Chase, Aaron, and Richard review the acclaimed Studio Ghibli film, "Howl's Moving Castle" as the first part of a new series. Join your hosts as they talk about what they loved in this nostalgic masterpiece accompanied by some occasional chaotic bickering.
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[00:00:54] Hey folks, Editor Aaron here.
[00:00:57] Just wanted to give a quick warning that for the first like two or three minutes of this podcast,
[00:01:03] there was a bit of an issue with my microphone, so it may sound a bit echoey for the first two, three minutes,
[00:01:11] but after that it gets resolved and it will sound normal.
[00:01:16] Thank you. Hope you enjoy the podcast.
[00:01:38] Hello and welcome back to the Radioactive Ramblings podcast.
[00:01:43] I am one of your hosts, Chase.
[00:01:46] And I'm Aaron.
[00:01:48] And I'm Richard.
[00:01:50] Today we're going to be doing a movie review of Howl's Moving Castle,
[00:01:54] directed by Hayao Miyazaki and animated by Studio Ghibli.
[00:01:59] We were also thinking of making this into a monthly series for Studio Ghibli movie reviews where everyone who listens could,
[00:02:06] you know,
[00:02:07] shoot a message in the Discord or send us a message through our other channels and just say like,
[00:02:12] hey, I'd love to see you guys cover, you know, Boy and the Heron or Spirited Away, whatever movie next.
[00:02:20] Yeah.
[00:02:20] And in order to help us choose our next watch, like Richard said, just shoot us a message.
[00:02:25] We have our contact form.
[00:02:27] You could send in a voicemail.
[00:02:29] Richard will get into all of that at the end of the podcast, but there's a lot of ways to get a hold of us.
[00:02:34] I know that we have talked about doing Ponyo next as our second movie.
[00:02:40] So if you guys want to decide what comes after that, just shoot us a message.
[00:02:44] And we definitely want to get your engagement on this one.
[00:02:51] Yeah.
[00:02:52] And for this review, we're not going to be doing like a very detailed recap of the movie.
[00:02:57] We're just going to give you guys a brief rundown of the main plot and go more in depth,
[00:03:02] depth on the characters and interesting moments and also moments where we thought the already impressive Ghibli art stood out to us.
[00:03:12] Yeah.
[00:03:13] I mean, the artwork and everything in these Studio Ghibli movies is just so, it's just so perfect and so interesting to look at, you know?
[00:03:22] Yeah.
[00:03:23] And I feel like it's got that like nostalgic look to it.
[00:03:26] Even like the newer ones still have that look to it, you know?
[00:03:31] Yeah.
[00:03:31] It really keeps with that like 90s animation style that I think is really died out in a lot of studios, especially with Disney.
[00:03:42] They're kind of leaning a lot more towards the 3D animation style, which is good.
[00:03:48] But I do miss a lot of like the 2D stuff.
[00:03:51] I think the 2D stuff is great.
[00:03:53] I love the Ghibli art style with just how lifelike they make the 2D characters feel.
[00:04:01] They are so expressive.
[00:04:03] And to go back to what you said about just doing like a brief rundown of the main plot and going in depth on the characters and stuff.
[00:04:11] We talked about this a little bit before we started recording about how we didn't think that it was too pertinent or helpful to anyone to do like a scene by scene breakdown of these movies just because of the nature of them.
[00:04:24] So we're just going to, I guess, do a little bit more of a casual review for the Studio Ghibli movies.
[00:04:32] Yeah.
[00:04:32] More just kind of talking about like what we liked, why we liked it, all of that without telling you every single thing that happened in the movie.
[00:04:41] All right, Richard.
[00:04:42] Richard, do you want to take us into the brief rundown?
[00:04:46] Oh, of course.
[00:04:47] I would love to.
[00:04:48] So, of course, Howl's Moving Castle, one of my favorite Studio Ghibli movies, follows Sophie, a young woman cursed by a witch to become an old lady.
[00:04:56] She seeks to break the spell and she finds refuge in the moving castle of a mysterious wizard named Howl.
[00:05:03] In the castle, she meets Calcifer, a fire demon, and she makes a deal with him.
[00:05:08] If she can break his contract with Howl, he will lift her curse.
[00:05:12] And as she adjusts to life in the magical castle, she discovers Howl is not only powerful, but also very vulnerable, and he's hiding some secrets.
[00:05:22] Together, they face the wish of the waste and get drawn into a war.
[00:05:25] In the end, Sophie's bravery and growing love help reveal the truth behind her curse, Calcifer's bond with Howl, and ultimately they free Howl's hidden heart.
[00:05:36] Chase, or I guess this is a question for either of you, but do you guys know anything about the book that this is based on?
[00:05:45] I know it's based on a book, but I don't, I've never really read it or heard too much about it.
[00:05:50] I haven't read it either, but I'm pretty sure it's an American-made story or like a Western-made story.
[00:06:02] Let me search it up right now, actually.
[00:06:04] That's a good idea, because I had no clue.
[00:06:07] Yeah, I think it is a Western story, if I remember correctly.
[00:06:15] Because at the beginning it gives...
[00:06:16] It's a British author.
[00:06:17] It's a British author.
[00:06:19] Diana W-Y-N-N-E Jones.
[00:06:24] I don't know how to pronounce that.
[00:06:26] When was it written?
[00:06:28] Do you know?
[00:06:29] 1986, and the movie was made in 2004 in Japan.
[00:06:33] Oh, okay.
[00:06:35] Yeah.
[00:06:36] I see.
[00:06:37] So, I was, the main reason why I wanted to know like what year it was is because I was wondering if the setting of the film,
[00:06:45] with the sort of like Victorian era thing was,
[00:06:50] maybe, maybe the story was from like a while back, but it is more of a modern story.
[00:06:55] So, I mean, I'm sure it's surely inspired by those kind of tropes and those like wartime periods for sure.
[00:07:07] Yeah.
[00:07:09] And do we need to go in depth a little bit more, or should we move on to some character things?
[00:07:16] Like, what do you guys want to talk about first?
[00:07:20] I think we should go into the characters, and then maybe while talking about the characters,
[00:07:25] we can interconnect them to the interesting points in the stories they have influence over.
[00:07:30] Yeah, that's a good move.
[00:07:32] All right.
[00:07:33] I can introduce some of the main characters, and if at any point you guys have something to say before I get through all of them,
[00:07:41] just stop me, or we can go one by one.
[00:07:44] Yeah.
[00:07:45] Yeah, that'll work.
[00:07:46] So, obviously, our main character is Sophie Hatter, and she is just constantly putting herself down.
[00:07:53] She believes that she's just an average girl, and she makes comments about how, you know,
[00:08:01] Howl only steals the, or rips out the hearts of pretty girls, and she doesn't believe that she's beautiful.
[00:08:08] And then she has a curse cast upon her for not recognizing the Witch of the Waste.
[00:08:15] When the Witch of the Waste walks into her hat shop, that was so funny.
[00:08:21] It was such a good moment.
[00:08:23] Yeah, especially because we don't know who she is at that point either, and we're just like, who is this?
[00:08:29] And then she's flaming the shop.
[00:08:32] She says something of the sort like, this place is so tacky, but you're the tackiest thing in it.
[00:08:40] I think it's a very funny introduction to the character.
[00:08:43] I think, as we'll see later on, is in a lot of these Ghibli movies,
[00:08:49] they really do incorporate a comedic side to a lot of the villainous characters.
[00:08:57] I think it's kind of to show that not everyone is like 100% evil, but yeah.
[00:09:05] Yeah, kind of like humanizing them a bit more.
[00:09:08] Yeah, especially.
[00:09:09] Also, I think one thing I did leave out of the notes is that the reason the Witch puts the curse on Sophie
[00:09:18] is more really because she knows that Sophie's already interacted with Howl,
[00:09:23] and she believes that it's going to lead her to Howl.
[00:09:27] That's my theory, at least.
[00:09:29] Yeah.
[00:09:30] It kind of seems like the Witch of the Waste saw that Howl and Sophie were associated with each other,
[00:09:37] and the Witch of the Waste thought that it was a more deep relationship than it actually was,
[00:09:44] because it sounded like she was trying to get back at Sophie for essentially,
[00:09:48] I don't know, stealing what she thinks is her man or something.
[00:09:52] I don't know.
[00:09:52] That's kind of how I read it.
[00:09:55] Well, yeah.
[00:09:55] I mean, we'll talk about this a little bit more when we go over the Witch's character and her own thing in a bit,
[00:10:02] but her and Howl do have a past, which we learn about in the movie, but quite later on in the movie.
[00:10:09] Yeah.
[00:10:10] I think she also remarks to send Howl my regards when she's leaving the shop after turning her into an old woman.
[00:10:19] Yeah.
[00:10:20] I will say, while we're at this point, just an event that I really like to do with Sophie and Howl was right when they meet,
[00:10:28] and he kind of just marches her through the sky.
[00:10:31] I think that that moment is really cool, and it gives us a really nice view of the world in terms of the art of Howl's moving castle.
[00:10:40] You know what I mean?
[00:10:41] Yes.
[00:10:42] Yes, for sure.
[00:10:43] I was actually...
[00:10:44] Sorry, go ahead.
[00:10:46] No, go ahead.
[00:10:47] I was going to segue into Howl, but if you have another thought.
[00:10:50] Oh, I was just going to say that later on in the pod, we're going to talk about interesting art moments in the movie,
[00:10:57] and I was thinking about putting that in is when they have Howl and Sophie marching over the entire town,
[00:11:07] and I thought that was a really interesting POV.
[00:11:09] But yeah, let's go into Howl.
[00:11:12] Oh yeah, of course.
[00:11:13] So Howl is a powerful and renowned wizard who has a lot of nasty rumors about him,
[00:11:18] including that he, as I alluded to before, tears out the hearts of pretty girls,
[00:11:23] and we learn that he's also really vain and a little bit cowardly, too, for this great wizard,
[00:11:32] and he really values his freedom, and I think a part of his cowardice and his value of freedom
[00:11:38] is that he has all of these alternate aliases that he uses to sort of operate within the various cities
[00:11:44] and kingdoms that exist in this world.
[00:11:47] Yeah, I think a branch of that, what a lot of characters call cowardice,
[00:11:54] is that he really hates war.
[00:11:57] We see a lot throughout the movie, he alludes to the fact that he doesn't want to work for the king,
[00:12:04] he doesn't want to help in any part of the war.
[00:12:09] I think he makes some sort of remark where he's like,
[00:12:12] there's no sides to this war or something like that.
[00:12:15] And that, like, this is like a motif of the movie, I think, is just like,
[00:12:23] war is so awful and brings ruin to both sides.
[00:12:27] And I think Howl really embodies that, because we see he uses these aliases to dodge
[00:12:34] having to fight for any side in the war,
[00:12:38] and that when he is fighting in the war,
[00:12:40] it's to hinder both sides from causing harm to one another.
[00:12:45] And we see him use his powers to really deviate from harming people,
[00:12:51] but to cause the, like, ships, the battleships to fail.
[00:12:57] We see him use his powers to protect those that he cares about later on in the film.
[00:13:02] We see that the only time he ever really does go to war,
[00:13:06] it's to disrupt the armies before they can destroy each other
[00:13:13] or destroy innocent people's livelihoods.
[00:13:16] I just said, um, like, 13 times.
[00:13:18] Holy shit.
[00:13:19] Yeah.
[00:13:20] Stop it, buddy.
[00:13:22] Stop it.
[00:13:32] I can't see the shattering from Elden Ring right now.
[00:13:34] Unbelievable.
[00:13:35] Aaron kicked me out of the recording.
[00:13:37] He said, you're talking too much.
[00:13:38] Get out of my podcast.
[00:13:40] Yeah.
[00:13:41] I don't like sharing the spotlight.
[00:13:44] Yeah, we could tell, dumbass.
[00:13:47] Richard, you said that you had something to add about Howl.
[00:13:50] Oh, of course I did.
[00:13:51] So I like to think that Howl isn't a coward in the way that he's portrayed,
[00:13:57] because he really, like, yes, he doesn't like war,
[00:13:59] he doesn't want to fight in the war,
[00:14:00] but it's not because he's scared, it's because he just,
[00:14:03] he's a pacifist, like Chase said.
[00:14:05] I think, though, that it would take some real fucking bravery
[00:14:08] to go out there, disrupt both sides,
[00:14:11] while you're being petitioned by both sides to help them.
[00:14:14] So I think he's more, he's a coward emotionally about, like,
[00:14:18] opening up, but he's not a coward in terms of, like,
[00:14:24] fighting, if that makes sense.
[00:14:26] Yeah, I think that you see him gain a different kind
[00:14:30] of courage by the end of the film,
[00:14:32] due to his, I guess, love of his newfound family.
[00:14:37] And you can see him risking, basically risking his humanity
[00:14:42] by continually turning into the sort of bird creature
[00:14:46] that he turns into.
[00:14:47] Because every time it, he makes that transformation,
[00:14:52] there's always the risk that he won't be able
[00:14:54] to turn himself back.
[00:14:55] But for him, it's a worthwhile risk if it's to protect his,
[00:15:00] the people that he cares about.
[00:15:03] Yeah, I think going back onto the cowardice part,
[00:15:07] I think Howell is more of a coward when it comes to imposing
[00:15:12] his beliefs and, like, making his stance known.
[00:15:16] Also, he's definitely a coward when it comes to love
[00:15:21] and relationships and opening up.
[00:15:24] And his self-esteem.
[00:15:26] I think his self-esteem fucking blows.
[00:15:28] We see that when his hair color gets messed up
[00:15:33] and he starts tweaking out of his gourd.
[00:15:36] Yeah, I'm with you.
[00:15:38] I think that his vanity is really,
[00:15:41] it's one of his greatest weaknesses as a person,
[00:15:44] which, again, goes back to what you guys were saying
[00:15:47] about the Witch of the Waste,
[00:15:49] which I'm not going to get into her yet
[00:15:50] because we'll get there.
[00:15:51] But this idea that all of these characters are very human,
[00:15:56] none of them are just black and white,
[00:15:59] like, good or evil.
[00:16:00] They all are real people with flaws
[00:16:03] and strengths and weaknesses,
[00:16:05] and I think that that just makes
[00:16:07] all of the characters so much more compelling,
[00:16:10] and it just makes the story a lot more fun to watch.
[00:16:14] Yeah, yeah, especially, I mean,
[00:16:16] we even see with the, in my opinion,
[00:16:18] least flawed character, Sophie,
[00:16:20] that she has her flaws.
[00:16:21] She has no self-confidence.
[00:16:23] We see that she's constantly displayed
[00:16:27] how she is beautiful, but she refuses to believe so.
[00:16:31] How she's quite good at everything
[00:16:34] she's putting her mind to,
[00:16:36] but she still believes she's just an average girl
[00:16:38] who doesn't deserve a fantastical life.
[00:16:42] And I think that it kind of, like,
[00:16:45] the humanization of these characters
[00:16:46] really makes them so relatable,
[00:16:48] and even in this mysterious, magical world
[00:16:52] where, obviously, there are a lot of parallels
[00:16:56] to real life, but at the same time,
[00:16:58] there's so much that's so vastly different.
[00:17:03] Yeah, this world is, it feels so unique.
[00:17:06] I don't know that I've ever seen a fantasy world
[00:17:10] that feels as, I guess, whimsical,
[00:17:15] but also really serious at the same time.
[00:17:18] It just, it's so unique that
[00:17:22] it makes me want to know more about the world,
[00:17:25] but at the same time, I'm like,
[00:17:26] I'm quite happy with the amount of time
[00:17:29] that we've spent here in the story that we got.
[00:17:32] All right, do we want to talk about Calcifer a little bit?
[00:17:35] Yeah, Calcifer is a fire demon
[00:17:38] who resides in the fireplace of the moving castle.
[00:17:41] He controls all of its magical inner workings,
[00:17:44] and he's also got this sort of magical deal
[00:17:48] slash contract with Howl
[00:17:50] that binds their lives together,
[00:17:52] which Howl gave him his heart
[00:17:54] when he was a falling star.
[00:17:55] Can we talk about that visualization for a minute
[00:17:59] of how a lot of the demons and spirits
[00:18:02] and whatever of this world
[00:18:04] came down as falling stars?
[00:18:07] I think that that's just so interesting and cool.
[00:18:11] Yeah, that's an awesome way of doing everything.
[00:18:14] Yeah, I love that, the way that they draw it too,
[00:18:17] and I think it's really interesting
[00:18:19] that a lot of the times we see magic in this movie,
[00:18:22] we get that little dancing person imagery
[00:18:26] that goes along with it.
[00:18:28] We see it, I know, we see it with the aging
[00:18:30] of The Witch of the Waste by Solomon.
[00:18:35] We see it with the falling stars.
[00:18:37] I think we see it also when Howl expands the castle.
[00:18:42] I don't remember for sure,
[00:18:44] but I know we see it a few times.
[00:18:47] Yeah.
[00:18:48] Another thing about the whole demon situation,
[00:18:53] I think it's really interesting
[00:18:55] that demon in this context is not an evil thing.
[00:19:00] Demons are just sort of spirits who exist,
[00:19:03] and Sophie remarks about how Turniped,
[00:19:07] he must be the good kind of demon,
[00:19:09] and Calcifer is obviously a very friendly,
[00:19:14] by the end at least,
[00:19:15] a very friendly part of the family,
[00:19:18] and so it's not demon in the way
[00:19:20] that we kind of think about demons
[00:19:22] in our Western view of the world,
[00:19:26] but demons just as these spirits.
[00:19:30] Yeah, I think the interpretation of demon
[00:19:33] is a lot more mischievous
[00:19:35] than anything else in this case.
[00:19:38] Yeah.
[00:19:39] Yeah, I agree.
[00:19:40] Richard, do you have anything to say
[00:19:41] about our buddy Calcifer?
[00:19:44] Not too much more than what you guys said,
[00:19:46] just that I really liked him.
[00:19:48] I mean, he's a silly guy, you know?
[00:19:52] He loves his eggshells.
[00:19:52] That's really all I got.
[00:19:53] He does love his eggshells,
[00:19:55] and I do like that he...
[00:19:57] I like the scene where Sophie
[00:19:59] kind of bosses him into
[00:20:02] being like a cooking fire for her.
[00:20:05] That's a really fun scene.
[00:20:07] Yeah, I think what we see from Calcifer
[00:20:11] more than anything as a character trait
[00:20:13] is he kind of has like a humble loyalty to Howl,
[00:20:16] even aside from their contract.
[00:20:19] We see that Howl treats Calcifer pretty well.
[00:20:24] Like, obviously,
[00:20:25] he doesn't like clean out his fireplace or anything,
[00:20:28] but he doesn't clean fucking anything
[00:20:30] in that damn castle.
[00:20:32] Thing was filthy.
[00:20:34] But yeah, we see Howl treats Calcifer
[00:20:37] like an equal
[00:20:39] more than any other character in the movie,
[00:20:42] I feel like.
[00:20:44] Obviously, because he has his heart,
[00:20:46] but I think Calcifer is...
[00:20:49] He's shown in the beginning
[00:20:52] as quite hostile and a little abrasive,
[00:20:55] but he truly is like
[00:20:57] more of an altruistic good
[00:21:02] nearing the end of the movie
[00:21:03] than anything else.
[00:21:06] Yeah, absolutely.
[00:21:07] I would agree with that.
[00:21:09] I think that Calcifer,
[00:21:11] he almost goes out a few times,
[00:21:13] doesn't he, during the film?
[00:21:14] There's a few moments.
[00:21:17] Yeah, there's...
[00:21:18] Sophie throws a water on him
[00:21:20] because the Witch of the Waste
[00:21:22] realizes he's Hell's Heart.
[00:21:24] I know that Sophie also,
[00:21:26] when she was cleaning the ashes out,
[00:21:28] she put him in the bucket
[00:21:29] and he almost got put out
[00:21:31] and Howl had to revive him.
[00:21:34] Yeah.
[00:21:36] And Calcifer,
[00:21:38] there's a few moments
[00:21:39] where he gains a lot of power,
[00:21:42] I guess,
[00:21:43] and then also loses a lot of power.
[00:21:45] He definitely...
[00:21:46] He has that fluctuation
[00:21:47] fluctuation of what he's able to do
[00:21:49] and what his set of magic is
[00:21:53] throughout the movie.
[00:21:55] Like, you see him expand the castle,
[00:21:56] which...
[00:21:57] That was one of my favorite scenes
[00:21:59] when Howl uses Calcifer
[00:22:01] to move the castle.
[00:22:03] I thought that that was really fun.
[00:22:05] Yeah.
[00:22:06] Yeah.
[00:22:06] I liked when he, like,
[00:22:07] put it back together, too.
[00:22:10] Mm-hmm.
[00:22:11] Like, that was a really cool visualization.
[00:22:13] And, of course, it's just, you know,
[00:22:15] the castle itself is one of my favorite
[00:22:19] visually pleasing pieces of this movie.
[00:22:22] Yeah.
[00:22:23] I would agree with that.
[00:22:24] Chase, you mentioned
[00:22:25] The Witch of the Waste.
[00:22:27] So,
[00:22:28] we should do a little segue into her
[00:22:31] because she's a pretty key character
[00:22:33] and also the antagonist
[00:22:36] for about the first half of the movie,
[00:22:39] I would say.
[00:22:39] Yeah, I would agree with that.
[00:22:41] Yeah.
[00:22:42] Yeah.
[00:22:42] She's an evil witch of great power
[00:22:44] who's seeking out Howl's heart
[00:22:46] and she's the one who curses Sophie
[00:22:48] and calls her tacky
[00:22:50] and then she also has this detail
[00:22:55] where in the same way that Howl
[00:22:57] has a deal with Calcifer as a demon,
[00:23:01] the Witch of the Waste had fallen in
[00:23:04] with a demon of greed in the past
[00:23:06] and that's kind of what leads her
[00:23:08] to want Howl's heart.
[00:23:10] She is in reality very old,
[00:23:13] which we find out when Solomon,
[00:23:15] who's sort of the head witch
[00:23:16] of the royal family,
[00:23:20] Solomon reverts her to her original age
[00:23:23] and we see that she's just kind of
[00:23:25] this feeble old lady
[00:23:26] and not the terrifying witch
[00:23:30] that has been terrorizing
[00:23:32] the whole world for a while.
[00:23:34] Yeah.
[00:23:36] And she starts to act a lot more
[00:23:38] like a little old lady
[00:23:39] once she becomes,
[00:23:41] once she's kind of humbled
[00:23:42] back down to that form.
[00:23:45] Yeah.
[00:23:45] Chase,
[00:23:46] do you have any thoughts
[00:23:47] on the Witch of the Waste?
[00:23:48] Not really.
[00:23:49] I think she's a fun villain
[00:23:52] and I love the scene
[00:23:55] where she's struggling
[00:23:56] to get up the steps.
[00:23:57] I think that's the funniest scene
[00:24:00] in the whole movie
[00:24:00] with Keen,
[00:24:02] the little dog,
[00:24:04] Silliman's dog,
[00:24:05] that befriends Sophie
[00:24:07] and the Witch of the Waste
[00:24:10] and Sophie struggling up the stairs.
[00:24:13] Yeah.
[00:24:14] I mean,
[00:24:15] that scene was just so good
[00:24:17] when you have the Witch of the Waste
[00:24:19] heaving and trying to get herself
[00:24:22] up the stairs
[00:24:23] and then you've got Sophie
[00:24:24] trying to carry the damn dog
[00:24:26] up the steps
[00:24:27] and it's just,
[00:24:28] it's just such a ridiculous situation
[00:24:30] and they're both struggling
[00:24:31] and Sophie is kind of retorting
[00:24:34] back at the Witch of the Waste
[00:24:35] being like,
[00:24:36] if only I were younger
[00:24:37] I could help us both up these stairs.
[00:24:40] Yeah.
[00:24:41] I,
[00:24:41] I thought that was fun.
[00:24:43] My favorite part about it too
[00:24:45] is Sophie like,
[00:24:47] looking back and seeing
[00:24:48] the dog can't get up
[00:24:49] so she like,
[00:24:51] reluctantly picks him up
[00:24:52] but he's so heavy
[00:24:53] and she's lugging him up the stairs
[00:24:55] and then not five minutes later
[00:24:57] he like,
[00:24:57] uses his ears as wings to fly.
[00:25:00] Yeah.
[00:25:01] It's just like,
[00:25:02] knowing the fact that
[00:25:03] he didn't have to do all that
[00:25:04] and still made her carry him up the stairs
[00:25:08] is just too good.
[00:25:10] Not only,
[00:25:11] sorry.
[00:25:12] Sorry, go ahead.
[00:25:13] No, no, no, no.
[00:25:14] After you sir, please.
[00:25:15] I was gonna say,
[00:25:16] not only is Heen
[00:25:18] like,
[00:25:19] could have gotten up the stairs
[00:25:20] by himself
[00:25:21] but also the reason
[00:25:23] why she was carrying up the,
[00:25:24] him up the steps
[00:25:25] is because she thought
[00:25:26] he was, uh,
[00:25:27] Howl.
[00:25:28] And then she finds out
[00:25:29] that he wasn't Howl
[00:25:30] and she's like,
[00:25:31] why the hell did I do all this?
[00:25:33] Yeah.
[00:25:33] Yeah.
[00:25:35] Um,
[00:25:35] what I was gonna say
[00:25:37] is I think it's a good,
[00:25:38] like,
[00:25:39] character moment for Sophie though
[00:25:40] because like,
[00:25:41] we already,
[00:25:41] we understand that
[00:25:42] she's a kind person
[00:25:43] and like,
[00:25:44] I think that her
[00:25:45] being a few steps up already
[00:25:47] and then going back down
[00:25:48] the steps to get the dog,
[00:25:50] like,
[00:25:50] that's just a good moment
[00:25:51] for her character
[00:25:53] just to expand upon that
[00:25:54] a little bit.
[00:25:57] Yeah.
[00:25:57] I mean,
[00:25:58] kind of going off
[00:25:59] her going up the stairs,
[00:26:01] this is a little bit
[00:26:02] of a segue back into Sophie
[00:26:04] but I think that the way
[00:26:06] that Sophie just kind of accepts
[00:26:07] that she's old now,
[00:26:09] she doesn't really,
[00:26:10] she's obviously the whole time
[00:26:12] trying to get rid of her curse
[00:26:13] but she seems very,
[00:26:17] she's reacting much better
[00:26:18] than I think that
[00:26:19] most people
[00:26:20] in that situation would.
[00:26:22] She's just kind of like,
[00:26:22] oh,
[00:26:22] I guess this is my reality now,
[00:26:24] I better go find a cane
[00:26:25] to help myself.
[00:26:26] Yeah.
[00:26:28] We mentioned Solomon earlier
[00:26:30] who again is the powerful wizard
[00:26:32] employed by the king,
[00:26:33] mentor to Howl in the past
[00:26:35] and she's the one
[00:26:36] trying to force Howl
[00:26:38] to fight in the war.
[00:26:39] She's not too big of a character,
[00:26:40] I don't have much more to say
[00:26:42] about Solomon,
[00:26:43] I don't know about
[00:26:43] either of you.
[00:26:44] Richard?
[00:26:45] Nah, that's,
[00:26:47] that covers her character
[00:26:48] pretty well.
[00:26:50] Yeah.
[00:26:51] What about you, Chase?
[00:26:52] I think she just drives
[00:26:53] like the,
[00:26:54] the protagonist
[00:26:55] like issues
[00:26:57] in the second half
[00:26:58] of the movie,
[00:26:58] basically like constantly
[00:26:59] having to run away
[00:27:00] from Solomon's armies
[00:27:03] and Solomon's like
[00:27:06] gooey henchmen.
[00:27:08] But yeah,
[00:27:09] um,
[00:27:11] she's,
[00:27:11] she's prominent,
[00:27:12] but she's,
[00:27:13] she's not really
[00:27:14] in the movie
[00:27:15] for that much
[00:27:16] of it.
[00:27:18] No,
[00:27:19] I don't,
[00:27:19] yeah,
[00:27:20] she's more of just
[00:27:21] a driving force
[00:27:22] in the world.
[00:27:24] And we talked a little
[00:27:25] bit about Heen,
[00:27:26] uh,
[00:27:27] the dog,
[00:27:28] not too much more
[00:27:29] to say about that
[00:27:29] other than
[00:27:31] the dog takes a liking
[00:27:32] to this sort of
[00:27:35] family that ends up
[00:27:36] living in Howell's castle.
[00:27:38] We should talk a little
[00:27:39] bit about Markle
[00:27:39] because Markle is
[00:27:41] our first introduction
[00:27:42] into the magic
[00:27:43] in this world,
[00:27:44] I guess,
[00:27:45] when Sophie goes
[00:27:46] to the castle
[00:27:48] and sort of
[00:27:49] sees Markle
[00:27:50] pretending to be
[00:27:52] this great wizard
[00:27:52] in the service
[00:27:53] of,
[00:27:54] I think Pendragon
[00:27:56] was the name
[00:27:56] that Howell was
[00:27:57] using in that city
[00:27:58] and selling potions
[00:28:00] on his behalf.
[00:28:02] This kid is just
[00:28:02] such a good
[00:28:03] natured,
[00:28:04] like,
[00:28:05] fun,
[00:28:06] wholesome character
[00:28:07] in the film.
[00:28:09] Yeah.
[00:28:10] Yeah,
[00:28:11] whenever we see
[00:28:12] Markle,
[00:28:12] it's just,
[00:28:13] he's doing his job,
[00:28:15] he's employed
[00:28:16] by Howell
[00:28:17] and he's helping
[00:28:18] Sophie out.
[00:28:20] he has no clue
[00:28:21] what's going on
[00:28:22] with her,
[00:28:24] but he's,
[00:28:25] he's friendly
[00:28:26] with her,
[00:28:26] he's helping her
[00:28:27] get shit done
[00:28:28] and I think
[00:28:30] one of the funniest
[00:28:31] scenes in the movie
[00:28:32] too is when
[00:28:33] Sophie's gonna
[00:28:34] go upstairs
[00:28:34] to Colleen
[00:28:35] and Markle's like,
[00:28:37] save my room
[00:28:37] for last!
[00:28:39] Yeah.
[00:28:40] Yeah.
[00:28:40] And Sophie's like,
[00:28:42] anything you don't
[00:28:42] want me to see,
[00:28:43] now's the time.
[00:28:46] It's,
[00:28:47] it's really funny.
[00:28:48] Yeah.
[00:28:49] We've got another
[00:28:50] member of this
[00:28:51] little family,
[00:28:52] my favorite,
[00:28:53] Turnip Head.
[00:28:54] This guy,
[00:28:55] he always shows up
[00:28:56] when he's needed.
[00:28:57] Turnip Head came
[00:28:58] in clutch and
[00:28:59] helped Sophie and
[00:29:00] the gang so many
[00:29:01] times and he was
[00:29:02] constantly being
[00:29:03] left behind,
[00:29:04] the poor guy.
[00:29:05] Yeah,
[00:29:06] I love him though.
[00:29:06] He's,
[00:29:07] his character design
[00:29:08] is like cool,
[00:29:08] he's silly,
[00:29:09] like the way he
[00:29:10] moves is fun,
[00:29:11] but he just kind of
[00:29:12] bounces around.
[00:29:14] Yeah,
[00:29:14] he's always falling
[00:29:15] up,
[00:29:15] like upside down
[00:29:16] too,
[00:29:17] and Sophie has
[00:29:17] to put him
[00:29:18] upright.
[00:29:18] It's,
[00:29:19] it's just very
[00:29:20] charming.
[00:29:21] Letty is kind
[00:29:22] of,
[00:29:23] that's Sophie's
[00:29:24] best friend at the
[00:29:25] beginning of the,
[00:29:26] or is it her sister?
[00:29:27] That's her sister.
[00:29:28] I have no idea.
[00:29:30] Yeah,
[00:29:30] she's not a big
[00:29:31] part of the story
[00:29:31] either except for
[00:29:32] being just a
[00:29:34] character telling
[00:29:35] Sophie like,
[00:29:35] you're,
[00:29:36] you're very pretty,
[00:29:37] like you're not,
[00:29:38] you shouldn't think
[00:29:39] so poorly of
[00:29:40] yourself and that's,
[00:29:41] I guess the
[00:29:43] Studio Ghibli
[00:29:45] telling us how
[00:29:46] to think about
[00:29:47] Sophie or
[00:29:48] giving us an
[00:29:49] insight into
[00:29:50] Sophie's internal
[00:29:50] struggle throughout
[00:29:52] the beginning of
[00:29:53] the movie.
[00:29:55] Yeah.
[00:29:56] Mm-hmm.
[00:29:56] And then you
[00:29:57] have another name
[00:29:58] here,
[00:29:59] Chase on the
[00:29:59] outline.
[00:29:59] That's her
[00:30:00] mom.
[00:30:01] Oh,
[00:30:01] Honey is the
[00:30:02] mom,
[00:30:02] I see.
[00:30:03] Honey is the
[00:30:03] mom,
[00:30:03] who,
[00:30:05] um,
[00:30:06] at first we
[00:30:07] see she doesn't
[00:30:08] really have that
[00:30:09] much care for
[00:30:10] Sophie.
[00:30:11] Um,
[00:30:12] she gets back
[00:30:14] and from,
[00:30:15] like,
[00:30:15] a trip after
[00:30:16] Sophie gets
[00:30:18] cursed and
[00:30:21] is basically
[00:30:22] like,
[00:30:22] hey,
[00:30:23] I just got a
[00:30:23] new husband,
[00:30:24] everything's great,
[00:30:27] and I would
[00:30:28] love to see
[00:30:28] you.
[00:30:29] And then
[00:30:29] Sophie's like,
[00:30:30] oh,
[00:30:30] I'm sick.
[00:30:31] And Honey,
[00:30:32] Honey goes,
[00:30:33] you sound like
[00:30:34] a 90-year-old
[00:30:35] woman.
[00:30:36] And then
[00:30:37] leaves.
[00:30:39] That was too
[00:30:40] funny,
[00:30:40] man,
[00:30:40] when she's like,
[00:30:41] sorry,
[00:30:42] I'm a little bit
[00:30:42] sick.
[00:30:43] And she's like,
[00:30:43] all right,
[00:30:44] see ya.
[00:30:44] Like,
[00:30:44] I'm not
[00:30:45] sticking around.
[00:30:46] Yeah.
[00:30:46] And then the
[00:30:47] second time we
[00:30:48] see her,
[00:30:49] she basically
[00:30:51] just sells out
[00:30:52] Sophie to
[00:30:53] Solomon for,
[00:30:55] like,
[00:30:55] a promised,
[00:30:57] I don't know,
[00:30:58] like,
[00:30:59] I forget.
[00:31:00] Was she
[00:31:01] promised?
[00:31:01] Yeah.
[00:31:02] I,
[00:31:03] oh,
[00:31:03] wait,
[00:31:04] no,
[00:31:04] I think that's
[00:31:05] when she got
[00:31:05] married.
[00:31:06] The first time
[00:31:06] she comes back
[00:31:07] to see Sophie,
[00:31:09] she's just,
[00:31:10] she just is
[00:31:10] like,
[00:31:12] I'm back,
[00:31:13] like,
[00:31:13] I want to
[00:31:14] see you.
[00:31:15] And then Sophie's
[00:31:15] like,
[00:31:15] sorry,
[00:31:16] I'm sick.
[00:31:16] And then she
[00:31:17] just fucks off.
[00:31:18] Yeah.
[00:31:18] The second time
[00:31:19] is the marriage.
[00:31:21] So I think
[00:31:22] Solomon basically
[00:31:23] gave her,
[00:31:24] like,
[00:31:24] a favorable
[00:31:25] marriage and
[00:31:26] stuff in
[00:31:28] trade for
[00:31:29] putting,
[00:31:30] like,
[00:31:30] the spy,
[00:31:31] like,
[00:31:32] worm creature.
[00:31:34] Yeah.
[00:31:35] Yeah.
[00:31:36] Yeah.
[00:31:39] But yeah,
[00:31:40] that's about all
[00:31:40] with Honey.
[00:31:42] I think that Honey,
[00:31:44] another example
[00:31:45] of her having
[00:31:45] literally no
[00:31:46] sympathy or love
[00:31:47] for Sophie
[00:31:48] is like,
[00:31:50] when Sophie
[00:31:51] is old
[00:31:52] in front of
[00:31:52] her and Honey's
[00:31:53] like,
[00:31:54] oh,
[00:31:54] wow,
[00:31:55] you look
[00:31:55] terrible.
[00:31:56] All right,
[00:31:56] guess I'm
[00:31:57] going again.
[00:31:58] Like,
[00:31:58] she just doesn't
[00:31:59] care.
[00:31:59] And it's,
[00:31:59] it's so funny
[00:32:01] to me how,
[00:32:02] how little
[00:32:03] the mother is.
[00:32:06] It's actually
[00:32:06] funny to me how
[00:32:07] little anyone
[00:32:08] who knew her
[00:32:08] beforehand is
[00:32:09] surprised by
[00:32:10] the fact that
[00:32:11] she was cursed
[00:32:11] and turned into
[00:32:12] an old woman
[00:32:13] and everyone's
[00:32:13] just kind of
[00:32:14] like,
[00:32:14] oh,
[00:32:14] yeah,
[00:32:14] that's par
[00:32:15] for the
[00:32:15] course in
[00:32:15] this world.
[00:32:17] Yeah.
[00:32:20] I don't
[00:32:21] really have
[00:32:21] anything to
[00:32:22] say or
[00:32:22] any other
[00:32:23] characters to
[00:32:24] add to
[00:32:24] these.
[00:32:26] Should we
[00:32:26] get into
[00:32:26] some interesting
[00:32:27] moments,
[00:32:28] Chase?
[00:32:29] Yeah,
[00:32:30] I think
[00:32:30] that's a
[00:32:30] good idea.
[00:32:33] Some of
[00:32:33] the moments
[00:32:34] we thought
[00:32:34] were interesting.
[00:32:36] The first
[00:32:36] one I took
[00:32:37] down in my
[00:32:38] notes was
[00:32:39] Howl changing
[00:32:40] the castle to
[00:32:41] make room for
[00:32:41] Sophie.
[00:32:43] And what's
[00:32:44] most interesting
[00:32:45] about this
[00:32:46] is the
[00:32:46] location in
[00:32:48] which it
[00:32:48] becomes.
[00:32:51] We see
[00:32:52] Sophie go
[00:32:53] into her
[00:32:53] room and
[00:32:55] look out the
[00:32:56] window.
[00:32:57] And if you're
[00:32:58] paying some
[00:32:59] close attention,
[00:33:00] I think you
[00:33:02] notice that the
[00:33:03] window of the
[00:33:04] room is the
[00:33:05] exact same
[00:33:06] windowsill as
[00:33:08] the hat
[00:33:10] making store
[00:33:12] that Sophie
[00:33:13] was in in
[00:33:13] the beginning,
[00:33:14] which her
[00:33:15] father owned.
[00:33:16] And then we
[00:33:17] see them go
[00:33:18] outside and
[00:33:19] the building
[00:33:20] in which
[00:33:21] Howl's
[00:33:21] castle has
[00:33:22] the portal
[00:33:23] to now is
[00:33:24] that building,
[00:33:26] the hat making
[00:33:27] building.
[00:33:29] Which also
[00:33:30] alludes to the
[00:33:31] fact that in
[00:33:32] the beginning of
[00:33:33] the film,
[00:33:33] we realized
[00:33:34] that Sophie's
[00:33:36] the only one
[00:33:37] that's keeping
[00:33:38] her father's
[00:33:39] hat business
[00:33:40] going.
[00:33:41] She's the
[00:33:42] one maintaining
[00:33:43] and taking care
[00:33:44] of it and
[00:33:44] continuously making
[00:33:46] hats.
[00:33:47] And that now
[00:33:48] that Sophie's
[00:33:49] been gone for
[00:33:49] so long,
[00:33:50] the building's
[00:33:53] empty and no
[00:33:54] one is there
[00:33:55] anymore.
[00:33:55] So Howl's
[00:33:56] able to move
[00:33:57] the castle
[00:33:58] into it.
[00:33:59] Yeah,
[00:34:00] too bad her
[00:34:00] hats were
[00:34:00] tacky.
[00:34:03] They were a
[00:34:04] little bit
[00:34:04] tacky,
[00:34:05] a lot of
[00:34:05] the hats that
[00:34:06] we do see
[00:34:07] in there,
[00:34:07] I won't
[00:34:07] lie.
[00:34:08] The Witch of
[00:34:09] the Waste
[00:34:09] kind of had
[00:34:10] a point.
[00:34:12] Yeah,
[00:34:12] she kind of
[00:34:13] ate with
[00:34:13] that one,
[00:34:13] huh?
[00:34:15] No crumbs!
[00:34:17] The next
[00:34:18] moment I,
[00:34:20] or kind of
[00:34:20] phenomenon more
[00:34:22] than moment I
[00:34:22] took down in
[00:34:23] my notes is
[00:34:24] the black
[00:34:24] doorway.
[00:34:26] We see when
[00:34:27] Sophie finally
[00:34:28] enters the
[00:34:29] black doorway
[00:34:30] in the castle
[00:34:30] that it
[00:34:31] leads back
[00:34:32] to Howl's
[00:34:33] past when
[00:34:35] he meets
[00:34:36] Calcifer and
[00:34:37] gives Calcifer
[00:34:39] his heart.
[00:34:42] And Sophie
[00:34:43] says, like,
[00:34:44] meet me in
[00:34:45] the future or
[00:34:45] something like
[00:34:46] that before
[00:34:46] she's sucked
[00:34:47] back into
[00:34:48] the castle.
[00:34:49] Yeah.
[00:34:51] But we see
[00:34:52] multiple times
[00:34:53] throughout the
[00:34:53] movie,
[00:34:54] Howl goes
[00:34:55] into and
[00:34:55] returns from
[00:34:56] the black
[00:34:57] portal,
[00:34:59] while, like,
[00:35:00] from his
[00:35:01] bird form
[00:35:01] after, like,
[00:35:03] an altercation
[00:35:04] or, like,
[00:35:05] a battle.
[00:35:05] So I think
[00:35:07] that the
[00:35:08] black door
[00:35:09] must either
[00:35:11] be, like,
[00:35:13] situational
[00:35:13] according to
[00:35:14] who is
[00:35:15] using it,
[00:35:16] or, um,
[00:35:18] after Howl
[00:35:20] moves the
[00:35:21] castle,
[00:35:22] it changes
[00:35:23] where the
[00:35:24] black doorway
[00:35:25] goes.
[00:35:27] Yeah, I
[00:35:28] think that
[00:35:30] Howl's moving
[00:35:31] castle is
[00:35:32] a good
[00:35:33] example of,
[00:35:34] like, soft
[00:35:35] magic in a
[00:35:36] world versus
[00:35:37] hard magic,
[00:35:38] where, like,
[00:35:38] soft magic is
[00:35:39] kind of the
[00:35:40] magic exists to
[00:35:42] fulfill the
[00:35:44] plot, and
[00:35:45] there's not
[00:35:46] really rules to
[00:35:47] it that you
[00:35:47] have to think
[00:35:48] too hard about.
[00:35:49] It's not like
[00:35:49] Harry Potter,
[00:35:50] where all of
[00:35:51] the spell, like,
[00:35:52] you cast a
[00:35:52] specific spell to
[00:35:53] do a certain
[00:35:54] thing.
[00:35:54] The magic is
[00:35:54] just kind of
[00:35:56] whatever it
[00:35:57] needs to be in
[00:35:57] that moment for
[00:35:59] the story to
[00:35:59] progress is what
[00:36:00] it is.
[00:36:01] And I, I
[00:36:02] think that I
[00:36:04] honestly prefer
[00:36:05] magic like that
[00:36:06] in movies.
[00:36:07] I don't know,
[00:36:08] what are your
[00:36:08] guys' thoughts on
[00:36:10] soft versus
[00:36:11] hard magic?
[00:36:11] I prefer soft
[00:36:13] magic in movies
[00:36:14] like this, but
[00:36:16] in, like,
[00:36:17] longer, more
[00:36:18] fleshed out
[00:36:18] series, I, I
[00:36:20] gotta go with
[00:36:20] hard magic, just
[00:36:21] because I think
[00:36:22] it sets way
[00:36:24] more rules, and
[00:36:25] it's needed in a
[00:36:26] series that's,
[00:36:27] like, on a
[00:36:28] longer going
[00:36:29] run than
[00:36:30] just, like, a
[00:36:31] one-off movie,
[00:36:32] or even, like, a
[00:36:32] couple movies
[00:36:33] with just soft
[00:36:34] magic are good
[00:36:34] too.
[00:36:36] Yeah.
[00:36:37] I have a very
[00:36:38] similar take to
[00:36:39] Richard.
[00:36:39] I think that
[00:36:41] soft magic
[00:36:42] makes a lot
[00:36:43] of sense and
[00:36:44] is way better
[00:36:45] in this scenario
[00:36:46] in which there
[00:36:48] is magic within
[00:36:49] this story, but
[00:36:50] it's not the
[00:36:51] driving, I
[00:36:53] don't know,
[00:36:54] factor of it.
[00:36:55] It's not
[00:36:55] something in
[00:36:56] which it
[00:36:58] needs rules and
[00:36:59] it needs to be
[00:37:00] defined.
[00:37:00] It's just
[00:37:01] something that
[00:37:02] exists within the
[00:37:03] universe as a
[00:37:05] way to, like
[00:37:07] you said, soft
[00:37:07] magic, progress
[00:37:08] plot.
[00:37:10] But in a
[00:37:12] series like
[00:37:13] Harry Potter,
[00:37:14] like Richard
[00:37:15] said, you
[00:37:15] need that
[00:37:16] hard magic.
[00:37:17] You need
[00:37:18] those rules
[00:37:18] because you
[00:37:19] can't just
[00:37:20] have it every
[00:37:21] five minutes
[00:37:22] someone saying
[00:37:23] expecto,
[00:37:23] or, like,
[00:37:24] whatever,
[00:37:25] stupefy.
[00:37:26] The murder
[00:37:26] spell.
[00:37:26] The murder
[00:37:27] spell.
[00:37:28] It's doing
[00:37:28] something different
[00:37:29] like every single
[00:37:30] time, you know?
[00:37:31] I think that
[00:37:32] hard magic has
[00:37:33] its uses, just
[00:37:35] not in this
[00:37:36] story.
[00:37:38] Yeah, I
[00:37:39] agree.
[00:37:39] And another
[00:37:40] moment, Chase,
[00:37:41] did you have
[00:37:42] any other
[00:37:42] interesting moments
[00:37:43] before I start
[00:37:44] yapping?
[00:37:46] Actually, yes,
[00:37:47] I have one more.
[00:37:48] I think you
[00:37:49] touched on it a
[00:37:50] little bit, that
[00:37:51] we often see the
[00:37:52] use of magic
[00:37:53] hurting how or
[00:37:55] causing a painful
[00:37:56] transformation,
[00:37:57] transformation,
[00:37:58] and that we
[00:37:58] are warned
[00:37:59] this may be
[00:38:00] become permanent.
[00:38:02] I think this is
[00:38:03] also another
[00:38:05] kind of, like,
[00:38:06] use of soft
[00:38:06] magic.
[00:38:07] There are some
[00:38:08] use cases of
[00:38:09] magic that
[00:38:10] aren't causing
[00:38:11] howl pain,
[00:38:12] visual pain at
[00:38:13] least, or
[00:38:14] visual transformations,
[00:38:15] like when he
[00:38:16] shifts the castle,
[00:38:17] and a few other
[00:38:19] things not very
[00:38:20] important, but
[00:38:21] we see that
[00:38:23] like when he
[00:38:25] transforms to
[00:38:26] fight that he
[00:38:28] has, like,
[00:38:29] he's clearly
[00:38:30] in pain going
[00:38:32] back into his
[00:38:32] human form,
[00:38:34] and that when
[00:38:35] he, like,
[00:38:35] deflects that
[00:38:36] projectile, or
[00:38:37] no, not
[00:38:38] deflects that
[00:38:38] projectile, when
[00:38:39] him and Sophie
[00:38:40] are at that,
[00:38:41] like, beautiful
[00:38:42] flowery plains
[00:38:43] with all, like,
[00:38:44] the streams of
[00:38:45] water, and then
[00:38:46] the warship flies
[00:38:47] over, and then
[00:38:48] he uses his
[00:38:48] magic to, like,
[00:38:49] fuck it up,
[00:38:51] his, like,
[00:38:51] arm transforms,
[00:38:53] and it's, like,
[00:38:53] swollen and
[00:38:55] red, so we
[00:38:56] see,
[00:38:56] that, that,
[00:38:57] I feel that
[00:38:58] when the
[00:38:59] magic is used
[00:39:01] in relation
[00:39:02] to war, it
[00:39:03] causes, like,
[00:39:05] an issue.
[00:39:06] Yeah, it has
[00:39:07] kind of, like,
[00:39:08] that heavy
[00:39:09] toll for
[00:39:10] causing pain
[00:39:12] and strife in
[00:39:13] others, and I
[00:39:14] think that that's
[00:39:14] an interesting
[00:39:16] implication for,
[00:39:17] like,
[00:39:18] the force of
[00:39:20] magic is
[00:39:21] good, if that
[00:39:23] makes,
[00:39:23] I don't know
[00:39:25] how, how
[00:39:25] else to
[00:39:26] explain it.
[00:39:27] No, yeah, I
[00:39:27] think that, like,
[00:39:28] it kind of
[00:39:29] shows that
[00:39:30] magic is
[00:39:31] supposed to
[00:39:32] be used
[00:39:33] in a
[00:39:35] less serious
[00:39:36] manner
[00:39:37] than
[00:39:37] to cause
[00:39:39] harm, or
[00:39:40] to do
[00:39:42] those sorts
[00:39:43] of things.
[00:39:43] use it for
[00:39:45] whimsical
[00:39:45] shit, like
[00:39:46] walking in
[00:39:46] the sky.
[00:39:48] Yeah, like,
[00:39:48] when Howl
[00:39:49] removes the
[00:39:51] Witch of the
[00:39:52] Waste curse
[00:39:53] from the
[00:39:54] table,
[00:39:55] it, like,
[00:39:56] burns, like,
[00:39:57] he hides it
[00:39:58] from Sophie,
[00:39:59] but his hand
[00:40:00] is, like,
[00:40:01] burned or,
[00:40:02] like,
[00:40:03] covered in
[00:40:03] wounds
[00:40:04] after doing
[00:40:05] that.
[00:40:06] Yeah.
[00:40:07] Yeah, I
[00:40:08] think that
[00:40:08] even when
[00:40:10] he's using
[00:40:11] magic in a
[00:40:12] violent way,
[00:40:13] or in
[00:40:15] a warlike
[00:40:15] way, when
[00:40:16] he has good
[00:40:17] intentions,
[00:40:18] like protecting
[00:40:19] Sophie,
[00:40:20] it, that
[00:40:21] still is
[00:40:22] hurting him,
[00:40:23] so it could
[00:40:23] be an
[00:40:24] even stronger
[00:40:25] message in
[00:40:28] favor of
[00:40:28] pacifism,
[00:40:29] like, even
[00:40:31] when you're
[00:40:31] committing
[00:40:31] violence in
[00:40:32] the name of
[00:40:33] protecting
[00:40:34] someone,
[00:40:34] or when
[00:40:36] you have
[00:40:37] good intentions
[00:40:37] in your
[00:40:38] heart when
[00:40:38] you're doing
[00:40:39] it, it's
[00:40:39] still, you're
[00:40:41] still causing
[00:40:41] harm to other
[00:40:42] people, and
[00:40:43] that is taking
[00:40:44] a toll on
[00:40:44] him, and I
[00:40:45] think that
[00:40:45] that's a
[00:40:46] really cool
[00:40:48] and kind
[00:40:49] of powerful
[00:40:49] message that
[00:40:50] they have.
[00:40:51] Yeah, I
[00:40:52] do like
[00:40:53] messages like
[00:40:54] that in a
[00:40:54] lot of media,
[00:40:55] especially I
[00:40:56] feel like it
[00:40:56] gets portrayed
[00:40:57] really well in
[00:40:58] a lot of,
[00:40:58] like, animated
[00:40:59] stuff.
[00:41:00] For instance,
[00:41:01] Aaron, I
[00:41:01] know you're
[00:41:02] getting through
[00:41:03] Vinland Saga,
[00:41:04] season two has
[00:41:05] got some great
[00:41:06] moments of
[00:41:07] this, and I
[00:41:08] think you're
[00:41:09] going to
[00:41:09] absolutely enjoy
[00:41:10] that shit.
[00:41:11] I mean, it's
[00:41:12] peak.
[00:41:13] Yeah, I'm
[00:41:14] really enjoying
[00:41:15] season two
[00:41:15] right now.
[00:41:17] Something that
[00:41:18] I've made
[00:41:19] note of is
[00:41:20] Howl's
[00:41:21] reputation as
[00:41:23] this boogeyman
[00:41:24] who kind of
[00:41:24] tears out the
[00:41:25] hearts of pretty
[00:41:26] girls.
[00:41:26] I just think
[00:41:27] that that's so
[00:41:27] funny.
[00:41:28] And also, I
[00:41:30] wonder how he
[00:41:31] got that reputation
[00:41:32] to begin with,
[00:41:34] because he's
[00:41:34] just not a
[00:41:36] scary guy.
[00:41:37] Nothing about
[00:41:38] he's just this
[00:41:39] really vain dude.
[00:41:41] And I think
[00:41:42] that if it
[00:41:43] weren't for his
[00:41:43] moving castle out
[00:41:44] in the wastes
[00:41:45] that people kind
[00:41:46] of look at and
[00:41:47] they're like,
[00:41:47] oh, wow, he's
[00:41:48] out there.
[00:41:49] I don't think
[00:41:50] that he would
[00:41:50] have that
[00:41:51] reputation.
[00:41:52] It's just
[00:41:52] more people
[00:41:54] don't know who
[00:41:55] or what he
[00:41:55] is.
[00:41:56] So they're
[00:41:57] afraid of him
[00:41:58] instead of
[00:41:58] getting an
[00:42:00] understanding of
[00:42:01] what he is.
[00:42:02] Yeah, I think
[00:42:03] that that's
[00:42:04] that reputation
[00:42:04] of like tearing
[00:42:05] pretty girls
[00:42:07] hearts out is
[00:42:08] more supposed
[00:42:09] to be like
[00:42:10] hyperbole of
[00:42:11] him being a
[00:42:13] sort of playboy
[00:42:15] guy who's just
[00:42:16] like probably
[00:42:17] dumping girls
[00:42:18] left and right.
[00:42:19] We see that.
[00:42:20] Yeah.
[00:42:21] I think
[00:42:22] Markle or
[00:42:23] Calcifer said
[00:42:24] after his like
[00:42:25] first breakdown
[00:42:26] with his hair
[00:42:28] or not
[00:42:29] first breakdown
[00:42:29] but the
[00:42:30] breakdown that
[00:42:30] we see
[00:42:31] that his
[00:42:31] breakdown with
[00:42:32] his hair
[00:42:32] that he got
[00:42:34] like this once
[00:42:34] before when a
[00:42:35] girl dumped
[00:42:36] him.
[00:42:37] So I think
[00:42:37] that's probably
[00:42:39] part of like
[00:42:39] the vainness
[00:42:40] of his
[00:42:41] character is
[00:42:41] he's usually
[00:42:42] always going
[00:42:44] out and getting
[00:42:45] with some pretty
[00:42:46] girl and then
[00:42:46] just abandoning
[00:42:48] her somewhere
[00:42:48] or something.
[00:42:50] Yeah, Cal
[00:42:52] definitely
[00:42:53] likes to be a
[00:42:55] little bit
[00:42:55] manipulative,
[00:42:56] I think.
[00:42:56] But yeah, he
[00:42:57] he really also
[00:42:58] has this
[00:42:59] willingness to
[00:42:59] go with the
[00:43:00] flow a lot
[00:43:01] of the times.
[00:43:03] An example
[00:43:04] of that I
[00:43:04] think is all
[00:43:05] of the new
[00:43:05] residents that
[00:43:07] sort of sort
[00:43:07] of show up
[00:43:08] in his house.
[00:43:09] He doesn't
[00:43:10] seem to pay
[00:43:11] them much
[00:43:11] attention.
[00:43:12] He's just
[00:43:12] like, oh,
[00:43:13] great, another
[00:43:14] person living
[00:43:14] here, whatever
[00:43:16] versus how
[00:43:17] much he
[00:43:18] flipped out
[00:43:19] when his
[00:43:19] hair got
[00:43:20] dyed.
[00:43:20] Like Chase
[00:43:21] was just
[00:43:21] saying, he
[00:43:22] absolutely
[00:43:22] crashes out when
[00:43:23] his hair gets
[00:43:24] dyed.
[00:43:24] But when
[00:43:25] Sophie moves
[00:43:26] in, he's
[00:43:27] just so
[00:43:28] nonchalant about
[00:43:28] it.
[00:43:29] So what he
[00:43:30] cares about and
[00:43:30] what he doesn't
[00:43:31] care about is
[00:43:32] such an interesting
[00:43:33] thing.
[00:43:34] Yeah, when his
[00:43:35] hair turns red,
[00:43:36] he turns into
[00:43:37] Hiddalick Bob
[00:43:38] Crashout
[00:43:38] pants.
[00:43:40] I'm so glad
[00:43:41] that you're
[00:43:42] sharing Hiddalick
[00:43:43] Bob Crashout
[00:43:43] pants with the
[00:43:44] internet right
[00:43:45] now.
[00:43:45] What are you
[00:43:46] fucking going on
[00:43:46] about?
[00:43:47] I meant to ask
[00:43:48] about that
[00:43:48] earlier.
[00:43:49] What is this?
[00:43:50] Can we get an
[00:43:51] explanation, please?
[00:43:52] Don't worry about
[00:43:53] it.
[00:43:53] That's what
[00:43:54] Howl was when
[00:43:55] he had his
[00:43:55] hair dyed.
[00:43:57] Oh my god.
[00:43:58] He was Hiddalick
[00:43:58] Bob Crashout
[00:43:59] pants.
[00:44:00] Where does this
[00:44:00] term come from?
[00:44:01] How fucked up
[00:44:02] did you guys get
[00:44:03] last night?
[00:44:04] No, it's been
[00:44:05] around for ages.
[00:44:06] Just like Jay
[00:44:07] Nasty.
[00:44:08] Jay Nasty.
[00:44:09] Okay.
[00:44:10] Before his hair
[00:44:11] gets dyed, he's
[00:44:12] a regular old
[00:44:13] Jay Nasty.
[00:44:14] Yeah, no, I'm
[00:44:15] just gonna ignore
[00:44:16] this for the rest
[00:44:16] of the day.
[00:44:17] We're done.
[00:44:18] We're done with
[00:44:19] this.
[00:44:19] Hit a Slick Bob
[00:44:20] Jay Nasty
[00:44:20] pants?
[00:44:21] Oh my god.
[00:44:23] Oh my god.
[00:44:24] Yeah.
[00:44:24] Alright, cut that
[00:44:25] out!
[00:44:28] It's all staying
[00:44:29] in.
[00:44:30] No!
[00:44:31] Yeah, the people
[00:44:32] need to know about
[00:44:33] your fucking
[00:44:34] insanity.
[00:44:35] Yeah.
[00:44:36] We already talked
[00:44:37] about Sophie's
[00:44:37] mother, so I'm
[00:44:39] not gonna bring up
[00:44:40] the note that I
[00:44:41] had about her,
[00:44:41] but Turniphead,
[00:44:43] he's just awesome.
[00:44:44] He's always coming
[00:44:44] in clutch.
[00:44:45] I think it's so
[00:44:46] funny when at
[00:44:47] the end, the
[00:44:49] true love's kiss
[00:44:50] from Sophie or
[00:44:51] whatever turns him
[00:44:51] back into a prince
[00:44:52] and the Wicked
[00:44:53] Witch of the
[00:44:54] Waste is like,
[00:44:55] yeah, it looks
[00:44:56] like your true
[00:44:56] love is off with
[00:44:57] someone else.
[00:44:58] Sorry, man.
[00:44:59] Yeah, she's
[00:45:00] like instantly
[00:45:01] like strapping
[00:45:03] young men or
[00:45:04] something like
[00:45:05] that the second
[00:45:05] he turns
[00:45:06] into a prince
[00:45:08] again.
[00:45:09] I think another
[00:45:10] funny part is
[00:45:11] I can't remember
[00:45:12] if I'm imagining
[00:45:13] this or not,
[00:45:14] but I swear
[00:45:15] that when the
[00:45:16] prince like says
[00:45:17] goodbye to the
[00:45:17] main cast,
[00:45:19] I swear he's
[00:45:20] like on a
[00:45:20] pogo stick
[00:45:21] jumping away.
[00:45:23] He is!
[00:45:24] He is!
[00:45:24] I swear to
[00:45:25] God he is.
[00:45:26] I think you're
[00:45:27] right.
[00:45:27] He got so used
[00:45:29] to bouncing
[00:45:29] around.
[00:45:30] He just had to
[00:45:31] keep that going.
[00:45:33] finally freed
[00:45:34] from his
[00:45:35] prison of
[00:45:36] being a
[00:45:36] scarecrow and
[00:45:37] he immediately
[00:45:38] goes back to
[00:45:39] doing the
[00:45:40] exact same
[00:45:40] shit.
[00:45:42] Okay, but I
[00:45:42] think that that's
[00:45:43] like just a
[00:45:44] testament to like
[00:45:45] Aaron I think was
[00:45:46] saying earlier like
[00:45:46] it's a whimsical
[00:45:47] world, bro.
[00:45:49] You gotta have
[00:45:49] some reason.
[00:45:49] No, yeah.
[00:45:50] No, I enjoy it.
[00:45:51] I think it's great
[00:45:52] and it's funny.
[00:45:54] To go off of
[00:45:55] what Richard said,
[00:45:55] I do like to
[00:45:56] imagine that even
[00:45:57] before he was a
[00:45:58] scarecrow he was
[00:45:59] jumping around on
[00:45:59] a pogo stick.
[00:46:00] Yeah.
[00:46:02] You mean you
[00:46:04] don't travel by
[00:46:05] a pogo stick
[00:46:05] exclusively?
[00:46:06] Only on the
[00:46:07] weekends.
[00:46:08] Only on the
[00:46:08] week.
[00:46:09] See, Aaron,
[00:46:11] this is why
[00:46:11] you're a
[00:46:11] failure.
[00:46:12] 24-7 pogo
[00:46:14] stick.
[00:46:15] 24-7 pogo
[00:46:16] sticker?
[00:46:17] Yeah.
[00:46:19] Now that's
[00:46:20] some good
[00:46:20] exercise.
[00:46:22] It's definitely
[00:46:23] something.
[00:46:24] Richard, before
[00:46:26] we get too
[00:46:26] off track with
[00:46:27] a pogo
[00:46:28] stick conversation,
[00:46:29] you have any
[00:46:30] interesting moments
[00:46:31] that you thought
[00:46:32] of or noticed
[00:46:33] in the movie?
[00:46:35] I'm kind of a
[00:46:36] fraud because
[00:46:36] neither of these
[00:46:37] are really
[00:46:37] moments, but
[00:46:38] just cool stuff
[00:46:39] that I noticed
[00:46:40] and I really
[00:46:41] liked.
[00:46:42] I liked Sophie
[00:46:43] and the Witch
[00:46:43] of the Wastes
[00:46:44] relationship and
[00:46:45] how it evolves
[00:46:46] throughout the
[00:46:46] movie.
[00:46:47] How they're
[00:46:47] almost friends
[00:46:49] at the end.
[00:46:52] I mean, at
[00:46:53] the end, Sophie
[00:46:54] is literally her
[00:46:55] caretaker.
[00:46:59] witch of the
[00:47:00] waste did this
[00:47:00] horrible thing
[00:47:01] to her and
[00:47:02] she's still
[00:47:02] just making
[00:47:03] sure she's
[00:47:04] being chilling.
[00:47:05] It's kind of
[00:47:05] funny.
[00:47:06] Oh my god.
[00:47:08] Also, she
[00:47:09] saves witch of
[00:47:10] the waste from
[00:47:10] burning to
[00:47:11] death from
[00:47:11] cow suffer.
[00:47:13] Yeah, and
[00:47:14] also, I think
[00:47:16] that something
[00:47:17] really funny about
[00:47:18] the witch of
[00:47:18] the waste to
[00:47:19] me is that
[00:47:19] she does
[00:47:19] become just
[00:47:21] this very
[00:47:22] stereotypical
[00:47:22] old woman
[00:47:24] character after
[00:47:26] she loses her
[00:47:27] powers.
[00:47:28] And one of my
[00:47:29] favorite moments
[00:47:30] is when she's
[00:47:31] smoking the
[00:47:32] cursed cigar and
[00:47:34] they have to
[00:47:35] convince her to
[00:47:36] stop smoking it
[00:47:37] so that
[00:47:37] calcifer won't
[00:47:38] die.
[00:47:38] And she's like,
[00:47:39] allow an old
[00:47:40] woman her
[00:47:40] pleasures.
[00:47:42] Yeah, it's
[00:47:43] kind of crazy.
[00:47:44] Richard, did
[00:47:45] you have any
[00:47:46] other thoughts
[00:47:46] and moments?
[00:47:47] Yes, I did.
[00:47:49] The other
[00:47:49] thought or
[00:47:50] moment, whatever
[00:47:51] the hell I had,
[00:47:52] and it was
[00:47:53] really just, I've
[00:47:54] already spoke on
[00:47:55] it a little bit.
[00:47:56] It's just
[00:47:57] Sophie's kindness
[00:47:57] and then she
[00:48:00] also kind of
[00:48:01] pulls the
[00:48:02] castle together
[00:48:03] by the end of
[00:48:04] the story.
[00:48:04] You know, she
[00:48:05] gets, she
[00:48:05] cleans it up.
[00:48:06] She gets
[00:48:07] Kelsfer to do
[00:48:08] other things
[00:48:09] besides just
[00:48:09] move the
[00:48:10] castle and
[00:48:10] run the
[00:48:11] bath for
[00:48:11] Howl.
[00:48:12] She gets, she
[00:48:14] kind of educates
[00:48:15] them maybe a
[00:48:16] bit more on
[00:48:16] like how to
[00:48:17] be a more
[00:48:18] cohesive
[00:48:20] family.
[00:48:20] I don't
[00:48:21] really know how
[00:48:22] I'm trying to
[00:48:22] say this, but
[00:48:23] I'm trying to
[00:48:23] say it.
[00:48:24] Like she's
[00:48:25] the glue for
[00:48:26] all of them.
[00:48:27] Yes, thank
[00:48:28] you.
[00:48:29] That's, that's
[00:48:30] the word.
[00:48:31] She really is
[00:48:32] like, I'm
[00:48:32] with you.
[00:48:33] I think that
[00:48:33] she is the
[00:48:35] one keeping
[00:48:36] all of them
[00:48:37] together.
[00:48:37] She's the
[00:48:37] reason why
[00:48:38] they become
[00:48:39] that family
[00:48:40] unit instead
[00:48:41] of just
[00:48:41] these disjointed
[00:48:42] people, which
[00:48:43] it's one of my
[00:48:44] favorite tropes
[00:48:45] in media is
[00:48:46] the character
[00:48:47] character who
[00:48:47] is the
[00:48:48] heart of
[00:48:49] this sort
[00:48:50] of found
[00:48:51] family, I
[00:48:52] guess would
[00:48:53] be the term
[00:48:53] for them.
[00:48:55] Yeah, that's
[00:48:55] a good term.
[00:48:57] That's a better
[00:48:58] way of explaining
[00:48:58] it than I was.
[00:48:59] I was just
[00:48:59] going to rant
[00:49:00] in circles until
[00:49:00] someone told me
[00:49:01] to shut up.
[00:49:02] I think that you
[00:49:03] explained it really
[00:49:03] well.
[00:49:04] Oh, thank
[00:49:05] you.
[00:49:05] Thank you.
[00:49:06] I try.
[00:49:07] Yeah, you
[00:49:08] didn't hit a
[00:49:08] lick bob and
[00:49:09] crash out pants.
[00:49:10] Oh my fucking
[00:49:11] God, I'm
[00:49:11] going to crash
[00:49:12] out.
[00:49:13] Actually, you
[00:49:13] think they
[00:49:14] use a script?
[00:49:16] Shut up,
[00:49:17] Chase.
[00:49:17] Wait, that
[00:49:18] was an AI
[00:49:19] Richard quote.
[00:49:20] Yeah, I
[00:49:21] can't believe
[00:49:22] Aaron uses AI
[00:49:23] to defend me.
[00:49:24] Shut up.
[00:49:25] All right, let's
[00:49:26] get on to
[00:49:26] interesting or
[00:49:29] enjoyable art
[00:49:30] moments.
[00:49:30] Sick ass
[00:49:30] art.
[00:49:32] Oh, looks
[00:49:33] like I'm
[00:49:33] first.
[00:49:34] Richie boy?
[00:49:35] Yeah, yeah,
[00:49:35] shut up, idiot.
[00:49:36] My favorite, my
[00:49:38] favorite visual.
[00:49:39] You're so mad.
[00:49:39] There's no benefit
[00:49:40] for you being this
[00:49:41] Just a wee bit.
[00:49:43] my favorite
[00:49:44] scene visually
[00:49:45] has got to be
[00:49:46] the scene where
[00:49:47] Howell takes
[00:49:47] Sophie through
[00:49:48] the door to
[00:49:49] his garden and
[00:49:50] like little
[00:49:51] cottage.
[00:49:51] Like I think
[00:49:52] it's just such
[00:49:52] a beautiful.
[00:49:54] It's just
[00:49:55] beautiful, man.
[00:49:56] I can't I
[00:49:57] can't explain it
[00:49:58] other than that.
[00:49:58] Shit's majestic.
[00:50:00] I want to live
[00:50:01] there.
[00:50:02] Too bad.
[00:50:03] I'm living
[00:50:03] there.
[00:50:05] There's room
[00:50:06] for two
[00:50:07] houses.
[00:50:08] Not enough
[00:50:08] for three
[00:50:09] though.
[00:50:09] Sorry, Chase.
[00:50:10] Yeah, get
[00:50:10] out.
[00:50:12] Unless you
[00:50:13] want to be
[00:50:13] like a fire
[00:50:14] demon, Chase,
[00:50:14] you can be
[00:50:15] our calcifer.
[00:50:17] Go run
[00:50:18] me a bath
[00:50:18] calcifer.
[00:50:20] Yeah.
[00:50:21] Hot water
[00:50:22] now.
[00:50:24] Richard, what
[00:50:25] other parts of
[00:50:26] the art stuck
[00:50:26] out to you?
[00:50:28] The design of
[00:50:29] the castle was
[00:50:30] really cool.
[00:50:30] I like how it's
[00:50:31] kind of just a
[00:50:32] big I don't
[00:50:34] really know what
[00:50:34] animal but it's a
[00:50:35] big animal with
[00:50:37] you know the
[00:50:37] cast kind of like
[00:50:38] the mouth that
[00:50:39] Sophie crashes the
[00:50:40] plane into and
[00:50:42] I think that
[00:50:43] that's a really
[00:50:43] interesting design
[00:50:44] and then combine
[00:50:45] that with all the
[00:50:45] legs and stuff in
[00:50:46] it.
[00:50:46] It looks like a
[00:50:47] big bug or
[00:50:51] something I guess
[00:50:53] you know like
[00:50:53] maybe a big
[00:50:54] beetle and its
[00:50:55] shell just kind of
[00:50:55] has all that
[00:50:57] stuff on it.
[00:50:58] I always thought
[00:50:59] it looked like a
[00:50:59] pig.
[00:51:01] And then the
[00:51:01] last thing that I
[00:51:02] have to comment on
[00:51:03] for like the
[00:51:04] art is I just
[00:51:05] think that like
[00:51:06] as the castle
[00:51:07] moves it looks
[00:51:08] really nice.
[00:51:10] Because it's
[00:51:10] not I don't
[00:51:12] know how to
[00:51:12] explain it.
[00:51:13] It just there's
[00:51:14] a certain like air
[00:51:14] about it that
[00:51:15] just makes it
[00:51:16] look really
[00:51:17] really nice.
[00:51:18] I mean the
[00:51:19] environment in the
[00:51:20] backgrounds that
[00:51:21] they have when
[00:51:22] the castle is
[00:51:23] moving through the
[00:51:24] wilderness moving
[00:51:25] through the
[00:51:26] wastes I guess is
[00:51:27] the is the right
[00:51:27] term.
[00:51:28] It's just so
[00:51:29] gorgeous from
[00:51:31] Howell's secret
[00:51:31] garden to just
[00:51:34] the mountains in
[00:51:34] the background to
[00:51:35] the lake.
[00:51:37] everything is so
[00:51:38] stunning about it
[00:51:39] and there's not a
[00:51:41] single moment in
[00:51:42] this movie where
[00:51:43] I'm not in awe
[00:51:44] of what I'm
[00:51:45] looking at.
[00:51:46] I think that's a
[00:51:47] good way to put
[00:51:50] it.
[00:51:50] And Richard did
[00:51:52] you have any
[00:51:52] other thoughts
[00:51:53] before I start
[00:51:54] yapping about my
[00:51:55] opinions on the
[00:51:56] art?
[00:51:57] Yap away.
[00:51:58] That's all I got
[00:51:59] just that it looks
[00:52:00] awesome.
[00:52:00] All right.
[00:52:02] I wanted to
[00:52:04] highlight Sophie's
[00:52:05] transitions between
[00:52:06] youth and old age
[00:52:07] when her curse is
[00:52:09] fluctuating between
[00:52:10] being full blown
[00:52:11] and sort of the
[00:52:14] lifted state or the
[00:52:15] uncursed state.
[00:52:17] It's just so
[00:52:18] seamless so well
[00:52:19] done the way her
[00:52:20] hair stays the same
[00:52:21] color the way she
[00:52:23] transitions back and
[00:52:24] forth when she's
[00:52:25] sleeping versus
[00:52:26] awake and when
[00:52:28] she finally accepts
[00:52:29] herself and starts
[00:52:30] to love herself
[00:52:31] and the real
[00:52:33] she realizes that
[00:52:34] she is beautiful
[00:52:34] and a good
[00:52:36] person and I
[00:52:38] don't know I
[00:52:38] just think that
[00:52:39] they did such a
[00:52:41] good job with
[00:52:42] that curse of
[00:52:42] visualizing that
[00:52:44] on our screens.
[00:52:45] Have any thoughts
[00:52:45] about those
[00:52:46] transitions or
[00:52:47] anything like that?
[00:52:49] I think you
[00:52:50] perfectly summarized
[00:52:51] it.
[00:52:52] What Chase said
[00:52:53] I think Chase
[00:52:54] summarized what
[00:52:55] you summarized
[00:52:56] Chase did a
[00:52:57] great job
[00:52:58] talking.
[00:52:59] Yep.
[00:52:59] You're getting
[00:52:59] muted.
[00:53:00] That's all I got.
[00:53:00] Yep.
[00:53:01] You're done.
[00:53:01] You're muted.
[00:53:02] You're done.
[00:53:03] You can boot him
[00:53:05] now instead of me.
[00:53:06] Exactly.
[00:53:07] We don't need him
[00:53:07] for the rest of
[00:53:08] this.
[00:53:08] See you on Red
[00:53:09] Rising on Wednesday
[00:53:10] asshole.
[00:53:11] It's actually called
[00:53:12] Ramblers Rising you
[00:53:13] dumb idiot.
[00:53:14] I really loved the
[00:53:16] steampunk slash
[00:53:17] Victorian world and
[00:53:18] the magic and the
[00:53:19] machines.
[00:53:20] I think that the
[00:53:21] isolated cities that
[00:53:23] they had were
[00:53:24] really cool too.
[00:53:25] Like each one felt
[00:53:27] really I don't want
[00:53:29] to say distinct from
[00:53:30] each other.
[00:53:31] They all kind of had
[00:53:31] that similar Victorian
[00:53:33] vibe but they felt
[00:53:34] very far away from
[00:53:36] each other and the
[00:53:38] wastes in between
[00:53:39] them all felt I don't
[00:53:42] know it felt like a
[00:53:42] cool setting.
[00:53:43] The wastes made me
[00:53:44] really sad seeing
[00:53:45] this war-torn land
[00:53:47] that all of these
[00:53:51] places like are being
[00:53:52] constantly bombed and
[00:53:53] going through war and
[00:53:55] the environmental
[00:53:56] storytelling in this is
[00:53:58] just I guess yeah
[00:54:00] this is just a long
[00:54:01] winded way of me
[00:54:02] saying that the
[00:54:02] environmental
[00:54:03] storytelling is
[00:54:04] fantastic.
[00:54:06] I mean that's a
[00:54:07] good thing though
[00:54:07] because it was
[00:54:09] fantastic.
[00:54:09] It was phenomenal.
[00:54:10] I think seeing the
[00:54:11] wastes a lot of those
[00:54:12] places are like
[00:54:13] permanently scorched.
[00:54:14] It's just a very
[00:54:17] interesting way of
[00:54:18] depicting the evils
[00:54:19] of war.
[00:54:20] I think another
[00:54:22] depiction that kind
[00:54:23] of connects to your
[00:54:24] talking about the
[00:54:25] wastes is when we
[00:54:27] see how go into
[00:54:28] the black door and
[00:54:29] start fighting off the
[00:54:31] the wizards who had
[00:54:32] turned themselves into
[00:54:33] monsters for Solomon
[00:54:34] we kind of get a
[00:54:36] view of like the
[00:54:38] wastes again and
[00:54:40] of like the cities
[00:54:43] being bombed and
[00:54:44] how it's like
[00:54:45] completely just flames
[00:54:47] and smoke and
[00:54:49] destruction and I
[00:54:50] think that also
[00:54:52] connects to the
[00:54:52] environmental
[00:54:53] storytelling.
[00:54:54] All right into
[00:54:56] some into some
[00:54:57] notes I took on
[00:54:58] the art I thought
[00:54:59] the when we see
[00:55:00] Sophie led by Heen
[00:55:02] outside of the
[00:55:03] like area that
[00:55:05] the the witch
[00:55:07] of the waste gets
[00:55:08] turned into
[00:55:09] her actual age.
[00:55:12] I think that like
[00:55:13] spell scene where
[00:55:14] we see like the
[00:55:15] little guys dancing
[00:55:16] around the witch
[00:55:18] of the waste and
[00:55:19] stuff like that.
[00:55:20] I think that was a
[00:55:21] really interesting
[00:55:22] and well done
[00:55:24] art wise.
[00:55:25] I thought that was a
[00:55:27] very standout
[00:55:30] moment in the
[00:55:30] movie to me and
[00:55:33] I also thought
[00:55:35] another standout
[00:55:36] moment was in the
[00:55:38] beginning of the
[00:55:38] movie when Sophie
[00:55:40] leaves the hat shop
[00:55:41] to visit her sister
[00:55:43] Letty and we see
[00:55:44] all the marching
[00:55:45] soldiers tanks and
[00:55:47] trolleys.
[00:55:48] I think it does
[00:55:49] like a really good
[00:55:49] job of setting
[00:55:51] the wartime
[00:55:52] scene and
[00:55:55] just kind of
[00:55:56] the the feel
[00:55:58] of the universe
[00:55:59] like the
[00:56:01] technology that
[00:56:02] they have the
[00:56:03] what's going on
[00:56:05] in their everyday
[00:56:06] lives.
[00:56:07] The technology is
[00:56:09] always so
[00:56:09] interesting to look
[00:56:10] at whether it's
[00:56:11] the moving castle
[00:56:12] or the trains
[00:56:14] or the
[00:56:15] warships in the
[00:56:17] sky.
[00:56:17] It just it
[00:56:18] adds to the
[00:56:19] whole whimsical
[00:56:21] but grounded
[00:56:22] feeling of the
[00:56:23] world.
[00:56:23] Yeah another
[00:56:24] thing art wise
[00:56:26] I thought was
[00:56:27] really interesting
[00:56:28] was the way they
[00:56:29] did like the
[00:56:30] smog and smoke.
[00:56:31] I wrote down
[00:56:32] some examples
[00:56:33] like when the
[00:56:34] battle damaged
[00:56:35] ship comes back
[00:56:36] into the harbor
[00:56:37] we see the
[00:56:38] smoke and it
[00:56:39] really like
[00:56:40] blots out
[00:56:41] everything.
[00:56:42] It covers up
[00:56:43] so much.
[00:56:45] I think it's a
[00:56:46] really interesting
[00:56:47] way to do
[00:56:47] smoke because
[00:56:48] I mean mostly
[00:56:49] in real life
[00:56:50] when we see
[00:56:50] smoke it's
[00:56:51] opaque but
[00:56:53] you can kind
[00:56:54] of like see
[00:56:55] through it.
[00:56:56] But I think it's
[00:56:56] like kind of
[00:56:57] interesting how
[00:56:58] the smoke was
[00:56:58] like so dark
[00:57:00] and black that
[00:57:01] that's all there
[00:57:02] was.
[00:57:03] And also when
[00:57:04] like the train
[00:57:05] goes under the
[00:57:06] old Sophie
[00:57:07] crossing that
[00:57:08] bridge and she
[00:57:08] gets like engulfed
[00:57:10] in the smoke.
[00:57:11] I thought that
[00:57:12] was also a very
[00:57:13] interesting way
[00:57:14] to do smoke.
[00:57:15] And my
[00:57:17] last note
[00:57:18] was just I
[00:57:19] always love the
[00:57:20] machine designs
[00:57:21] that Studio
[00:57:23] Ghibli uses.
[00:57:24] The like
[00:57:24] lifelike
[00:57:26] like almost
[00:57:27] living machines.
[00:57:28] For example
[00:57:30] in this movie
[00:57:30] like the bomber
[00:57:31] planes
[00:57:32] with like the
[00:57:33] wings that
[00:57:34] flap and
[00:57:35] like the
[00:57:36] like little
[00:57:37] compartments
[00:57:38] that like push
[00:57:39] out like
[00:57:40] exhaust or air
[00:57:42] that are like
[00:57:42] it looks like
[00:57:43] someone's like
[00:57:43] blowing with
[00:57:44] their mouth.
[00:57:46] And then also
[00:57:47] when that
[00:57:49] one ship was
[00:57:50] like shooting
[00:57:50] out all like
[00:57:51] the monster
[00:57:52] wizards it was
[00:57:52] like birthing
[00:57:53] them out.
[00:57:54] It was kind
[00:57:54] of kind of
[00:57:55] interesting.
[00:57:57] Yeah I think
[00:57:58] that they do a
[00:57:59] really good job
[00:58:00] of showing the
[00:58:01] machines.
[00:58:02] I mean it's
[00:58:03] just not
[00:58:06] studio I feel
[00:58:07] like I'm gonna
[00:58:08] say this every
[00:58:08] single time we
[00:58:09] cover a Studio
[00:58:10] Ghibli movie but
[00:58:11] it's just so
[00:58:12] unique man.
[00:58:13] It's just
[00:58:13] there's no
[00:58:15] depictions that
[00:58:16] I can think of
[00:58:16] that are
[00:58:17] similar to it.
[00:58:19] It's just
[00:58:20] always they do
[00:58:21] such a good job
[00:58:22] of making their
[00:58:23] movies feel
[00:58:24] distinctive and
[00:58:26] almost like
[00:58:28] you could see
[00:58:29] this as an
[00:58:30] entirely alternate
[00:58:31] universe.
[00:58:32] It doesn't feel
[00:58:33] like connected.
[00:58:37] I don't I don't
[00:58:38] know where I'm
[00:58:39] going with this.
[00:58:39] It's like no it
[00:58:40] just feels very
[00:58:41] unique.
[00:58:41] Yeah they all
[00:58:42] feel like they're
[00:58:43] in their own
[00:58:44] separate world
[00:58:45] too even
[00:58:46] though they've
[00:58:48] you could tell
[00:58:49] that they're
[00:58:49] similar.
[00:58:50] They've got the
[00:58:50] same art style
[00:58:51] a lot of the
[00:58:51] same conventions
[00:58:52] but it's done so
[00:58:53] uniquely in each
[00:58:54] movie that it
[00:58:56] feels different
[00:58:57] regardless.
[00:58:58] Is that what you're
[00:58:59] trying to say
[00:58:59] kind of?
[00:59:00] Yeah I think
[00:59:01] that that's what I
[00:59:02] was trying to go
[00:59:02] for because I
[00:59:05] feel like so
[00:59:05] often a certain
[00:59:07] studio or group
[00:59:08] of creatives
[00:59:09] will find a
[00:59:10] niche and
[00:59:11] kind of do it
[00:59:13] to death a
[00:59:14] little bit and
[00:59:15] Studio Ghibli
[00:59:16] always manages to
[00:59:17] create something
[00:59:18] new and fresh
[00:59:20] feeling and I
[00:59:22] I just can't
[00:59:23] appreciate that
[00:59:24] enough as a
[00:59:26] viewer and as a
[00:59:27] fan of their
[00:59:28] projects.
[00:59:30] Yeah.
[00:59:33] Should we get
[00:59:35] into our final
[00:59:36] like thoughts and
[00:59:36] how we felt about
[00:59:37] the movie?
[00:59:38] I think that
[00:59:38] we're all pretty
[00:59:39] aligned on this
[00:59:40] one.
[00:59:41] Yeah.
[00:59:44] I wrote that
[00:59:45] overall I really
[00:59:47] enjoyed and loved
[00:59:47] this movie.
[00:59:49] I think that
[00:59:49] I think Richard
[00:59:51] also said this
[00:59:52] but I think that
[00:59:53] this is the
[00:59:54] best of the
[00:59:55] Ghibli movies.
[00:59:57] I think Miyazaki
[00:59:58] does a great job
[00:59:59] of portraying
[01:00:00] that war is
[01:00:02] such an awful
[01:00:03] thing and that
[01:00:03] there's not
[01:00:04] always a good
[01:00:05] side and most
[01:00:06] times there's
[01:00:06] not.
[01:00:06] I think that
[01:00:08] he does a
[01:00:08] great job of
[01:00:09] displaying how
[01:00:10] beauty is fleeting
[01:00:11] and that the
[01:00:12] bonds and
[01:00:13] affection that
[01:00:14] bonds and
[01:00:15] affection are
[01:00:16] built upon
[01:00:16] caring for one
[01:00:17] another and how
[01:00:18] far you're
[01:00:18] willing to go
[01:00:19] for someone.
[01:00:21] Yeah.
[01:00:23] I'm not too
[01:00:25] familiar with
[01:00:25] Studio Ghibli
[01:00:26] movies and I
[01:00:28] just think that
[01:00:29] this movie is
[01:00:30] the perfect
[01:00:31] example of why
[01:00:32] I should be
[01:00:33] more familiar.
[01:00:33] it just made me
[01:00:35] so happy to
[01:00:36] watch this.
[01:00:36] It's such
[01:00:37] great art.
[01:00:38] It's got a
[01:00:39] great art style
[01:00:39] great plot line
[01:00:40] and just this
[01:00:41] wholesome overall
[01:00:42] vibe that makes
[01:00:43] it feel like a
[01:00:44] cozy comfort
[01:00:45] movie even
[01:00:46] just from the
[01:00:47] first watch
[01:00:48] and it's just
[01:00:50] it was just so
[01:00:51] impressive how it
[01:00:52] pulled me in
[01:00:53] so completely
[01:00:54] right off the
[01:00:55] bat.
[01:00:56] I love this
[01:00:56] movie.
[01:00:58] Yeah.
[01:00:59] I think they
[01:00:59] definitely excel
[01:01:00] at making like
[01:01:01] like you said
[01:01:01] like the
[01:01:01] comfort movies
[01:01:03] for sure and
[01:01:05] you're right too
[01:01:06] on like how it
[01:01:07] pulls you in and
[01:01:08] you just want to
[01:01:10] experience this
[01:01:11] masterpiece of a
[01:01:12] movie.
[01:01:13] I'm not even
[01:01:14] glazing.
[01:01:14] I'm not glazing.
[01:01:15] I know I do it a
[01:01:15] lot but I'm not.
[01:01:17] It's it's not with
[01:01:18] this one.
[01:01:19] This one deserves
[01:01:19] all of the praise
[01:01:20] that it gets.
[01:01:21] Oh of course.
[01:01:23] Yeah.
[01:01:24] Yeah.
[01:01:25] And I'll go
[01:01:26] into my thoughts
[01:01:27] too.
[01:01:28] As Chase said
[01:01:29] I think this is
[01:01:30] simply the best
[01:01:31] Studio Ghibli
[01:01:32] movie.
[01:01:33] I have not seen
[01:01:34] The Boy and the
[01:01:35] Heron, My
[01:01:36] Neighbor Totoro
[01:01:37] and I don't think
[01:01:37] I've seen Ponyo
[01:01:39] and then a lot of
[01:01:40] the ones I have
[01:01:41] seen are just
[01:01:41] kind of you know
[01:01:42] I watched them
[01:01:43] when I was a
[01:01:43] kid or long
[01:01:45] enough ago where
[01:01:46] I don't remember
[01:01:47] them too well
[01:01:50] but like Chase
[01:01:51] said we're kind
[01:01:51] of echoing each
[01:01:52] other on this one.
[01:01:53] We both think
[01:01:54] it's a really
[01:01:54] great way to
[01:01:54] show the
[01:01:55] evils of war
[01:01:56] and I think
[01:01:57] it's interesting
[01:01:57] that the goal
[01:01:59] is shown to
[01:02:00] like you know
[01:02:00] the goal is
[01:02:01] shown to be
[01:02:02] that they want
[01:02:02] to end the
[01:02:02] war without
[01:02:05] fighting if at
[01:02:06] all possible
[01:02:07] without and not
[01:02:08] in a way of
[01:02:08] like having you
[01:02:10] know one side
[01:02:10] win over the
[01:02:11] other they just
[01:02:12] want it to
[01:02:12] end completely
[01:02:14] and be done
[01:02:16] with it and I
[01:02:16] think that's
[01:02:17] great.
[01:02:17] I think it was
[01:02:18] great to see
[01:02:19] Sophie bring order
[01:02:20] to the castle
[01:02:21] and she helped
[01:02:22] everyone kind of
[01:02:23] find their place
[01:02:23] in the world
[01:02:25] while also
[01:02:25] finding her
[01:02:26] own place
[01:02:27] with Howell.
[01:02:28] The fact that
[01:02:29] the main goal
[01:02:30] wasn't even
[01:02:30] really ending
[01:02:32] the war like
[01:02:33] that didn't feel
[01:02:34] like the main
[01:02:34] conflict for most
[01:02:35] of the movie I
[01:02:36] feel like and
[01:02:37] the way that they
[01:02:38] solved it in that
[01:02:39] roundabout way of
[01:02:40] turnip head
[01:02:41] turning into the
[01:02:42] prince and he
[01:02:44] goes back to end
[01:02:45] the war like I
[01:02:46] just think that's
[01:02:47] a really
[01:02:48] interesting way of
[01:02:49] doing things.
[01:02:51] Yeah.
[01:02:52] I just wanted to
[01:02:54] before we like
[01:02:55] wrap up and tell
[01:02:56] people how they
[01:02:57] can get a hold
[01:02:57] of us I
[01:02:58] wanted to say
[01:03:00] how impressive
[01:03:01] the this movie
[01:03:02] did in the box
[01:03:03] office.
[01:03:04] It had a budget
[01:03:05] of 24 million
[01:03:07] US dollars and
[01:03:10] it made 236
[01:03:12] million dollars
[01:03:13] worldwide.
[01:03:14] Holy shit
[01:03:15] that's a spread.
[01:03:16] Yeah all the
[01:03:17] Ghibli movies for
[01:03:18] the most part did
[01:03:19] really well.
[01:03:20] I think My
[01:03:21] Neighbor Totoro
[01:03:22] is the best one.
[01:03:23] I think The
[01:03:24] Boy and the
[01:03:24] Heron might be
[01:03:25] now though.
[01:03:26] I don't know.
[01:03:28] Yeah.
[01:03:29] I saw The
[01:03:30] Boy and the
[01:03:30] Heron recently.
[01:03:31] Very great movie.
[01:03:33] I think that we
[01:03:34] should do it but I
[01:03:35] think that that's
[01:03:36] going to be one of
[01:03:37] the ones we do
[01:03:37] later unless we
[01:03:38] get a lot of fan
[01:03:39] requests.
[01:03:40] That's up to you
[01:03:40] guys.
[01:03:41] But yeah.
[01:03:43] Yeah.
[01:03:43] So yeah just
[01:03:45] letting you guys
[01:03:45] know the next
[01:03:47] movie we go over
[01:03:49] is up to you
[01:03:50] guys but if we
[01:03:51] don't get any
[01:03:52] suggestions we
[01:03:53] will be doing
[01:03:54] Ponyo.
[01:03:55] Yeah.
[01:03:56] Yeah this movie
[01:03:57] it's crazy.
[01:03:58] Released on the
[01:03:59] 5th of September
[01:04:00] 2004.
[01:04:00] We're barely older
[01:04:02] than this movie.
[01:04:04] Yeah.
[01:04:05] It is.
[01:04:06] It is kind of
[01:04:07] crazy.
[01:04:09] It is.
[01:04:09] I think we
[01:04:10] we were like
[01:04:11] what like six
[01:04:12] months old
[01:04:12] roughly.
[01:04:13] I don't know.
[01:04:14] I me and
[01:04:16] Chase were born
[01:04:16] like a week
[01:04:17] apart in the
[01:04:18] summer of 2004
[01:04:19] so we're we're
[01:04:21] only a few
[01:04:22] months older
[01:04:23] than than
[01:04:24] this movie.
[01:04:24] I'm like God
[01:04:25] you guys are
[01:04:26] fucking babies.
[01:04:27] I'm like a
[01:04:27] month older than
[01:04:28] both of you.
[01:04:29] Yeah.
[01:04:29] Fucked.
[01:04:31] Yeah.
[01:04:33] Richard.
[01:04:34] Or wait no
[01:04:35] never mind.
[01:04:36] Chase has to
[01:04:38] start us with
[01:04:39] our outro.
[01:04:40] My bad.
[01:04:40] My bad for
[01:04:41] jumping around
[01:04:41] in the outline.
[01:04:42] Rose rain
[01:04:43] rotted mine
[01:04:44] can't even
[01:04:44] remember that
[01:04:45] I'm here.
[01:04:46] Okay.
[01:04:46] I mean that's
[01:04:47] fair.
[01:04:47] You haven't
[01:04:48] been here in
[01:04:48] months bro.
[01:04:49] We missed
[01:04:50] you.
[01:04:51] We have
[01:04:51] missed you.
[01:04:52] I'm lying.
[01:04:52] I don't like
[01:04:53] you.
[01:04:53] Get out.
[01:04:54] All right.
[01:04:55] Thanks to
[01:04:56] everyone for
[01:04:57] tuning in and
[01:04:58] it's great to be
[01:04:59] back on the
[01:04:59] pod.
[01:05:00] I've missed
[01:05:01] chitting and
[01:05:01] chatting.
[01:05:03] Also remember
[01:05:04] to reach out to
[01:05:05] us to help us
[01:05:06] decide which
[01:05:06] Ghibli movie
[01:05:07] we'll be
[01:05:08] covering next.
[01:05:09] Guys please
[01:05:10] reach out to
[01:05:11] us.
[01:05:11] We love the
[01:05:12] viewer interaction.
[01:05:13] We love to
[01:05:14] hear what you
[01:05:14] guys think.
[01:05:16] Trust me.
[01:05:17] Whatever you
[01:05:18] have to say
[01:05:18] we want to
[01:05:20] hear it.
[01:05:20] We also
[01:05:21] would love to
[01:05:21] hear.
[01:05:22] I know this is
[01:05:23] a little off
[01:05:23] topic but we'd
[01:05:24] love to hear any
[01:05:25] suggestions you
[01:05:26] have for us
[01:05:27] covering anything
[01:05:28] in general.
[01:05:29] I think that
[01:05:30] recently we've
[01:05:31] kind of fallen
[01:05:32] into a rut
[01:05:33] where we're
[01:05:34] having a little
[01:05:34] trouble coming
[01:05:36] up with new
[01:05:36] things to cover.
[01:05:37] So if you
[01:05:38] guys have any
[01:05:39] suggestions please
[01:05:40] shoot them our
[01:05:40] way.
[01:05:41] We really want
[01:05:41] to hear from
[01:05:42] anyone.
[01:05:43] And to end
[01:05:44] off my outro
[01:05:45] part Richard is
[01:05:46] going to give us
[01:05:47] some more details
[01:05:48] about how to get
[01:05:49] into contact
[01:05:51] with us.
[01:05:52] Yeah this is your
[01:05:53] time to shine
[01:05:53] Richard.
[01:05:54] Oh this is my
[01:05:55] time to shine
[01:05:55] every time.
[01:05:56] I am not doing
[01:05:57] this for Elden
[01:05:58] Ring though
[01:05:59] because I control
[01:06:01] that outline.
[01:06:02] I mean I control
[01:06:02] the Red Rising
[01:06:03] one too but
[01:06:03] that's okay I'll
[01:06:05] get AI Richard
[01:06:05] to say it.
[01:06:06] Oh my god.
[01:06:07] Well I just
[01:06:08] copy and paste
[01:06:09] the normal
[01:06:09] outro we use
[01:06:10] every time.
[01:06:13] Get on with it
[01:06:13] crash out pants.
[01:06:14] Oh my god
[01:06:15] alright fine.
[01:06:16] So first off
[01:06:18] I'd just like to
[01:06:18] say thank you
[01:06:19] to any of our
[01:06:20] listeners and also
[01:06:21] welcome back to
[01:06:22] Chase.
[01:06:22] We love having
[01:06:23] you here.
[01:06:23] And here are
[01:06:24] some ways you
[01:06:25] can contact us.
[01:06:26] We have our
[01:06:26] email which is
[01:06:27] radioactive at
[01:06:28] thelorehounds.com
[01:06:30] We do have a
[01:06:31] channel set up for
[01:06:32] radioactive ramblings
[01:06:33] inside of the
[01:06:34] lorehounds discord
[01:06:34] server.
[01:06:35] You can send us
[01:06:36] a message, chat
[01:06:37] about our podcast,
[01:06:39] you know, give us
[01:06:39] some suggestions,
[01:06:40] whatever.
[01:06:41] You know what Chase
[01:06:41] was talking about
[01:06:42] earlier.
[01:06:42] We also have a
[01:06:43] contact form or
[01:06:45] you could leave us
[01:06:46] a voicemail at
[01:06:47] thelorehounds.com
[01:06:49] You could consider
[01:06:50] following us on
[01:06:50] Twitter or X at
[01:06:52] radioactive 141
[01:06:54] and please leave
[01:06:55] us a rating on
[01:06:56] Apple Podcasts,
[01:06:57] Spotify, wherever
[01:06:58] else you might
[01:06:58] listen to us.
[01:06:59] It just helps
[01:07:00] other people like
[01:07:01] you find us and
[01:07:03] expand the
[01:07:04] community a bit.
[01:07:05] Yeah.
[01:07:06] Look, Richard,
[01:07:06] don't get plucky
[01:07:07] with me.
[01:07:08] I'm a founding
[01:07:08] member.
[01:07:09] I can have you
[01:07:09] gone with a snap
[01:07:11] of my fingers,
[01:07:12] buddy.
[01:07:13] All right.
[01:07:13] I've been on
[01:07:14] more episodes than
[01:07:15] you though, so.
[01:07:16] Yeah, but you're
[01:07:17] Hiddalik Bob crash
[01:07:19] outpancing right
[01:07:19] now, so.
[01:07:20] Oh, okay.
[01:07:22] My bad.
[01:07:23] Anyways, thank you
[01:07:24] all so much for
[01:07:25] listening.
[01:07:26] Before we let you
[01:07:27] go, I just want
[01:07:27] to shout out our
[01:07:29] parent podcast,
[01:07:30] the Lorehounds, as
[01:07:31] well as all of the
[01:07:32] other affiliates like
[01:07:33] ourselves.
[01:07:33] First, before I get
[01:07:35] into all of the
[01:07:35] affiliates and what
[01:07:36] the Lorehounds are
[01:07:37] covering, just thank
[01:07:38] you guys for
[01:07:39] supporting us and
[01:07:41] for giving us this
[01:07:42] platform even when
[01:07:44] we've been on
[01:07:45] hiatus.
[01:07:46] The Lorehounds have
[01:07:47] helped us get off our
[01:07:47] feet on this so much
[01:07:49] and we just, we can't
[01:07:51] thank them enough for
[01:07:51] helping us out.
[01:07:53] They're currently
[01:07:53] finishing coverage of
[01:07:54] Agatha all along.
[01:07:55] They're doing
[01:07:56] Penguin coverage,
[01:07:57] which me and Chase
[01:07:58] have both been
[01:07:59] watching the Penguin.
[01:08:00] It's so good.
[01:08:01] I'll get on it now
[01:08:01] that I have the HBO
[01:08:02] login that was
[01:08:03] graciously given to
[01:08:04] me, alright?
[01:08:05] Yeah, you need to
[01:08:06] get on that.
[01:08:07] And I think that
[01:08:08] they're going to be
[01:08:09] covering Dune
[01:08:09] Prophecy next.
[01:08:10] Over on Wolfshift
[01:08:11] Dust, Alicia and
[01:08:12] her co-host, they're
[01:08:13] gearing up to cover the
[01:08:14] new season of Silo.
[01:08:16] Stephen Anthony, over
[01:08:17] at Properly Howard
[01:08:18] Movie Reviews, just
[01:08:20] dropped a surprise
[01:08:21] review of the
[01:08:22] Penguin and
[01:08:23] listening to that,
[01:08:24] it sounds like
[01:08:24] they're thinking of
[01:08:25] coming back when
[01:08:26] the season is over
[01:08:28] and doing like a
[01:08:28] little wrap-up episode.
[01:08:30] So, stay tuned,
[01:08:32] they may be back
[01:08:32] with that.
[01:08:33] Marilyn and Dr.
[01:08:35] Sarah Brown are in
[01:08:35] the early stages of
[01:08:37] sort of thinking about
[01:08:38] their season two
[01:08:39] coverage plans for
[01:08:40] the Rings of Power,
[01:08:41] so stay tuned to
[01:08:42] find out what's next
[01:08:43] from Rings and
[01:08:43] Rituals.
[01:08:45] Last, but certainly
[01:08:46] not least, the
[01:08:46] newest affiliate,
[01:08:47] Nevermind the Music,
[01:08:48] is out, and Mark
[01:08:50] and Nicole are giving
[01:08:51] some amazing and
[01:08:52] entertaining looks
[01:08:53] into different
[01:08:54] genres of music.
[01:08:56] I don't know
[01:08:57] anything about
[01:08:57] music, and I
[01:08:59] think that they
[01:08:59] make it really
[01:09:00] accessible and
[01:09:00] entertaining, so
[01:09:01] go give Nevermind
[01:09:02] the Music a listen
[01:09:03] as well.
[01:09:04] Links to all of
[01:09:05] these are going to
[01:09:06] be in the show
[01:09:06] notes, as well as
[01:09:07] all the information
[01:09:08] that Richard so
[01:09:09] graciously let you
[01:09:10] know about how to
[01:09:10] get in touch with us.
[01:09:12] And thank you guys
[01:09:13] so much for listening,
[01:09:14] we'll see you next
[01:09:15] time.
[01:09:15] bae
[01:09:15] Tit Natalie Bear아uring
[01:09:15] Up