> 00:10:24,480
Speaker 1: because it had the space. Yes, if Act two was

168
00:10:24,480 --> 00:10:27,200
Speaker 1: crushed into Pact one, then it wouldn't We wouldn't have

169
00:10:27,240 --> 00:10:29,720
Speaker 1: had that in part one and the movie would have

170
00:10:29,760 --> 00:10:31,360
Speaker 1: been lost, right Yep.

171
00:10:32,040 --> 00:10:36,840
Speaker 2: I thought this movie really found its stride probably about

172
00:10:36,880 --> 00:10:39,520
Speaker 2: halfway through. Yes, I think when it got to Know

173
00:10:39,600 --> 00:10:44,680
Speaker 2: Good Deed, all of a sudden was like, okay, oh

174
00:10:44,720 --> 00:10:45,240
Speaker 2: we're in it.

175
00:10:45,400 --> 00:10:47,440
Speaker 1: One song before I was thinking as long as your mind,

176
00:10:47,480 --> 00:10:49,480
Speaker 1: and I was like, all right, here we are, We're back.

177
00:10:49,600 --> 00:10:53,760
Speaker 2: Yeah. Well, I think until that point it was like

178
00:10:53,840 --> 00:11:00,600
Speaker 2: a little clunky to me. Yeah, And it was it

179
00:11:00,640 --> 00:11:03,080
Speaker 2: was a little weird adjusting into the characters, you know,

180
00:11:03,200 --> 00:11:07,720
Speaker 2: years later where we left Alpha Ba being this like

181
00:11:07,840 --> 00:11:12,199
Speaker 2: badass writing, you know, on her broom away, and then

182
00:11:12,200 --> 00:11:17,880
Speaker 2: we come back sort of in like this strange, strange

183
00:11:17,920 --> 00:11:19,640
Speaker 2: place there was there was a couple of things. I

184
00:11:19,640 --> 00:11:25,480
Speaker 2: was like, what what's happening? It almost felt like like

185
00:11:25,559 --> 00:11:28,200
Speaker 2: it was shot years later, even though it was shot

186
00:11:28,480 --> 00:11:30,720
Speaker 2: back to back, you know what I mean, like like

187
00:11:30,800 --> 00:11:32,360
Speaker 2: that sort of thing. But something happens all of a

188
00:11:32,400 --> 00:11:38,320
Speaker 2: sudden when for me, when it gets to no Good Deed, I.

189
00:11:38,200 --> 00:11:42,000
Speaker 1: Found it tried. It really did so in the in

190
00:11:42,040 --> 00:11:46,000
Speaker 1: the in the musical right, and I may make some

191
00:11:46,080 --> 00:11:49,520
Speaker 1: mistakes here, but thank goodness number one is my favorite song.

192
00:11:49,920 --> 00:11:52,400
Speaker 1: So thank goodness that that was so good because we

193
00:11:52,480 --> 00:11:53,480
Speaker 1: love that number.

194
00:11:53,200 --> 00:11:54,720
Speaker 2: And they I think in a whole bunch of like

195
00:11:54,840 --> 00:11:57,920
Speaker 2: really cool musical elements. I think in the beginning in

196
00:11:57,960 --> 00:12:00,320
Speaker 2: all those songs, there's a lot of new things. How

197
00:12:00,400 --> 00:12:02,199
Speaker 2: did you feel about those? I didn't.

198
00:12:02,240 --> 00:12:04,160
Speaker 1: I mean again, like I thought that was great, Like

199
00:12:04,200 --> 00:12:06,040
Speaker 1: I didn't. It didn't bother me. It didn't feel out

200
00:12:06,040 --> 00:12:08,440
Speaker 1: of context. It felt like it was part of the world.

201
00:12:08,480 --> 00:12:10,679
Speaker 1: So like none of that felt like it was forced.

202
00:12:12,360 --> 00:12:14,679
Speaker 1: I'm into it. I'm totally I was totally into it.

203
00:12:14,679 --> 00:12:18,800
Speaker 1: It didn't bother me. The no place like home felt

204
00:12:19,200 --> 00:12:21,240
Speaker 1: out of place because I had never heard it before.

205
00:12:22,480 --> 00:12:26,720
Speaker 1: And that whole story of her with Dulcibet and the

206
00:12:26,800 --> 00:12:29,240
Speaker 1: animals leaving because they felt like there was no other

207
00:12:29,720 --> 00:12:32,240
Speaker 1: escape in her trying to like corral them back to

208
00:12:32,320 --> 00:12:36,640
Speaker 1: fight together. I understand it. It just didn't hit like.

209
00:12:36,720 --> 00:12:40,240
Speaker 1: It just didn't And I was I was curious, Like

210
00:12:40,280 --> 00:12:41,400
Speaker 1: I was like, oh, I can't wait to talk to

211
00:12:41,440 --> 00:12:43,480
Speaker 1: Kevin about this, like with the animals, and like, was

212
00:12:43,480 --> 00:12:47,440
Speaker 1: that part of the book.

213
00:12:46,880 --> 00:12:52,440
Speaker 2: The animal not that scene, m but the animals were

214
00:12:52,760 --> 00:12:56,000
Speaker 2: the main driving force for alphabets story.

215
00:12:55,679 --> 00:12:58,679
Speaker 1: In the book, and I got that in the musical.

216
00:12:58,720 --> 00:13:01,360
Speaker 1: But this is really they've really like expanded on it,

217
00:13:01,400 --> 00:13:02,400
Speaker 1: and it just felt like.

218
00:13:06,880 --> 00:13:08,880
Speaker 2: It's like a double edged sword with some of these

219
00:13:09,080 --> 00:13:11,959
Speaker 2: expansion things in the story. Because I liked that they

220
00:13:12,000 --> 00:13:15,000
Speaker 2: added more of the animal stuff, I also think it

221
00:13:15,040 --> 00:13:19,280
Speaker 2: then created more like plot issues. Yes, and I think

222
00:13:19,559 --> 00:13:22,320
Speaker 2: that raised a lot more questions in this movie, and

223
00:13:22,320 --> 00:13:24,720
Speaker 2: then like only a couple of them got answered.

224
00:13:25,400 --> 00:13:27,760
Speaker 1: The way I was thinking about it was like weiked

225
00:13:27,880 --> 00:13:31,079
Speaker 1: went through an assortment of versions and workshops.

226
00:13:31,120 --> 00:13:33,880
Speaker 2: Right, I had the same thought, Yeah, keep going, there's

227
00:13:33,920 --> 00:13:34,840
Speaker 2: a reason.

228
00:13:34,600 --> 00:13:39,440
Speaker 1: Why those pieces weren't in the musical. There's a reason

229
00:13:39,559 --> 00:13:46,200
Speaker 1: why that wasn't included in the musical. Time not the necessity,

230
00:13:46,960 --> 00:13:51,120
Speaker 1: not really necessarily, it doesn't you don't need it, right,

231
00:13:51,600 --> 00:13:54,840
Speaker 1: so putting it I don't know the process, you know,

232
00:13:54,920 --> 00:13:57,800
Speaker 1: come for me, but like it seems like trying to

233
00:13:57,880 --> 00:14:00,240
Speaker 1: expand the world and bringing in those pieces this is

234
00:14:00,240 --> 00:14:03,280
Speaker 1: again we're cut out for a reason. They weren't brought

235
00:14:03,320 --> 00:14:04,400
Speaker 1: initially for a reason.

236
00:14:04,600 --> 00:14:07,560
Speaker 2: Yeah, I mean, well, I think you have more time

237
00:14:07,640 --> 00:14:11,440
Speaker 2: to do that, Like, and I was interested in seeing

238
00:14:11,520 --> 00:14:13,880
Speaker 2: the expansion of the world in that way. What I

239
00:14:13,960 --> 00:14:15,480
Speaker 2: don't think it needed was the song.

240
00:14:16,480 --> 00:14:16,760
Speaker 1: I know.

241
00:14:17,240 --> 00:14:21,480
Speaker 2: And I think to your point is like when and

242
00:14:21,640 --> 00:14:24,600
Speaker 2: we've talked about this, and there are obviously exceptions to this,

243
00:14:24,760 --> 00:14:27,920
Speaker 2: but I think it's a big uphill battle to put

244
00:14:27,960 --> 00:14:31,560
Speaker 2: in new songs into an established musical where things have

245
00:14:31,680 --> 00:14:35,800
Speaker 2: been workshopped, things have been thought about for years before

246
00:14:35,880 --> 00:14:39,400
Speaker 2: they ever seen the light of day, and then adding

247
00:14:39,440 --> 00:14:43,080
Speaker 2: in new music generally, I think feels a bit hollow

248
00:14:44,160 --> 00:14:46,120
Speaker 2: and you can tell the songs were written in a

249
00:14:46,120 --> 00:14:51,480
Speaker 2: different time, Yes, agreed, and especially if they're not moving

250
00:14:51,480 --> 00:14:58,240
Speaker 2: the plot forward, right, and I feel like these I

251
00:14:58,280 --> 00:14:59,400
Speaker 2: know you like Girl on the Bubble.

252
00:15:00,360 --> 00:15:02,960
Speaker 1: I did because I don't think that like Alphabet has

253
00:15:02,960 --> 00:15:06,600
Speaker 1: an eleven o'clock number. This is a two hander, even

254
00:15:06,640 --> 00:15:13,360
Speaker 1: though Alphabet is technically the lead the No Place Like Home, Sure,

255
00:15:14,120 --> 00:15:16,240
Speaker 1: and are right, maybe Real in the Bubble doesn't move

256
00:15:16,320 --> 00:15:19,680
Speaker 1: the plot, but she doesn't get her second act number.

257
00:15:20,320 --> 00:15:23,040
Speaker 2: I thought Girl in the Bubble had more purpose than

258
00:15:23,400 --> 00:15:29,040
Speaker 2: No Place, No Place Like Home felt these The lyrics

259
00:15:29,040 --> 00:15:33,280
Speaker 2: of both of these songs were like very on the nose.

260
00:15:33,320 --> 00:15:36,480
Speaker 2: We're telling you exactly how we're feeling. There's no nuance

261
00:15:36,560 --> 00:15:39,400
Speaker 2: or depth to like what's really going on, and they're

262
00:15:39,480 --> 00:15:44,320
Speaker 2: just explaining things that they are currently feeling. Yeah, like

263
00:15:44,920 --> 00:15:45,680
Speaker 2: as an observer.

264
00:15:45,920 --> 00:15:47,840
Speaker 1: Yeah, for sure, And for sure.

265
00:15:49,680 --> 00:15:53,720
Speaker 2: I did enjoy Girl in the Bubble more. I think

266
00:15:53,760 --> 00:15:57,160
Speaker 2: for the reasons you probably did as well. Yeah, like

267
00:15:57,200 --> 00:15:59,960
Speaker 2: that and getting to see into her. We do know

268
00:16:00,200 --> 00:16:02,880
Speaker 2: more about Alphaba. I think, like how she's feeling, We're.

269
00:16:03,600 --> 00:16:06,520
Speaker 1: Like what's driving her and what like, yes.

270
00:16:06,400 --> 00:16:09,280
Speaker 2: Where it sort of felt like a hat on a hat. Yeah,

271
00:16:09,320 --> 00:16:13,440
Speaker 2: the scene with the animals already did that. Yes, Yes,

272
00:16:13,960 --> 00:16:16,440
Speaker 2: like having Dolci Bear come back and having that conversation

273
00:16:17,000 --> 00:16:19,320
Speaker 2: and all of that, like that was really meaningful. I

274
00:16:19,360 --> 00:16:22,760
Speaker 2: do have to say that the random assortment of like

275
00:16:22,880 --> 00:16:28,920
Speaker 2: six monkeys flying in and like hearing it and then bouncing,

276
00:16:28,960 --> 00:16:33,160
Speaker 2: I'm like, where did that come from? Why are we

277
00:16:33,280 --> 00:16:40,000
Speaker 2: just and then you know, and then it's like so

278
00:16:40,080 --> 00:16:42,640
Speaker 2: then you're also here's like you're presenting that there's like

279
00:16:42,680 --> 00:16:47,640
Speaker 2: this underground tunnel system. But then when Alphaba gets out

280
00:16:48,120 --> 00:16:51,120
Speaker 2: later on and the animals is all of a sudden back,

281
00:16:51,280 --> 00:16:56,240
Speaker 2: you're now telling me nobody saw Alphaba sneaking out to

282
00:16:56,400 --> 00:16:58,160
Speaker 2: the tunnels because the animals came back.

283
00:16:59,120 --> 00:17:01,960
Speaker 1: Well, they came back, but there has to be some.

284
00:17:02,520 --> 00:17:08,520
Speaker 2: Exchange here of that's that's a very minor that. Yeah,

285
00:17:09,040 --> 00:17:10,879
Speaker 2: that doesn't but that's what I mean by like, if

286
00:17:10,880 --> 00:17:15,680
Speaker 2: you're going to expand it, you gotta I think there's Yes,

287
00:17:18,040 --> 00:17:19,760
Speaker 2: you know, what we didn't do is tell people where

288
00:17:19,760 --> 00:17:23,360
Speaker 2: we were in the movie. So a little synopsis. Alphaba

289
00:17:23,560 --> 00:17:27,000
Speaker 2: obviously is hated by everybody, is living in exile in

290
00:17:27,080 --> 00:17:31,119
Speaker 2: this like beautiful little villain.

291
00:17:31,400 --> 00:17:36,080
Speaker 1: She's literally crafted as the villain, yes, and she's trying

292
00:17:36,119 --> 00:17:41,199
Speaker 1: to help you know, free the animals and fight for

293
00:17:41,280 --> 00:17:45,560
Speaker 1: their rights, and it's being silenced by the Wizard and

294
00:17:45,640 --> 00:17:49,960
Speaker 1: by Metamorble. Glinda has now become like the symbol of

295
00:17:50,000 --> 00:17:51,760
Speaker 1: goodness all around Oz, living in the palace in the

296
00:17:51,760 --> 00:17:54,280
Speaker 1: e World city and reveling in the perks of fame

297
00:17:54,320 --> 00:17:58,960
Speaker 1: and popularity. Under the instruction of Madame Morrible, Glinda is

298
00:17:59,000 --> 00:18:03,480
Speaker 1: deployed to as an effervescent comfort to Oz, reassuring the

299
00:18:03,520 --> 00:18:09,040
Speaker 1: masses that all as well. And then Glinda's you know,

300
00:18:09,119 --> 00:18:12,600
Speaker 1: getting married to Fierro, and Nessa Rose is now the

301
00:18:12,600 --> 00:18:18,760
Speaker 1: governess of munchkin Land, and ye, craziness ensues. So there's

302
00:18:18,800 --> 00:18:20,879
Speaker 1: a lot going on, and they have to set up

303
00:18:20,880 --> 00:18:23,439
Speaker 1: a lot and cover a lot, and then there's the

304
00:18:23,480 --> 00:18:27,440
Speaker 1: whole Wizard of Oz story of putting Dorothy in there

305
00:18:27,480 --> 00:18:42,000
Speaker 1: and getting tin Man and Scarecrow. And there's a scene

306
00:18:42,000 --> 00:18:48,840
Speaker 1: early on where Fierro finds out he's engaged to Glinda, right,

307
00:18:48,920 --> 00:18:52,280
Speaker 1: she's the good She's in a town speaking to the people.

308
00:18:53,600 --> 00:18:59,840
Speaker 2: With Madame Morrible, and they have this like an aside

309
00:18:59,520 --> 00:19:03,680
Speaker 2: to goodness, yes during thank goodness, and you see what's

310
00:19:03,720 --> 00:19:06,959
Speaker 2: really going on, and because you're you know, there's this

311
00:19:07,000 --> 00:19:10,080
Speaker 2: whole thing of like, is everybody so an effled? Besides?

312
00:19:10,119 --> 00:19:13,800
Speaker 2: Secretly is Glinda and are Glenda and Fierro like so

313
00:19:14,000 --> 00:19:16,760
Speaker 2: with it here? And they have just like really, I

314
00:19:16,800 --> 00:19:20,479
Speaker 2: thought Jonathan Bailey did such a great job acting in

315
00:19:20,520 --> 00:19:21,680
Speaker 2: this movie overall.

316
00:19:22,960 --> 00:19:24,639
Speaker 1: Jonathan Bailey for the win Erroo for the win.

317
00:19:24,840 --> 00:19:27,160
Speaker 2: I think he does. He doesn't have a lot to do,

318
00:19:27,359 --> 00:19:30,320
Speaker 2: but he doesn't make a meal out of it, and

319
00:19:30,359 --> 00:19:32,560
Speaker 2: he's not like hamming it up. He's not trying to

320
00:19:32,680 --> 00:19:35,359
Speaker 2: like good, he's yes, he is very good.

321
00:19:35,440 --> 00:19:35,880
Speaker 1: Yeah.

322
00:19:35,880 --> 00:19:39,119
Speaker 2: In that scene, it really sets up for me what

323
00:19:39,160 --> 00:19:43,240
Speaker 2: we can expect, not not only from their story, but

324
00:19:43,359 --> 00:19:44,520
Speaker 2: how they're playing this.

325
00:19:45,119 --> 00:19:48,639
Speaker 1: Like the conflict of like, you know, what do you

326
00:19:48,680 --> 00:19:50,119
Speaker 1: want me to do? How do you want me to

327
00:19:50,440 --> 00:19:53,399
Speaker 1: how would you want me to perform us or do?

328
00:19:53,720 --> 00:19:56,320
Speaker 2: Like because they're both both of those characters are in

329
00:19:56,440 --> 00:20:01,480
Speaker 2: public facing yes, like public facing jobs. Yeah, and then

330
00:20:01,680 --> 00:20:05,560
Speaker 2: you have their inner person, but you don't really get

331
00:20:05,560 --> 00:20:09,040
Speaker 2: to see inner Fierro because this story is not about him, right,

332
00:20:09,240 --> 00:20:12,719
Speaker 2: And so that really that quick little scene with them,

333
00:20:12,840 --> 00:20:17,320
Speaker 2: you see like, oh once, since that first movie, his

334
00:20:17,400 --> 00:20:20,640
Speaker 2: interaction with Alphaba, he's been on this ride of changing

335
00:20:21,040 --> 00:20:24,760
Speaker 2: for a guess if you will and has never looked back,

336
00:20:25,119 --> 00:20:29,000
Speaker 2: where Glinda is more complicated. Glinda's a messy character. Both

337
00:20:29,040 --> 00:20:32,760
Speaker 2: of these characters are really messy. In the book Alphabet sucks,

338
00:20:33,040 --> 00:20:36,120
Speaker 2: to be honest, they both sort of suck like things

339
00:20:36,160 --> 00:20:38,920
Speaker 2: are happening to them and around them, and they sort

340
00:20:38,960 --> 00:20:42,640
Speaker 2: of just make everything worse. Like that's sort of the vibe.

341
00:20:43,200 --> 00:20:44,959
Speaker 2: And I do like their development in this.

342
00:20:45,320 --> 00:20:50,359
Speaker 1: Kudos to Winnie then for creating. Yes, they're messy. That's humans, right,

343
00:20:50,400 --> 00:20:54,320
Speaker 1: We're flawed, we are driven, and we are flawed, and

344
00:20:54,400 --> 00:20:57,520
Speaker 1: but we are layered and like I and human and

345
00:20:57,560 --> 00:21:02,760
Speaker 1: so I like I particularly like Elpha Ben the first act,

346
00:21:03,800 --> 00:21:07,240
Speaker 1: but then I particularly like Glinda in the second act. Yes,

347
00:21:07,880 --> 00:21:12,680
Speaker 1: because the arc is so clear and yet so dynamic, and.

348
00:21:12,600 --> 00:21:14,879
Speaker 2: She's just not like you know, Fiera's like you you

349
00:21:14,920 --> 00:21:17,960
Speaker 2: couldn't say no to this, like you know who could?

350
00:21:18,000 --> 00:21:21,080
Speaker 2: But you can't. And she's like, well, she's like who can.

351
00:21:21,160 --> 00:21:24,840
Speaker 2: He's like, well, you know who can? And it's not Ye,

352
00:21:24,960 --> 00:21:26,080
Speaker 2: it's not as clear cut.

353
00:21:26,000 --> 00:21:29,679
Speaker 1: And like she can't she can't, but she also like

354
00:21:29,840 --> 00:21:32,280
Speaker 1: she knows she isn't. Like that's the part of it

355
00:21:32,320 --> 00:21:34,480
Speaker 1: where she's like they're like you're so good and she's

356
00:21:34,520 --> 00:21:38,680
Speaker 1: like not yet, and I'm like yes, Like she's gonna

357
00:21:38,680 --> 00:21:41,439
Speaker 1: make it right. She's going to figure it out. She

358
00:21:41,600 --> 00:21:44,679
Speaker 1: knows she's made some mistakes and she's owning up to

359
00:21:44,720 --> 00:21:47,760
Speaker 1: that in that one line, like yeah, I know. Like

360
00:21:48,080 --> 00:21:50,600
Speaker 1: that's the dynamic of Glinda that I love. Is that,

361
00:21:50,680 --> 00:21:53,480
Speaker 1: Like even when Kristin was doing it, you're like, well,

362
00:21:53,520 --> 00:21:56,879
Speaker 1: she's a public figure, she's greedy, she's taking the spotlight

363
00:21:56,920 --> 00:21:59,080
Speaker 1: and yeah she's still friends with Elfhi and like blah

364
00:21:59,119 --> 00:22:02,840
Speaker 1: blah blah. But this world where you get to see

365
00:22:02,880 --> 00:22:05,680
Speaker 1: the development more and Ariana, like you get to see

366
00:22:05,720 --> 00:22:11,119
Speaker 1: the beauty of like her acting out in like or

367
00:22:11,280 --> 00:22:16,440
Speaker 1: showing us the awareness she has about what her actions are,

368
00:22:17,920 --> 00:22:21,199
Speaker 1: like how her actions are having consequences on everybody, but

369
00:22:21,280 --> 00:22:25,679
Speaker 1: yet also like still innately good. Right, She's gonna make

370
00:22:25,720 --> 00:22:26,240
Speaker 1: it right.

371
00:22:26,320 --> 00:22:29,800
Speaker 2: Well hopefully, And I think that's like the beauty of it,

372
00:22:30,320 --> 00:22:35,520
Speaker 2: Like you don't the proximity she has too, like the

373
00:22:35,600 --> 00:22:40,200
Speaker 2: really evil people like Madam Morble and the Wizard, right,

374
00:22:40,760 --> 00:22:42,959
Speaker 2: like that feels like okay, she's sort of like this

375
00:22:43,520 --> 00:22:47,760
Speaker 2: spy and cahoots and like she's keeping a closeness to them,

376
00:22:48,119 --> 00:22:53,280
Speaker 2: because it's also in a way protecting Alphaba because she's

377
00:22:53,280 --> 00:22:56,600
Speaker 2: also still in contact with Alphaba and cares deeply about

378
00:22:56,640 --> 00:22:59,760
Speaker 2: Alpha Ba, so like if she knows like keep your

379
00:23:00,040 --> 00:23:04,280
Speaker 2: mean's close kind of thing, but she's also benefiting from it, right,

380
00:23:03,920 --> 00:23:09,200
Speaker 2: And it feels tricky. It feels like an allegory for

381
00:23:09,480 --> 00:23:14,840
Speaker 2: like race in America, or it feels like, well, you

382
00:23:14,960 --> 00:23:19,399
Speaker 2: as like the pretty white girl can still benefit from

383
00:23:19,440 --> 00:23:23,919
Speaker 2: like the bad actions that are affecting like the minority communities.

384
00:23:24,280 --> 00:23:28,919
Speaker 1: And yet look at how Alphaba's been shut out and Alpha.

385
00:23:28,560 --> 00:23:32,399
Speaker 2: Was being you know, looked at villainized, villainized, and she

386
00:23:32,520 --> 00:23:35,880
Speaker 2: actually has all the power and the talent, right, and

387
00:23:36,040 --> 00:23:39,359
Speaker 2: yet you're the one who's like mediocre at every single step.

388
00:23:40,280 --> 00:23:43,960
Speaker 2: You're just like more successful and more successful and literally

389
00:23:44,000 --> 00:23:48,960
Speaker 2: living high in the castle. Yeah yeah, yeah, but you know, ultimately,

390
00:23:49,240 --> 00:23:54,240
Speaker 2: the one thing she wants is friendship and piero and love,

391
00:23:54,520 --> 00:23:59,320
Speaker 2: and she's not getting those things right, right, And there

392
00:23:59,359 --> 00:24:01,080
Speaker 2: was there was some thing in the story like coming

393
00:24:01,080 --> 00:24:03,800
Speaker 2: into it I and I talked to people about it,

394
00:24:03,800 --> 00:24:05,800
Speaker 2: and like the thing that always rubs some people the

395
00:24:05,840 --> 00:24:10,520
Speaker 2: wrong way is like Alphaba towards the end of this

396
00:24:10,560 --> 00:24:15,199
Speaker 2: is like she gets the man runs off, Like is

397
00:24:15,240 --> 00:24:18,480
Speaker 2: she really a girl's girl in that way? Because it's like, wait,

398
00:24:18,520 --> 00:24:21,000
Speaker 2: she just took this guy. It's like that's not the

399
00:24:21,000 --> 00:24:24,320
Speaker 2: story to me. No, not at all, And like I've

400
00:24:24,359 --> 00:24:26,760
Speaker 2: read a lot of complaints about that really, and I

401
00:24:26,800 --> 00:24:29,240
Speaker 2: was like, no, i'man Fierro didn't really want to be

402
00:24:29,280 --> 00:24:32,159
Speaker 2: with Glinda ever, No, and Glinda sort of sees in

403
00:24:32,200 --> 00:24:35,920
Speaker 2: that scene I thought Ariana did it. That standoff scene well,

404
00:24:36,960 --> 00:24:40,879
Speaker 2: m hmm. I thought was maybe Ariana's best seen in

405
00:24:40,920 --> 00:24:46,800
Speaker 2: the entire movie YEP, where Fierra comes in, puts the

406
00:24:46,800 --> 00:24:51,000
Speaker 2: gun at her face and then she sees, you know,

407
00:24:51,040 --> 00:24:57,440
Speaker 2: once she gets Alfie gone, like saves her somehow, Well

408
00:24:57,440 --> 00:25:01,560
Speaker 2: he does. Fierro saves Elfie and then she's Glinda tries

409
00:25:01,600 --> 00:25:04,760
Speaker 2: to say Fiero and it's like he didn't mean it,

410
00:25:04,800 --> 00:25:08,920
Speaker 2: and it hits her that that moment of Oh, he

411
00:25:09,000 --> 00:25:11,280
Speaker 2: loves her, That's why he did it. He never was

412
00:25:11,320 --> 00:25:14,879
Speaker 2: going to harm me. It was like a really really

413
00:25:14,920 --> 00:25:16,560
Speaker 2: beautiful Well.

414
00:25:16,440 --> 00:25:19,479
Speaker 1: It's easy because if you're it was, it really was,

415
00:25:19,520 --> 00:25:21,080
Speaker 1: And it's easy as a as a fan of the

416
00:25:21,119 --> 00:25:25,359
Speaker 1: show and all of that to assume that everybody knows that,

417
00:25:25,520 --> 00:25:29,719
Speaker 1: and Glenna knows that, but like to be you know,

418
00:25:29,760 --> 00:25:34,000
Speaker 1: for her as a character to have that kind of

419
00:25:34,080 --> 00:25:37,240
Speaker 1: finite detail of like, right, not everybody knows this, and

420
00:25:37,280 --> 00:25:39,840
Speaker 1: I as a character don't know that yet like having

421
00:25:39,880 --> 00:25:41,120
Speaker 1: that turn right.

422
00:25:40,960 --> 00:25:43,120
Speaker 2: Well, because because that's the thing with her, you don't

423
00:25:43,119 --> 00:25:47,240
Speaker 2: know where she stands. You never like ditsy, and you

424
00:25:47,320 --> 00:25:50,200
Speaker 2: don't know how much of it is real. It's like, well,

425
00:25:50,240 --> 00:25:51,880
Speaker 2: a lot of it seems to be. She is kind

426
00:25:51,880 --> 00:25:59,120
Speaker 2: of titsy, good heart, but also self aware. Yes, when

427
00:25:59,200 --> 00:26:04,040
Speaker 2: he's presented with things, Yes, she takes it in. Yeah,

428
00:26:04,320 --> 00:26:06,480
Speaker 2: you know, like she knows what's up, but like she

429
00:26:06,560 --> 00:26:08,520
Speaker 2: can sort of live with blinders on for as long

430
00:26:08,520 --> 00:26:14,400
Speaker 2: as a privileged life. Yep, exactly. Speaking of that scene

431
00:26:14,440 --> 00:26:18,399
Speaker 2: they're on the Yellow Brick Road, how did you like,

432
00:26:18,480 --> 00:26:22,040
Speaker 2: you know, the whole movie opens up on them, you know,

433
00:26:22,440 --> 00:26:26,560
Speaker 2: building the yellow Brick Road and having with the animals

434
00:26:27,359 --> 00:26:33,240
Speaker 2: and doing a kick flip back onto the you know,

435
00:26:34,680 --> 00:26:38,120
Speaker 2: but I did like seeing it being built, step.

436
00:26:37,960 --> 00:26:42,400
Speaker 1: The world up, you know, setting the world up here. Okay,

437
00:26:42,960 --> 00:26:46,199
Speaker 1: we're reintroducing her versus just reintroducing her, and like the

438
00:26:46,200 --> 00:26:49,720
Speaker 1: burning which you know, yeah, again, it didn't bother me.

439
00:26:49,880 --> 00:26:53,840
Speaker 1: I like, it didn't. I didn't notice it, right, And

440
00:26:54,000 --> 00:26:56,760
Speaker 1: sometimes in the things that we notice, it's not always good,

441
00:26:56,800 --> 00:26:58,640
Speaker 1: and sometimes the things we don't notice is good.

442
00:26:58,800 --> 00:26:59,879
Speaker 2: Yeah, I didn't know.

443
00:27:00,440 --> 00:27:02,840
Speaker 1: I was like, all right, like the animals can't speak,

444
00:27:02,920 --> 00:27:04,920
Speaker 1: like not everybody knows this musical.

445
00:27:04,560 --> 00:27:14,919
Speaker 2: That well, So we saw the movie last night and

446
00:27:14,920 --> 00:27:16,399
Speaker 2: then a few of us were talking who went to

447
00:27:16,400 --> 00:27:18,520
Speaker 2: go see it? And I don't think they really answer

448
00:27:18,560 --> 00:27:20,840
Speaker 2: it in the movie. And I don't remember them, I

449
00:27:20,840 --> 00:27:22,680
Speaker 2: mean in the stage show. And I don't think they

450
00:27:22,680 --> 00:27:27,119
Speaker 2: answer it in the book. Really, I could be misremembering.

451
00:27:28,200 --> 00:27:33,359
Speaker 2: Why do the animals lose the ability to speak? The

452
00:27:35,240 --> 00:27:35,840
Speaker 2: is that ever?

453
00:27:36,760 --> 00:27:40,720
Speaker 1: It's again, people are gonna be listening to us and

454
00:27:40,760 --> 00:27:43,119
Speaker 1: be like yelling at us because I don't remember. But

455
00:27:44,680 --> 00:27:47,600
Speaker 1: when they're caged, they lose their ability.

456
00:27:48,240 --> 00:27:50,720
Speaker 2: So when they're caged, they lose their ability because they're like.

457
00:27:50,720 --> 00:27:56,000
Speaker 1: Not able to be there, which is why I think

458
00:27:56,040 --> 00:27:58,600
Speaker 1: they brought the cages back in when she sees it

459
00:27:58,640 --> 00:28:03,480
Speaker 1: before the wedding, mm hmmm, because I was like, oh,

460
00:28:03,480 --> 00:28:07,800
Speaker 1: it's the wizard, but the wizard can't he's not magical, right, Yes,

461
00:28:07,880 --> 00:28:09,000
Speaker 1: it's putting them in cages.

462
00:28:09,280 --> 00:28:11,919
Speaker 2: Yeah, they're putting the cages because do.

463
00:28:11,920 --> 00:28:14,080
Speaker 1: You remember the cub, the lion Cub was putting in

464
00:28:14,080 --> 00:28:16,679
Speaker 1: a cage at a very young age, and so he

465
00:28:16,800 --> 00:28:21,119
Speaker 1: was never able to figure it out until she released him.

466
00:28:21,320 --> 00:28:22,040
Speaker 1: He was like to.

467
00:28:22,040 --> 00:28:24,280
Speaker 2: Remove okay, so removing their freedom. So when they don't

468
00:28:24,280 --> 00:28:26,800
Speaker 2: have freedom, they revert back to like sort of being.

469
00:28:26,600 --> 00:28:31,680
Speaker 1: A yeah, yeah, okay. So the other thing that's happening

470
00:28:31,760 --> 00:28:34,320
Speaker 1: is that Nessa Rose has become their father has died,

471
00:28:34,720 --> 00:28:40,200
Speaker 1: and Nessa has become a governor the east. Oh my gosh,

472
00:28:40,560 --> 00:28:43,960
Speaker 1: and Bach and her are still together. Black has come

473
00:28:44,080 --> 00:28:50,320
Speaker 1: becomes some version of a like an undersecretary. He's an

474
00:28:50,360 --> 00:28:59,680
Speaker 1: assistant to rather than a love interest and a romantic partner. Right, yes, that,

475
00:29:01,120 --> 00:29:05,360
Speaker 1: but he has never again like never really wanted to

476
00:29:05,400 --> 00:29:08,080
Speaker 1: be in that position and in love with her and

477
00:29:08,200 --> 00:29:10,600
Speaker 1: kind of got too far down the road.

478
00:29:11,000 --> 00:29:13,320
Speaker 2: And you know what's about this is all these characters

479
00:29:13,360 --> 00:29:18,160
Speaker 2: are messy. Every single character is messy, but.

480
00:29:18,600 --> 00:29:22,200
Speaker 1: Like all have wants and desires and they're clear, and

481
00:29:22,280 --> 00:29:24,840
Speaker 1: like he's going to go back and tell like, you know,

482
00:29:24,880 --> 00:29:29,560
Speaker 1: he's gonna leave Nessa finally and go tell Glinda, call

483
00:29:29,640 --> 00:29:32,320
Speaker 1: off the wedding, tell his whole you know, confess his

484
00:29:32,360 --> 00:29:37,920
Speaker 1: love after all this time. And of course Nessa is

485
00:29:38,000 --> 00:29:41,120
Speaker 1: angry at Alphaba because she didn't come back for the

486
00:29:41,200 --> 00:29:44,640
Speaker 1: father of their father's death. Why would she? Her father

487
00:29:44,760 --> 00:29:50,440
Speaker 1: was terrible to her. But Nasa has become hard and

488
00:29:50,560 --> 00:29:57,960
Speaker 1: so uh. Alphabet visits Nessa and this is where we

489
00:29:58,040 --> 00:30:02,360
Speaker 1: learn about the magical Slipper, the ruby slippers, that is,

490
00:30:02,400 --> 00:30:05,640
Speaker 1: the two wizard of Oz and the.

491
00:30:07,120 --> 00:30:08,160
Speaker 2: That when you interviewed her.

492
00:30:08,800 --> 00:30:13,400
Speaker 5: Yes, we also talked about the shift in and collaboration

493
00:30:13,840 --> 00:30:21,840
Speaker 5: in the story where Nessa walks in the Her dream

494
00:30:21,920 --> 00:30:23,600
Speaker 5: is that why have you not helped me?

495
00:30:23,920 --> 00:30:27,120
Speaker 1: You've helped everybody else, Why have you not helped me?

496
00:30:27,520 --> 00:30:27,680
Speaker 2: Right?

497
00:30:27,920 --> 00:30:32,000
Speaker 1: And Alphaba's fight is I've always helped you, I've done

498
00:30:32,040 --> 00:30:34,840
Speaker 1: everything for you, and it's still never enough.

499
00:30:35,280 --> 00:30:37,400
Speaker 2: Which is like a very real that I thought that

500
00:30:38,000 --> 00:30:43,440
Speaker 2: like Alfaba is straight up just like Alphaba in Wicked

501
00:30:43,560 --> 00:30:46,320
Speaker 2: the musical, I like so much more than the Alphaba

502
00:30:46,400 --> 00:30:49,360
Speaker 2: and the book, by the way I think how they

503
00:30:49,400 --> 00:30:52,440
Speaker 2: adapted her into I think she's such like a wonderful

504
00:30:52,560 --> 00:30:56,360
Speaker 2: character and is good and is doing so much good

505
00:30:56,520 --> 00:31:01,880
Speaker 2: and clearly everything is just being villainized where like everyone

506
00:31:01,920 --> 00:31:05,200
Speaker 2: around her no good deed is taking advantage of her,

507
00:31:05,360 --> 00:31:06,560
Speaker 2: and like Nessa.

508
00:31:06,560 --> 00:31:08,960
Speaker 1: Oh my gosh, at every turn it is.

509
00:31:08,920 --> 00:31:14,080
Speaker 2: Never enough, and it's like I also like that like

510
00:31:14,320 --> 00:31:16,280
Speaker 2: Nessa is a complicated mess, like.

511
00:31:16,400 --> 00:31:20,200
Speaker 1: Yes, another complicated female character in this and like not.

512
00:31:20,400 --> 00:31:23,960
Speaker 2: Likable and nice. So when you were talking to her

513
00:31:24,080 --> 00:31:27,200
Speaker 2: about obviously like the choice to change, it to her

514
00:31:27,400 --> 00:31:29,360
Speaker 2: floating like she was in the dance floor with box.

515
00:31:29,480 --> 00:31:32,320
Speaker 1: So there was a lot of feedback that Marissa said

516
00:31:32,960 --> 00:31:37,880
Speaker 1: from the disabled community about that moment where Nasa walks yeah, right,

517
00:31:38,040 --> 00:31:41,120
Speaker 1: or her has the desire to be fixed yep. And

518
00:31:41,200 --> 00:31:45,000
Speaker 1: so the collaborative thing was I think she had said

519
00:31:45,000 --> 00:31:47,240
Speaker 1: that Winnie came back and had wanted to make it

520
00:31:47,320 --> 00:31:50,600
Speaker 1: right in this and having a second chance, right, like

521
00:31:50,640 --> 00:31:56,040
Speaker 1: not everybody gets that to make things right. So in

522
00:31:56,080 --> 00:31:59,800
Speaker 1: the film, she alpha the spell that from the grimmery

523
00:31:59,880 --> 00:32:05,640
Speaker 1: she casts on Nassa. It focuses they made the choice

524
00:32:05,640 --> 00:32:08,240
Speaker 1: instead of walking to have Nessa fly in the air.

525
00:32:08,920 --> 00:32:11,120
Speaker 1: And I didn't see the trailer, so I watched this

526
00:32:11,160 --> 00:32:12,800
Speaker 1: for the first time in the movie and I thought

527
00:32:12,800 --> 00:32:15,480
Speaker 1: it was wonderful and it was it's focusing the shift

528
00:32:15,520 --> 00:32:19,160
Speaker 1: away from fixing the disability toward the emotional experience of

529
00:32:19,200 --> 00:32:25,200
Speaker 1: the magic itself, which then ironically is actually not the

530
00:32:25,320 --> 00:32:28,840
Speaker 1: thing that's going to fix NASA's deep rooted wounds and

531
00:32:29,120 --> 00:32:29,880
Speaker 1: you know issues.

532
00:32:29,960 --> 00:32:32,480
Speaker 2: Well that was my question about. So it's like she

533
00:32:32,560 --> 00:32:37,000
Speaker 2: floats temporarily, yeah, and then comes back down, like why

534
00:32:37,040 --> 00:32:40,320
Speaker 2: didn't the spell last? Or like why isn't she able

535
00:32:40,360 --> 00:32:44,440
Speaker 2: to then float whenever she wants after that, they obviously

536
00:32:44,480 --> 00:32:46,640
Speaker 2: need her not to be floating when that house comes

537
00:32:46,640 --> 00:32:47,080
Speaker 2: down on her.

538
00:32:48,880 --> 00:32:50,840
Speaker 1: Yeah, well, I think I think it was still very

539
00:32:50,880 --> 00:32:53,680
Speaker 1: early in her learnings of the Grimmery, and like I

540
00:32:53,720 --> 00:32:56,320
Speaker 1: think that spell was a temporary spell, Like I don't

541
00:32:56,320 --> 00:32:58,240
Speaker 1: think she was. And again, like I think it was

542
00:32:58,280 --> 00:33:01,920
Speaker 1: also not fixing or cha right, we're not changing things.

543
00:33:01,960 --> 00:33:05,680
Speaker 1: We are giving her a moment to allow Alpha Butt

544
00:33:05,720 --> 00:33:08,800
Speaker 1: to show that she's trying and she's offering something yes,

545
00:33:08,840 --> 00:33:11,480
Speaker 1: and Nasa saying, okay, I've done it. And yet it's

546
00:33:11,480 --> 00:33:15,480
Speaker 1: still now Bach is still leaving. He doesn't need me,

547
00:33:15,760 --> 00:33:15,960
Speaker 1: you know.

548
00:33:16,200 --> 00:33:18,320
Speaker 2: And the whole is she is her perspective or for

549
00:33:18,480 --> 00:33:21,080
Speaker 2: understanding or her perception of the world around her more

550
00:33:21,360 --> 00:33:25,640
Speaker 2: as opposed to you know, now that she is floating.

551
00:33:26,080 --> 00:33:28,160
Speaker 2: She can have all things and want all things. Like no,

552
00:33:28,240 --> 00:33:30,760
Speaker 2: box still has the same wants and desires you just

553
00:33:30,960 --> 00:33:33,480
Speaker 2: right are now seeing them clearly for the first time.

554
00:33:33,720 --> 00:33:35,680
Speaker 2: And she literally comes back to.

555
00:33:35,640 --> 00:33:38,040
Speaker 1: Earth when he's saying that when he's saying I'm going

556
00:33:38,120 --> 00:33:39,280
Speaker 1: to leave now that you don't need me.

557
00:33:39,680 --> 00:33:42,320
Speaker 2: That's why you can't put all your hopes and desires

558
00:33:42,360 --> 00:33:44,360
Speaker 2: in someone else, I know, especially a man.

559
00:33:44,760 --> 00:33:49,760
Speaker 1: Awesome, you know it. Also, this was added into the

560
00:33:49,840 --> 00:33:52,600
Speaker 1: film as well of she's saying I will see you

561
00:33:52,640 --> 00:33:58,240
Speaker 1: again basically and restricting the Munchkin's travel, you know, ability

562
00:33:58,280 --> 00:34:00,120
Speaker 1: to get out of the out of Munchkin Lane and

563
00:34:00,640 --> 00:34:03,720
Speaker 1: not much for the l munchkin Land.

564
00:34:03,240 --> 00:34:06,840
Speaker 2: And then because she says all this with a smile.

565
00:34:07,160 --> 00:34:11,040
Speaker 1: Yeah, she's like, well, you know, and and so we've

566
00:34:11,080 --> 00:34:15,000
Speaker 1: never seen that before because in the movie, you know,

567
00:34:15,040 --> 00:34:19,240
Speaker 1: he turns into the tin Man in that same scene.

568
00:34:19,280 --> 00:34:22,080
Speaker 1: I think, yeah, they go find the mirror and the

569
00:34:22,080 --> 00:34:23,319
Speaker 1: whole thing, and then he comes out and he uses

570
00:34:23,320 --> 00:34:26,840
Speaker 1: the tin Man. So this was added. I'd imagine it

571
00:34:26,920 --> 00:34:32,319
Speaker 1: was from the book, but I again, it was like

572
00:34:32,520 --> 00:34:36,160
Speaker 1: more I appreciated that, like.

573
00:34:35,880 --> 00:34:39,080
Speaker 2: Evil, Oh yeah, she becomes like a tyrant.

574
00:34:38,960 --> 00:34:43,319
Speaker 6: Yeah, yeah, anyway, I love And then of course they

575
00:34:43,400 --> 00:34:50,120
Speaker 6: use her when Glinda gets revealed to Madame Marble and

576
00:34:50,360 --> 00:34:51,640
Speaker 6: the Wizard that.

577
00:34:52,320 --> 00:34:55,799
Speaker 1: Her sister's her weakness, they use that against her to

578
00:34:55,960 --> 00:34:58,960
Speaker 1: bring her back to to capture her, which.

579
00:34:58,800 --> 00:35:02,160
Speaker 2: I thought was really beautiful job on Ariana's part.

580
00:35:02,920 --> 00:35:05,960
Speaker 1: Again, another moment of like she's going to make that

581
00:35:06,040 --> 00:35:07,880
Speaker 1: decision because she's hurt, right, it.

582
00:35:07,760 --> 00:35:13,360
Speaker 2: Was like, yes, but it was not even her intention

583
00:35:13,520 --> 00:35:17,279
Speaker 2: was to start a rumor Madam Marvel's attention, I mean

584
00:35:17,400 --> 00:35:23,880
Speaker 2: intention was to murder like very different things. And leaving

585
00:35:23,960 --> 00:35:29,000
Speaker 2: that that shot of just leaving it an Ariana for

586
00:35:29,040 --> 00:35:33,640
Speaker 2: a long time in her accepting what was going on

587
00:35:33,719 --> 00:35:39,920
Speaker 2: in the world, her world came crashing down like tears

588
00:35:40,280 --> 00:35:45,200
Speaker 2: to tears trying to just saying that little thing. I

589
00:35:45,200 --> 00:35:47,680
Speaker 2: thought was one of the most most like beautiful cinematic

590
00:35:47,719 --> 00:35:51,960
Speaker 2: parts of the movie. Yeah, I wish, I honestly wish

591
00:35:51,960 --> 00:35:54,959
Speaker 2: there were more of those moments, Like I really loved

592
00:35:54,960 --> 00:35:57,200
Speaker 2: how that was shot. I loved how it was staged

593
00:35:57,560 --> 00:36:01,680
Speaker 2: and blocked, Like I wish there was Well, you have

594
00:36:01,719 --> 00:36:03,480
Speaker 2: a couple of those. There's a couple of Jeff Global

595
00:36:03,600 --> 00:36:06,640
Speaker 2: moments like that, And speaking of let's talk about Jeff

596
00:36:06,640 --> 00:36:11,240
Speaker 2: Global and Michelle Yo. Okay, Michelle Yo is an incredible actor.

597
00:36:12,400 --> 00:36:17,000
Speaker 2: Michelle Yo has said herself she's not a single. That's

598
00:36:17,040 --> 00:36:21,239
Speaker 2: not why she's in this however, And I know they

599
00:36:21,239 --> 00:36:23,800
Speaker 2: called and begged her to do this. I just think

600
00:36:25,640 --> 00:36:28,319
Speaker 2: I let me. Also, I think that a really big

601
00:36:28,360 --> 00:36:31,799
Speaker 2: part of this is I do think she had a

602
00:36:31,840 --> 00:36:38,239
Speaker 2: really hard job because a lot of her dialogue is

603
00:36:38,280 --> 00:36:42,000
Speaker 2: her running into a scene saying something out of nowhere,

604
00:36:42,080 --> 00:36:46,200
Speaker 2: like it's the Wicked Witch or like get her. I

605
00:36:46,239 --> 00:36:48,640
Speaker 2: would say, like three out of four times that's what

606
00:36:48,680 --> 00:36:51,759
Speaker 2: she's saying, you know what I mean. Like it's hard

607
00:36:51,800 --> 00:36:55,400
Speaker 2: to just like interject yeah the one one liners and

608
00:36:55,440 --> 00:36:56,000
Speaker 2: say something.

609
00:36:56,280 --> 00:36:59,640
Speaker 1: But she's an important character, like she drives. She is

610
00:36:59,680 --> 00:37:01,600
Speaker 1: actually the bad guy behind the bad guy.

611
00:37:01,719 --> 00:37:03,040
Speaker 2: And it doesn't feel like it.

612
00:37:03,680 --> 00:37:09,919
Speaker 1: I know, there's like a loss of like I respectfully

613
00:37:10,600 --> 00:37:12,560
Speaker 1: m hm, I feel like she didn't.

614
00:37:12,840 --> 00:37:16,560
Speaker 2: It feels like she didn't know what world she was in. Mmm.

615
00:37:17,640 --> 00:37:20,360
Speaker 2: Everybody else did. And I think that's why it sticks out.

616
00:37:21,320 --> 00:37:24,520
Speaker 2: Everybody else is so in it. And like I love

617
00:37:24,600 --> 00:37:27,000
Speaker 2: just to watch Michelle Yo, like let me just but

618
00:37:27,320 --> 00:37:30,720
Speaker 2: the use of like she's now the minister at the wedding.

619
00:37:31,520 --> 00:37:36,560
Speaker 2: She's now the press secretary for Oz. She's here. Also,

620
00:37:36,880 --> 00:37:41,200
Speaker 2: she's also the most one dimensional character in the in

621
00:37:41,239 --> 00:37:44,400
Speaker 2: the entire story, and like the most she is the

622
00:37:44,480 --> 00:37:45,640
Speaker 2: most school.

623
00:37:45,800 --> 00:37:48,160
Speaker 1: And no, that's what I'm saying. Though there's not there's

624
00:37:48,160 --> 00:37:51,240
Speaker 1: not a ton of layer or give in that space

625
00:37:51,360 --> 00:37:56,920
Speaker 1: or written that she can grasp onto to create something

626
00:37:57,000 --> 00:37:59,400
Speaker 1: that makes her likable even as a character.

627
00:37:59,680 --> 00:38:05,160
Speaker 2: Right, Like you know what I mean, Like it felt

628
00:38:05,200 --> 00:38:11,200
Speaker 2: like it was a lack of choices, but I do

629
00:38:11,239 --> 00:38:14,360
Speaker 2: think like it was. That being said, I think the

630
00:38:14,400 --> 00:38:16,319
Speaker 2: caveat is I think it's a really hard position to

631
00:38:16,360 --> 00:38:20,040
Speaker 2: be in. Yeah, for sure, But I also think, like,

632
00:38:20,120 --> 00:38:24,640
Speaker 2: if you are hiring a non singer and a musical

633
00:38:24,960 --> 00:38:31,440
Speaker 2: with some of the world's greatest singers, maybe don't.

634
00:38:33,120 --> 00:38:36,120
Speaker 1: Oh my god, oh my god, what did you think

635
00:38:36,160 --> 00:38:39,719
Speaker 1: about Jeff Goblum wonderful?

636
00:38:39,880 --> 00:38:41,520
Speaker 2: Oh god, that wasn't even intentional.

637
00:38:42,719 --> 00:38:46,839
Speaker 1: Ha, Yeah, he's Look, I think the Wizard is one

638
00:38:46,880 --> 00:38:49,319
Speaker 1: of my least favorite characters in the film. Yeah, and

639
00:38:49,360 --> 00:38:53,200
Speaker 1: in the musical, right, the songs are they weren't aren't

640
00:38:53,200 --> 00:38:55,960
Speaker 1: as strong. You know, we love Djoel Gray, but like

641
00:38:56,120 --> 00:38:59,759
Speaker 1: the songs are just not strong, and so I'm like, mah,

642
00:39:00,000 --> 00:39:01,480
Speaker 1: I think I'm doing him.

643
00:39:01,800 --> 00:39:03,759
Speaker 2: Usually male songs like that are sort of like the

644
00:39:03,840 --> 00:39:04,560
Speaker 2: throwaway once.

645
00:39:04,760 --> 00:39:07,279
Speaker 1: But Jeff Goldlum is a very likable person, and I

646
00:39:07,400 --> 00:39:11,600
Speaker 1: really I appreciated the pizazz that he brought to the

647
00:39:11,640 --> 00:39:16,400
Speaker 1: Wizard was amazing. Yes, it was right right, And and

648
00:39:18,040 --> 00:39:23,640
Speaker 1: adding in Ariana into his song you know the Wonderful

649
00:39:23,920 --> 00:39:25,719
Speaker 1: was interesting because that's not the way it is on

650
00:39:25,840 --> 00:39:28,720
Speaker 1: the in the musical, and honestly make it more interesting.

651
00:39:28,840 --> 00:39:30,800
Speaker 1: So like, let's bring arian in there. Let's make it

652
00:39:31,000 --> 00:39:36,239
Speaker 1: uh spectacle right, because otherwise it's not you know, like

653
00:39:36,360 --> 00:39:39,720
Speaker 1: it just doesn't he snooze fast.

654
00:39:39,680 --> 00:39:42,640
Speaker 2: When he to me when he comes in in this movie,

655
00:39:43,080 --> 00:39:47,640
Speaker 2: to me, it is like almost like a sigh of relief,

656
00:39:49,239 --> 00:39:55,239
Speaker 2: of like, because his character is also really hard and complicated. Yes, yes,

657
00:39:56,520 --> 00:40:02,120
Speaker 2: but he understands nuance. Yes. In every single scene, there

658
00:40:02,200 --> 00:40:05,080
Speaker 2: was so much thought going on behind his eyes, and

659
00:40:05,160 --> 00:40:07,960
Speaker 2: he's understanding what these girls are saying to each other,

660
00:40:08,360 --> 00:40:10,759
Speaker 2: what the situation is. And I didn't realize you're not

661
00:40:10,800 --> 00:40:13,600
Speaker 2: thinking of that when you're watching a movie necessarily, But

662
00:40:13,640 --> 00:40:15,520
Speaker 2: as soon as he came on screen, I was like, oh,

663
00:40:15,600 --> 00:40:17,359
Speaker 2: I now understand the world in a different way.

664
00:40:17,920 --> 00:40:18,120
Speaker 1: Yeah.

665
00:40:18,320 --> 00:40:21,440
Speaker 2: Yeah, the Wizard, he doesn't get to that position if

666
00:40:21,480 --> 00:40:25,640
Speaker 2: he's not a master of manipulation, right, And yes he

667
00:40:25,840 --> 00:40:29,800
Speaker 2: is like the best con man. Yeah, and creepy and

668
00:40:30,000 --> 00:40:33,040
Speaker 2: like I don't know, and yet still charming. And I

669
00:40:33,080 --> 00:40:36,120
Speaker 2: thought Wonderful was one of the best shot numbers in

670
00:40:36,200 --> 00:40:41,560
Speaker 2: the movie. I thought it was beautifully staged. I liked

671
00:40:41,719 --> 00:40:44,800
Speaker 2: the technicolor aspect of it. There were some beautiful like

672
00:40:44,960 --> 00:40:48,680
Speaker 2: odes and references to the Wizard of Oz movie. Yes

673
00:40:48,960 --> 00:40:55,000
Speaker 2: that I really liked it'ds yeah, I just I honestly

674
00:40:55,040 --> 00:40:57,160
Speaker 2: wanted more. When that song started, I was like, ugh,

675
00:40:57,880 --> 00:40:59,759
Speaker 2: here we go, and then I never wanted it to end.

676
00:41:00,440 --> 00:41:03,239
Speaker 1: No, I think they did. They did the best they

677
00:41:03,280 --> 00:41:05,800
Speaker 1: could with that number, and it's the best version that

678
00:41:05,880 --> 00:41:06,800
Speaker 1: it could possibly be.

679
00:41:06,960 --> 00:41:08,560
Speaker 2: And I think one of the best numbers in this

680
00:41:08,719 --> 00:41:14,960
Speaker 2: entire movie. Wow, I really might be third tru Wow,

681
00:41:15,520 --> 00:41:18,640
Speaker 2: I disagree, but I thought it was exact because I

682
00:41:18,680 --> 00:41:20,120
Speaker 2: also thought they were all really good in it.

683
00:41:20,360 --> 00:41:22,640
Speaker 1: But yeah, no, for sure, for sure, still not my

684
00:41:22,840 --> 00:41:27,799
Speaker 1: favorite number. But I appreciate you you're saying, yeah, yeah,

685
00:41:28,000 --> 00:41:29,600
Speaker 1: but well done, well done.

686
00:41:30,000 --> 00:41:34,279
Speaker 2: Yeah. Watching it visually, I was like this is what

687
00:41:34,400 --> 00:41:37,440
Speaker 2: I what I didn't love. Like the first thing you

688
00:41:37,560 --> 00:41:40,480
Speaker 2: hear Albus say in this movie basically is like she

689
00:41:40,640 --> 00:41:46,480
Speaker 2: gets into like the Emerald City with the Wizard and

690
00:41:46,600 --> 00:41:51,800
Speaker 2: says it's over. You're like, didn't we just see you

691
00:41:51,840 --> 00:41:53,640
Speaker 2: flying on your broom saying I'm going to take them down?

692
00:41:53,719 --> 00:41:57,160
Speaker 2: Like you didn't do anything yet other than like disrupt

693
00:41:58,200 --> 00:42:01,520
Speaker 2: some of this like yellow brick road being built, but

694
00:42:01,600 --> 00:42:05,040
Speaker 2: it still got built. It's finished. There's been a ceremony. Yeah,

695
00:42:05,640 --> 00:42:10,120
Speaker 2: And like my issue with that was like she turned

696
00:42:10,280 --> 00:42:13,319
Speaker 2: so quickly, it was like it's over and like, oh,

697
00:42:13,400 --> 00:42:15,560
Speaker 2: but we're going to sing a little ditty and she

698
00:42:15,680 --> 00:42:18,640
Speaker 2: gets convinced like really quickly, where it's like the alphabet

699
00:42:18,680 --> 00:42:23,719
Speaker 2: I know, right is like stronger than that. H And

700
00:42:24,400 --> 00:42:27,799
Speaker 2: that was my only issue that was like a little

701
00:42:27,840 --> 00:42:31,600
Speaker 2: story issue with me. I don't know, I don't know

702
00:42:31,640 --> 00:42:33,080
Speaker 2: if the story issue. I don't know if that's like

703
00:42:33,160 --> 00:42:35,799
Speaker 2: a I'm not sure who's in charge of that, like.

704
00:42:35,880 --> 00:42:40,000
Speaker 1: A character issue or like in the writing or whatever.

705
00:42:40,360 --> 00:42:44,279
Speaker 2: Right. Yeah. What I also liked having arian It in

706
00:42:44,360 --> 00:42:50,040
Speaker 2: that or having Glinda in that scene is Glinda is

707
00:42:50,280 --> 00:42:53,680
Speaker 2: like the Wishard of Oz where she doesn't possess any power,

708
00:42:53,719 --> 00:42:56,360
Speaker 2: but she's influential and can get people to do what

709
00:42:56,440 --> 00:42:58,839
Speaker 2: she wants me to use.

710
00:42:58,800 --> 00:43:02,799
Speaker 1: It for the right, We're good. That's the bubble. It's

711
00:43:02,880 --> 00:43:06,000
Speaker 1: like Madam Moriles Marvel saying this will distract from the

712
00:43:06,080 --> 00:43:07,360
Speaker 1: fact that you don't have any power.

713
00:43:07,920 --> 00:43:11,120
Speaker 2: Can we talk about the ending, because I feel like

714
00:43:11,160 --> 00:43:14,399
Speaker 2: it's a really big change? What do you mean which

715
00:43:14,480 --> 00:43:17,839
Speaker 2: part in the stage show? Correct me if I'm wrong

716
00:43:21,560 --> 00:43:26,560
Speaker 2: Glinda's We leave Glinda sort of like accepting her consequences,

717
00:43:26,640 --> 00:43:29,640
Speaker 2: the consequences of her actions. We don't know what's really

718
00:43:29,680 --> 00:43:32,319
Speaker 2: going to happen. She realizes she's messed up a lot.

719
00:43:33,680 --> 00:43:39,239
Speaker 2: She doesn't get like a happy ending really right now.

720
00:43:39,360 --> 00:43:43,600
Speaker 2: I feel like in the movie she gets everything, she

721
00:43:44,200 --> 00:43:48,359
Speaker 2: becomes the person of power. She gets Madam Marbles swept away,

722
00:43:48,520 --> 00:43:50,600
Speaker 2: she gets like all within one failed sweep. It's all

723
00:43:50,640 --> 00:43:51,320
Speaker 2: like really easy.

724
00:43:51,840 --> 00:43:54,479
Speaker 1: I mean, Marvel goes away. In the musical, she tells

725
00:43:54,520 --> 00:43:57,040
Speaker 1: her I don't think you have what it takes, and

726
00:43:57,200 --> 00:44:00,640
Speaker 1: she leaves. The wizard leaves she does she get the

727
00:44:00,680 --> 00:44:04,880
Speaker 1: grimy yes in the end of the musical or in

728
00:44:05,000 --> 00:44:07,720
Speaker 1: the beginning of the musical, is the end of the musical.

729
00:44:08,200 --> 00:44:10,760
Speaker 1: So when she comes by Bubble, she's holding the Grimmery,

730
00:44:11,239 --> 00:44:14,600
Speaker 1: so she does get the grimmory in the yes, but

731
00:44:14,719 --> 00:44:16,280
Speaker 1: it doesn't open and she doesn't get.

732
00:44:16,239 --> 00:44:19,120
Speaker 7: Like, no, we don't see the magic, like we don't

733
00:44:19,160 --> 00:44:23,480
Speaker 7: see her like you know, like the whole thing, you know,

734
00:44:23,560 --> 00:44:27,040
Speaker 7: with the grimmory lighting up and looking over oz right, bring.

735
00:44:27,120 --> 00:44:31,480
Speaker 2: The animals back, right, well the animals are.

736
00:44:34,200 --> 00:44:38,040
Speaker 1: Yes. I think what you're saying, well, there's a part.

737
00:44:38,239 --> 00:44:45,640
Speaker 2: That's why negates the whole moral of the story, where

738
00:44:45,840 --> 00:44:51,480
Speaker 2: these are complicated people and they don't actually have I.

739
00:44:51,480 --> 00:44:54,600
Speaker 1: Think this was a universal choice of like we're opening

740
00:44:54,640 --> 00:44:56,480
Speaker 1: the world and it's keep going and you better keep

741
00:44:56,520 --> 00:44:58,520
Speaker 1: it open, because what.

742
00:44:58,640 --> 00:45:03,279
Speaker 2: I longed for was that, like, it doesn't all completely

743
00:45:03,400 --> 00:45:07,440
Speaker 2: work out for Glinda because Alphaba still has to run

744
00:45:07,480 --> 00:45:11,360
Speaker 2: off to the unknown sands of time right right, and

745
00:45:11,520 --> 00:45:15,320
Speaker 2: then and then Glinda literally gets everything, gets the credit

746
00:45:15,360 --> 00:45:17,520
Speaker 2: for the animals, gets the credit for it, Like, but

747
00:45:17,640 --> 00:45:18,680
Speaker 2: what has she actually done?

748
00:45:19,160 --> 00:45:21,200
Speaker 1: Yeah, but you know for sure, but then in those

749
00:45:21,239 --> 00:45:23,880
Speaker 1: are laws to it for that that argument is like

750
00:45:23,960 --> 00:45:26,920
Speaker 1: she is Glinda the good we don't know any of that, Like,

751
00:45:27,080 --> 00:45:29,320
Speaker 1: and I see what you're saying, Maybe my argument is

752
00:45:29,520 --> 00:45:30,280
Speaker 1: Nolan Boyd.

753
00:45:30,120 --> 00:45:32,960
Speaker 2: But like I already made her Glinda the good because

754
00:45:33,360 --> 00:45:37,040
Speaker 2: just as they made Alphaba the Wicked Witch when she wasn't,

755
00:45:37,320 --> 00:45:40,640
Speaker 2: they also did propaganda for making Glinda the good without

756
00:45:41,040 --> 00:45:42,280
Speaker 2: having actually done anything.

757
00:45:42,840 --> 00:45:45,120
Speaker 1: Right, I think the grimmery opening and her with the

758
00:45:45,239 --> 00:45:49,520
Speaker 1: animals did open the world to her actually getting more

759
00:45:49,560 --> 00:45:51,360
Speaker 1: than what we had hoped for. Like in the musical

760
00:45:51,400 --> 00:45:56,760
Speaker 1: where it's kind of uh vague, right, like she's singing

761
00:45:56,960 --> 00:45:59,239
Speaker 1: and she's she's happy in front of them, but she's

762
00:45:59,320 --> 00:46:01,239
Speaker 1: crying in the right like you know what I mean,

763
00:46:01,320 --> 00:46:03,399
Speaker 1: and we don't know. So I think that's fair. Yeah,

764
00:46:03,480 --> 00:46:05,520
Speaker 1: I didn't. I didn't think about it that way. But

765
00:46:06,120 --> 00:46:09,040
Speaker 1: I don't think I walked away going like, oh, she

766
00:46:09,160 --> 00:46:14,319
Speaker 1: got everything she wanted, because that moment where they're at

767
00:46:14,400 --> 00:46:20,200
Speaker 1: the door right, actually isn't her getting everything she wanted.

768
00:46:20,440 --> 00:46:24,360
Speaker 2: No, I guess I guess what I mean is publicly

769
00:46:24,440 --> 00:46:28,239
Speaker 2: she's getting everything she wanted. Personally, yes, she loses, she

770
00:46:28,400 --> 00:46:29,960
Speaker 2: loses the closest person to her.

771
00:46:30,640 --> 00:46:32,879
Speaker 1: I think from the musical point of view, I don't

772
00:46:32,960 --> 00:46:35,920
Speaker 1: think that I thought that she didn't get everything she

773
00:46:36,000 --> 00:46:43,320
Speaker 1: wanted because publicly, yeah, and privately, still the same story lands,

774
00:46:43,440 --> 00:46:46,400
Speaker 1: like she's still getting the recognition she still is the

775
00:46:46,480 --> 00:46:49,400
Speaker 1: good person. Yeah, she has to confront the fact that

776
00:46:50,080 --> 00:46:52,320
Speaker 1: they were friends at some point, right, and people know

777
00:46:52,440 --> 00:46:55,400
Speaker 1: that about her, But even from the beginning of act too,

778
00:46:55,760 --> 00:46:59,160
Speaker 1: like she's still the one that they look to that

779
00:46:59,400 --> 00:47:02,640
Speaker 1: she's you know what I mean, she's she's getting on

780
00:47:02,719 --> 00:47:03,960
Speaker 1: the outside everything she wanted.

781
00:47:04,480 --> 00:47:08,640
Speaker 2: I guess the thing is like the stage musical left

782
00:47:08,719 --> 00:47:10,920
Speaker 2: more of a question mark to me at the end

783
00:47:11,600 --> 00:47:14,239
Speaker 2: of like where she was where, Like she's doing some

784
00:47:14,400 --> 00:47:19,920
Speaker 2: deep reflection about like the journey that has happened. And

785
00:47:19,960 --> 00:47:22,360
Speaker 2: I'm not saying that's not happening in this but like

786
00:47:22,640 --> 00:47:25,200
Speaker 2: every loose end is like sort of neatly tied up

787
00:47:25,239 --> 00:47:25,600
Speaker 2: in a bow.

788
00:47:26,040 --> 00:47:27,440
Speaker 1: Yes, I understand, as opposed to.

789
00:47:27,480 --> 00:47:31,720
Speaker 2: Like leaving some open questions of like Glinda now doesn't

790
00:47:31,719 --> 00:47:36,880
Speaker 2: suffer the consequence of being complicit in like discrimination against

791
00:47:36,880 --> 00:47:39,680
Speaker 2: the animals that she's been for the entirety of two movies.

792
00:47:40,239 --> 00:47:46,040
Speaker 2: She's complicit and Deessa dying like she's complicit in all

793
00:47:46,080 --> 00:47:49,200
Speaker 2: of these things with a tyrannical sort of government, you know,

794
00:47:49,400 --> 00:47:52,120
Speaker 2: like what's going on and all of a sudden, like

795
00:47:52,960 --> 00:47:54,000
Speaker 2: Slate is wiped clean.

796
00:47:54,560 --> 00:47:57,240
Speaker 1: Yeah no, no's in the stage musical.

797
00:47:57,320 --> 00:48:01,359
Speaker 2: But it's like that extra step that happens in the movie. Yeah,

798
00:48:01,440 --> 00:48:03,520
Speaker 2: it's like, well, yeah, what what are we learning here?

799
00:48:11,200 --> 00:48:13,680
Speaker 1: Okay, so let's create some performances, like, let's do some

800
00:48:13,760 --> 00:48:17,880
Speaker 1: of the highlights. So thank goodness A plus. What were

801
00:48:17,920 --> 00:48:18,840
Speaker 1: some of your favorites?

802
00:48:20,200 --> 00:48:21,399
Speaker 2: Wonderful? A plus plus?

803
00:48:21,600 --> 00:48:23,000
Speaker 1: Okay, okay, as long as your mind.

804
00:48:23,040 --> 00:48:23,600
Speaker 2: I did love.

805
00:48:23,880 --> 00:48:26,800
Speaker 1: I know that people aren't loving that as much, but

806
00:48:27,360 --> 00:48:27,839
Speaker 1: I don't care.

807
00:48:28,160 --> 00:48:32,320
Speaker 2: As long as your mind Alphaba and Piero. Yeah, and

808
00:48:32,640 --> 00:48:37,920
Speaker 2: you know, look, I think Jonathan Bailey acted of it.

809
00:48:38,120 --> 00:48:41,360
Speaker 2: I think nobody should have to sing against Cynthia, like

810
00:48:41,480 --> 00:48:44,600
Speaker 2: that's not fair. But I also think that they're really

811
00:48:44,640 --> 00:48:46,840
Speaker 2: good together. He has chemistry with the wall, you know

812
00:48:46,880 --> 00:48:50,040
Speaker 2: what I mean, Like he's he's very good though too,

813
00:48:50,320 --> 00:48:52,600
Speaker 2: he's no, no, no, he's also get rid of the context?

814
00:48:52,719 --> 00:48:54,080
Speaker 2: Can we get rid of the blue contexts?

815
00:48:55,120 --> 00:48:56,960
Speaker 1: I know it was a thing. It was a thing.

816
00:48:58,320 --> 00:49:03,719
Speaker 4: No good deed, incredible, no good day. It's giving them Agatha,

817
00:49:03,800 --> 00:49:08,320
Speaker 4: which yes, I wanted that number to be twenty minutes longer,

818
00:49:08,960 --> 00:49:10,719
Speaker 4: you know, for sure, I mean i'd pay twenty five

819
00:49:10,760 --> 00:49:15,439
Speaker 4: dollars for that. I obviously for Good and the door

820
00:49:16,239 --> 00:49:19,440
Speaker 4: and the number and that whole scene and the whole.

821
00:49:19,320 --> 00:49:23,560
Speaker 1: Culination of it was just really beautiful and just really raw,

822
00:49:23,800 --> 00:49:26,600
Speaker 1: and I everybody's looking forward to that, and they really

823
00:49:26,680 --> 00:49:27,880
Speaker 1: did it justice. Period.

824
00:49:30,440 --> 00:49:34,360
Speaker 2: Is that in the Stage Show before for Good, Alphabet

825
00:49:34,680 --> 00:49:38,560
Speaker 2: doesn't Alphabet say like you're never gonna see me again

826
00:49:39,719 --> 00:49:41,160
Speaker 2: or something like that, like this is the last time

827
00:49:41,200 --> 00:49:45,800
Speaker 2: you seeing me or something like that, and she doesn't

828
00:49:45,880 --> 00:49:49,520
Speaker 2: say that in this and like, interesting, I feel like

829
00:49:49,640 --> 00:49:51,520
Speaker 2: then the stakes of that song are a little different.

830
00:49:52,840 --> 00:49:55,920
Speaker 2: Granted it's incredible in the movie, but I feel like

831
00:49:56,040 --> 00:49:58,000
Speaker 2: you need that, like this is the last thing they're

832
00:49:58,040 --> 00:50:01,080
Speaker 2: ever saying to each other. I did also love the

833
00:50:01,160 --> 00:50:03,520
Speaker 2: you know, the comedy bit from the Stage Show, which

834
00:50:03,520 --> 00:50:07,120
Speaker 2: is also in here a bit of Dorothy just being

835
00:50:07,160 --> 00:50:09,160
Speaker 2: down in the cellar while they're having this whole beautiful

836
00:50:12,600 --> 00:50:16,200
Speaker 2: and that shot of them and like the closet together, yeah,

837
00:50:17,040 --> 00:50:18,600
Speaker 2: or on either side of the door in the closet

838
00:50:19,640 --> 00:50:24,040
Speaker 2: was apparently improv where like he just left the camera

839
00:50:24,160 --> 00:50:27,800
Speaker 2: rolling and they just did that, and it's probably the

840
00:50:27,880 --> 00:50:30,959
Speaker 2: most moving important shot in the entire movie.

841
00:50:31,440 --> 00:50:35,520
Speaker 1: Oh truly, it was really very very powerful Okay, TARTI

842
00:50:35,560 --> 00:50:43,320
Speaker 1: takes not really, I don't think so. No dance dance

843
00:50:43,400 --> 00:50:49,200
Speaker 1: move honestly, all of wonderful, wonderful. Yeah, totally. Best song

844
00:50:52,200 --> 00:50:57,600
Speaker 1: performance by Prop the Grimmery obviously, and Glinda's lingerie.

845
00:51:00,320 --> 00:51:05,280
Speaker 2: Nit holy sweater, I mean, I mean, I like boxes

846
00:51:05,360 --> 00:51:10,560
Speaker 2: acts was pretty cool. Glenda's wand was really great. Okay, uh,

847
00:51:12,120 --> 00:51:15,600
Speaker 2: best line not all of us can come and go

848
00:51:15,680 --> 00:51:16,960
Speaker 2: by bubble, yes.

849
00:51:19,239 --> 00:51:23,759
Speaker 1: Foreman's MVP, I mean the ladies. And then also and

850
00:51:24,320 --> 00:51:26,520
Speaker 1: then also honorable mention to Jonathan Bailey.

851
00:51:26,520 --> 00:51:32,080
Speaker 2: And Jeff Goldblum. Yes, I thought, Cynthia and Arianna, we're

852
00:51:32,239 --> 00:51:37,040
Speaker 2: very good, very very good. And I think it's Cynthia's

853
00:51:37,080 --> 00:51:39,000
Speaker 2: best acting performance today.

854
00:51:39,040 --> 00:51:40,200
Speaker 1: Excellent, truly.

855
00:51:41,000 --> 00:51:44,960
Speaker 2: We found on TikTok the gay chemistry between a gay

856
00:51:45,000 --> 00:51:47,680
Speaker 2: man and a lesbian woman is giving smooth criminal from Lee.

857
00:51:47,719 --> 00:51:50,680
Speaker 2: Now I can't stop thinking about it. Jonathan Bailey and

858
00:51:50,800 --> 00:51:56,280
Speaker 2: Cynthia vote. I love that. That's great, very funny.

859
00:51:57,080 --> 00:51:58,880
Speaker 1: Okay, So we have a things giving episode for you,

860
00:51:59,080 --> 00:52:01,200
Speaker 1: and then on Friday we're we're talking to a wiki

861
00:52:01,280 --> 00:52:04,520
Speaker 1: choreographer and our friend Chris Scott. Very exciting, you guys.

862
00:52:04,760 --> 00:52:08,000
Speaker 2: Yes, next week, Jenna got a chance to talk to

863
00:52:08,200 --> 00:52:10,520
Speaker 2: the one and only Tracy Toms who play Joanne.

864
00:52:10,239 --> 00:52:14,920
Speaker 1: And Rent our wonderful friend. So no movie recap next week,

865
00:52:14,920 --> 00:52:16,000
Speaker 1: you guys, but if you want to get a head

866
00:52:16,000 --> 00:52:18,680
Speaker 1: start on your next assignment, for two weeks from now,

867
00:52:18,719 --> 00:52:20,560
Speaker 1: we're going to be diving into two thousand and seven's

868
00:52:20,680 --> 00:52:23,520
Speaker 1: Sweeney Todd, The Demon Barber of Fleet Street, directed by

869
00:52:24,080 --> 00:52:24,880
Speaker 1: Tim Broughton.

870
00:52:25,520 --> 00:52:30,080
Speaker 2: Happy wicked week end and week and that's what you

871
00:52:30,200 --> 00:52:33,840
Speaker 2: really missed. Thanks for listening, and follow us on Instagram

872
00:52:34,239 --> 00:52:36,600
Speaker 2: at and That's what you really miss pod. Make sure

873
00:52:36,640 --> 00:52:38,720
Speaker 2: to write us a review and leave us five stars.

874
00:52:38,960 --> 00:52:39,640
Speaker 2: See you next time,