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All the Feels in Inside Out 2

July 1, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/87fa642e/e309c87c.mp3

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47: Join Ariel, Stef, and special guest Helen Garcia from Yellow Chair Collective for a heartfelt, hilarious, and insightful discussion on Inside Out 2 and the emotional rollercoaster that is adolescence. This episode unpacks how the film portrays anxiety, perfectionism, and identity shifts with surprising nuance, and why so many of us saw our younger (and current) selves in Riley’s journey. Whether you cried, cringed, or left the theater texting your therapist, this episode holds space for it all!

Summary

00:00 Hosts and guest intros
01:10 Inside Out 2, its massive marketing push, and what got left behind
04:00 Spoiler warning and movie synopsis
06:00 Anxiety’s debut and the anatomy of a panic attack
09:00 When Joy can’t reach Anxiety—symbolism of helplessness
11:00 Emotion combos, Internal Family Systems theory, and dynamic identity
14:00 The evolving sense of self and grounding techniques
17:00 Cultural misattunement during puberty (e.g., immigrant family dynamics)
20:00 Why Riley’s experience didn’t feel universal for everyone
22:00 Cultural TikToks reimagining emotions: Wu Ting, Honor, Filial Piety
24:00 Core belief shifts: “I’m not enough” and perfectionism
27:00 Visual art therapy and naming personal narratives
30:00 Complexity vs. affirmation-only approaches
32:00 Revisiting Joy, Sadness, and emotional integration
34:00 Classroom tools for building identity through the school year
37:00 Changing education systems and honoring the whole child
39:00 Perfectionism as a survival response in racialized and immigrant communities
42:00 Reflections on gamification, experiential learning, and emotional literacy
47:00 Symbolic meanings in control boards and character design
51:00 Are we all driven by one dominant emotion?
54:00 The fragility of identity and metaphor of the belief system design
56:00 Ice skating, burnout, and overachievement culture
58:00 Sports as metaphor for identity, connection, and drive
59:00 Where to find Yellow Chair Collective and final thoughts

Transcription

Speaker 1 0:00
Shrink wrap radio, number 300 on the neuroscience of dreaming with Robert Haas.

Speaker 2 0:07
Shrink wrap radio, all the psychology you need to know, and just enough to make it dangerous. It’s all in your head. And now here’s your host, Dr Dave music.

Speaker 1 0:27
My return guest today, after a long absence, is Robert J Haas and we’ll be discussing recent developments in the neuroscience of dreaming. Robert Haas MS is author of the book Dream language. He’s also a director and past president of the International Association for the Study of dreams. He’s on the faculty at Hayden Institute for Dream leadership training and a former adjunct faculty for Dream studies at such institutions as Sonoma State University, Richland College and Scottsdale College, a former corporate executive scientist and researcher with training in Gestalt and humanistic psychology, he now devotes his skills to dream studies for which he has been a frequent guest on radio and TV and an internationally acclaimed lecturer and instructor for over 30 years. His unique, simple but powerful dream work approach is based on his training in Gestalt therapy and background in Jungian studies the neurobiology of dreaming, plus his pioneering research on the significance of color in dreams. Now here’s the interview. Bob Haas, welcome back to shrink wrap radio. Well, thank you. It’s great to be back. Yeah, it’s been five years since you were here, back on episode number 90, announcing the 2007 dreams conference and speaking about the language of dreams. Now this is going to be episode number 300 and you can help me celebrate, yeah, you can help me celebrate our 300th shrink wrap radio. And of course, after our interview, I’ll ask you to say a few words about the upcoming 29th annual iasd conference. That’s the International Association for the Study of dreams. But before we get into that, I understand you’ve been doing some work on recent developments in the neuroscience of dreaming.

Speaker 3 2:27
Yes, there’s a tremendous amount of interesting stuff going on now, particularly since over the last decade, certain researchers have been able to use brain scan equipment, PET scans, MRI, things of that sort, or fMRI, to understand what Saturn’s of the brain are active and inactive during the dreaming. Tremendous amount of research out there, and I basically just been kind of compiling it and reporting on it. Yeah,

Speaker 1 2:57
yeah. And you’ve done a terrific job. You sent me a couple of articles that that you’ve written, and very impressive. So what are some of the more exciting things that neurological research has discovered about the dreaming brain?

Speaker 3 3:10
Well, just just kind of going into past history, way back in 1952 the discovery of REM occurred, and at that point in time, we suddenly realized that we dream a great deal of our evening two hours, or roughly for adults, about 24% of our sleep time is spent in in dreaming, or in vivid dreaming. What is what typically happens in what’s known as the REM state, which is a rapid eye movement, but now what? What’s happened during through a lot of other testing and research has been done, as they found that we really dream throughout the entire night, even outside of REM state. However, the Dreaming is the dreaming that we think of as dreaming, which is the more vivid dreams and all still occur during this, this REM state. So there’s been a lot of focus with with brain scan type research on neuroscience, on the REM state as being more associated with the kind of vivid dreams that we typically think of. And what has occurred is that the researchers have found that during our this REM state or this more vivid dream state? A great deal of our brain is active. It’s actually awake. And there are other parts of the brain that are that the activity is diminished in or they’re relatively asleep, and they really create the sort of characteristics we see in a dream, for example, the parts of the brain that tend to be asleep, if I can use that simple term when we dream, are the parts of the frontal cortex, dorsolateral prefrontal cortex, which is our thinking brain, and the rational thinking part of our brain. If. And other areas like motion and parts of the brain responsible for waking consciousness remain pretty much inactive, and what that does is it tends to make our dreams the kind of bizarre characteristics that that we see in our dreams we because there’s no rational filtering going on or rational directing of the dream activities so dreams can hyper Connect.

Speaker 1 5:27
Yeah. Is that because that prefrontal part of the brain that you were talking about is asleep?

Speaker 3 5:34
Yeah, the dorsalatal prefrontal cortex is a part of the frontal cortex that really is responsible for our rational thought, and that tends to be inactive. But now that the a whole bunch of centers are active in our dreams, for instance, in particular, the emotional processing, the emotional brain, the emotional part of our brain, called the limbic system, is highly active, also parts of the frontal cortex, lower frontal cortex and the anterior cingulate, which deal with analytical problem solving, learning and problem solving, about those kinds of activities, are quite active. And the really interesting thing is that our visual our primary visual cortex, is not active, the part we see with which is interesting because we’re seeing our dreams. However, what is active are the centers all around that the association cortex in principally the visual association cortex. And what that means is that the things we see in our dreams are really associations, visual associations and visual metaphors associated with the stuff being processed more deeply within the brain. So, you know, people have worked with dreams a long time. Know that, you know, they look at Dream imagery as associations. However, now it’s been shown as to why that is that that visual association cortex is what’s creating the images in our dreams. So we see the sensitive pictures of what is going on inside of our brain, pictures of the emotions being processed, for example.

Speaker 1 7:12
You know, that part actually seems to me to be in line with some of Freud’s early insights. I mean, he talked a lot about associations, and he was, he was trained as a neurologist, and of course, they didn’t have all the tools that we have today. And boy, I think he would just be tickled.

Speaker 3 7:34
Stuff. It would be a lot of this is actually supportive of you, even more than Freud, yeah, particularly the part about how the brain can learn and how the brain does problem solving, dealing with unresolved issues of the day and providing cues as to how one might solve it, testing dream scenarios, and thus Actually self rewarding and learning. So there’s a lot of activity going on there that the June would be proud of as well.

Speaker 1 8:06
Yeah. Now that relates to the whole question of, you know, what’s the function of dreaming? Why has it evolved? What you know, maybe you can speak to that a bit.

Speaker 3 8:18
Okay, yeah, there has been an awful lot of theory, theories related to the function of dreaming over time, and some of the brain scan activity is actually helping to consolidate some of those theories into a few areas that seem to make sense. And one of them, the first thing, is the finding that the limbic system, or this emotional brain is highly active has led a lot of researchers to believe that the brain is processing unresolved emotional or at least emotionally important issues of the day. A bunch of researchers now feel that that’s the case that we’re really dealing with emotion and emotional processing in our dreaming activity, also the fact that the active frontal regions, the anterior cingulate, cingulate, and some other areas of the brain are active. This is an indication that perhaps the brain is involved in learning and problem solving and protect in particular, adaptive learning, which is something revenue. So talked about

Speaker 1 9:28
in his theories was that I don’t recognize that.

Speaker 3 9:31
Rebso, I’m sorry. Robin, so announcing that correctly, yeah, his theory is that what we’re doing is we’re we’re learning to adapt to threat, threats in our daily life. He considers it somewhat of an evolutional thing, but where our brain learns to adapt to threats. However, one of the probably the best and most expanded theories is what Ernest Hartman. Has talked about he he basically says what’s happening is we’re creating new connections and dreams. We are weaving new material into established memory in an emotionally guided fashion. In other words, emotions guide our learning and dreams. And he basically says that the images created in the visual association cortex are picture metaphors. They are essentially a way our minds make connections, a way of noting emotional similarities. So the picture of a door and a dream might relate to feeling open or needing to protect yourself, etc, in waking life. So there’s an emotional similarity being pictured in the dream, and that they not only are making these new connections, but they’re revealing new perspectives. So in in his way of thinking, his theory is that that we’re actually learning something in our dreams, and we wake up from our dreams with perhaps a new perspective on things. And I think most of us can kind of sense that when a lot of times we’ll go to bed at night with a real problem on our minds, wake up in the morning and it seems to feel differently to us, we have a little bit of a different perspective on it. So so Hartman may be right about that we may be actually making new connections. He calls it being he calls it hyper connected, and actually learning something from it. Well, of

Speaker 1 11:29
course, I’m also thinking now about all the scientific breakthroughs and, you know, associated with dreams that there are a number of famous examples of people who have been scientists or writers, creative people who’ve been struggling with a problem, with an issue, thinking about it, thinking about it, thinking about it, and then finally, they have a breakthrough as a result of the dream. Yeah,

Speaker 3 11:57
probably one of the best books, if people are interested in that. On that as Deidre Barrett’s committee of sleep came out a few years ago, but she did a whole bunch of qualitative research on those incidents of creative problem solving and dreams. And what Ernest says about that is when we sleep and dream, because the rational centers are not guiding things. Our emotions are guiding things. Our brain hyper connects. That is, if we have a problem to solve, you know, infinite number of connections can be made on with past memories, past solutions, new creative solutions, etc, by neural hyper connection in our brain, and all this tends to get sorted out or selected as we dream and potential new creative solutions can emerge, yes,

Speaker 1 12:55
and I’m hearing in the in the thing about trying to deal with the unfinished business of the day, I’m hearing echoes again of both Freud and Jung. In terms of Freud talked about day residue and felt that there was always something in the dream from the previous day. And I’ve always found that to be true. If I look carefully at my dreams, and then, what is it that young adds to that? And how does, how does this new? How do these neuro scientific findings support Jung’s view? Okay,

Speaker 3 13:31
yeah, let me see if I can answer that. One thing Freud talked about is condensation, where various images will condense into new solutions. So that’s similar to what Hartman mentioned as well. So there is actually a part of the brain called the right inferior parietal cortex, which tends to create the scene of the dream and probably helps with this condensation as well. In other words, if you have two different ideas, two different thoughts that that emerge out of this hyper connected activity going on in your brain trying to resolve some problems, they will merge into a single image, and that image will represent a new perspective or a metaphor on the solution. So one way that the dream tends to work is to basically create these connections that may not have been observable before, may not have been thought of before. So that’s one way that they go about problem solving. And Freud would be proud of that. But what you basically said is the dreams go further than that. They he had a theory called compensation. He said that dreams will actually compensate for your misconceptions in life. In other words, they’ll guide you. They will show you where you’re having a problem, and they will guide you to. Towards a new solution. Now it turns out that when you look at the functions of the frontal part of the brain that are active in dreams, particularly the anterior cingulate, the basal ganglia, medial prefrontal cortex and some orbit frontal parts of the brain, those are all involved in waking life problem solving at an unconscious level. And basically, what they do, they’re responsible for your gut feeling. In other words, you know, you’re trying to solve a problem, you’ll have this gut feeling, something right about this solution? Well, that’s what’s going on. I’m missing

Unknown Speaker 15:33
a word there. The What feeling,

Speaker 3 15:35
yeah, the gut feeling, gut feel, you know, intuition, gut feeling, okay, right? Okay. And so what happens in dreams is that part of the brain is pretty active. And some of the latest research on those centers of the brain basically indicate something like this. Is the way that they act together in solving a problem. Is the basal ganglia, anterior cingulate will will first recognize that there’s a conflict or a problem. The anterior cingulate will mediate that problem. Will guide the rest of the active brain towards finding a solution. It will also imagine, in waking life, it’ll imagine new solutions. So in you know, the counterpart of that in dreaming is it will create dream scenarios, it will spit out little dream trials to test various solutions. And then when the anterior cingulate also has been shown to provide cues to other parts of the brain. So this is this guidance, perhaps that Jung talked about, that there is a guiding function going on in the dreams, and it will select solutions that work, that it observes to work. So there’s a least a function there capable of selecting green scenarios that work. Also the part of the frontal part of the brain, called the medial prefrontal cortex, contains a capability. For it, for having a sense of knowing. So there’s this sort of internal wisdom that can come up within the dream. And so basically, you’re getting a function here where you’re testing dream scenarios, you you’re getting cues as to how to move forward, which is the guidance that Jung talked about, the you get a sense of knowing or capability for that. So then the these parts of the brain can essentially pick a solution that works. And what I’ve observed in dreams is a self rewarding this is when you get those very positive dreams, the ones that you know you’re going along and dream also the dream ends in a positive fashion, which is the way the dream has of emphasizing the learning. It’s kind of a emotional reinforcement that, hey, this is the correct way to go, that you wake up with now you sometimes you’ll get the opposite the nightmare, where you have emotional reinforcement, but it will be a reinforcement towards, hey, this is right, because there is a sense of knowing inside the dream. So this emotionally reinforced, this emotional reinforcement is what Hartman says is, is drives the learning process. You learn from that. So there’s a sense that there may be an actually emotionally report, reinforced learning process taking in place in dreams.

Speaker 1 18:29
I’m wondering about what young calls big dreams, and I’m wondering if that somehow ties into the emotional reinforcement.

Speaker 3 18:37
Yeah, exactly that. You know, that’s exactly what you were talking about. This is when you make a real, real neural change in the learning process. You know, you really change something in your personality, and you get these big dreams where you have a very huge amount of emotional reinforcement towards the learning of whatever was transpiring in the dream.

Speaker 1 19:02
I seem to recall some research that suggested that over the course of the night, when they wake people up every time that they go into REM sleep, that there’s a kind of evolutionary process that seems to be happening with the dreams, starting out very symbolic and and then reaching greater clarity towards the last dream cycle in the morning. Does that ring a bell? And I’m wondering if it might relate to what you were saying about the testing of different possible Yeah,

Speaker 3 19:34
yeah. That’s pretty much how it seems to take place. That’s the observation, anyway. Is you know, sometimes good dreams get real complex and they flip between topics because there’s so many other aspects to the problem that come up. So the dreams will start to slosh back and forth during the night, but when they’re working on a singular issue, you can have, if you can remember enough dreams from the evening, you’ll actually see that each dream is taught. Talking about a similar theme, and there tends to be clarity over the night as as that goes on. And I’ve been actually able to collect a number of those examples and show how it really does appear that the brain is testing various solutions. It’ll what it’ll first do is, usually the first set of dreams will be illustrating your feelings, illustrating the situation you’ve gotten yourself in. It’ll illustrate it metaphorically. Then it may do it once or twice, and it’ll add a little twist to it. It’ll it’ll bring in separate ideas. And then finally, if the dreams last lawn up, and if the problem actually gets resolved, you’ll get some your final dreams will be quite clear, and you’ll you’ll see direction setting actually taking place in your dream. Let me give you an example. Yeah, that’d be wonderful. Okay, here’s one that’s kind of interesting, this dream had kept happened to an executive. He was running a division, and he was told that he may, he may lose a job, but he was like in these late 50s. So he figured this is the end of his career. The end of his life is big disaster for him. So he had dreams all night when he was that he was on this boat in an underground tunnel, and all night he’d be just on the boat. He’d be looking out the windows into darkness, trying to find a way out, trying to find a way to escape. And then later he would, he would be dreaming that he was wanting someone to help save him. You know, somebody helped me. Okay, so here was the dream basically representing his feelings. The dreams picture our feelings is what’s going on. So the dream was picturing his feelings about being trapped in this endless situation, no way to get out, no way to control the situation, etc. Well, then suddenly, towards one of the later dreams, a voice behind him said, no one is at the wheel. And at that moment, now, this was the guidance that that you talked about, and in the compensation that you talked about that said, Hey, you’re looking at this problem wrong. And he said, No one’s at the wheel. And looked down, and he saw that the wheel of the boat, there was absolutely nobody driving the boat. He was just kind of floating around through this tunnel. So there’s a great metaphor for saying, hey, nobody’s in charge of this situation. Okay? And at that moment, he got the thought in his mind, this is the the new information, new way of looking at things, new perspective that dreams can bring about. You got the thought in that? Well, maybe I better grab hold of the wheel. So he goes down. He grabs hold of the wheel, which is kind of a metaphor for take charge of your life. Take charge of the situation. Guy. You can’t nobody else is gonna help you out. So he goes and grabs hold the wheel. At that moment, the dream changed itself, reinforced by having having the boat exit this ice cave that he was in into a beautiful, calm stream, sunlight in the air, music in the air, singing, etc. In other words, it was this big dream that basically was self reinforcing this as the correct solution. So the dream was metaphorically saying, Look, guys, nobody’s gonna help you out of the situation. Take Charge your life. And this is the way out. You know, this is things will be better. And so in so you can see the processes Jung was talking about taking place in this dream is pretty obvious. Yeah,

Speaker 1 23:47
that’s a great example. You know, one of the things that students often ask me is, why are dreams so bizarre? Why don’t they just come out and say what they mean? If they’re meaningful, why don’t they just come out and say it?

Speaker 3 23:59
Well, that’s a really good question, and one of the reasons for that is that the centers that are actually inactive in the dreaming process, not only are the rational centers inactive, but some of this brain center is responsible for what’s known as episodic memory, our working memory with the ability to recall an episode an actual situation, those are really inactive in dreaming, and it’s probably part of the reason why we don’t recall our dreams very well. Yeah, I

Unknown Speaker 24:36
wanted to ask you about that. Yeah. I’ll get

Speaker 3 24:39
to that the second but what happens in the dream is because the the episodic memory is inactive, the actual thing that occurred, for example, in this guy’s dream, the fact that his boss told him he was fired, did not occur in the dream, but the part the dream was working on. Brain was working on the emotional impact to him, to his self worth, to the situation, is what the brain was working on, because that part of the brain is active. The emotional centers of the brain, the limbic system, is acting so it selectively works on emotionally important situations the day, but the emotions and the emotional impact surrounding that not so much recalling the event itself, and it’s because the episodic memory is inactive.

Speaker 1 25:30
Now, dreams are I like to say they’re kind of like smoke. You know? They kind of dissipate unless we rehearse them to ourselves immediately upon waking or write them down in a journal. Probably most of us can’t remember more than five or or 10 dreams over the course of our lifetime, unless we’ve made special effort to do so. Why is that? Why is it so hard to why do they just disappear?

Speaker 3 25:59
Yeah, good question. Well, a big part of it has to do with what I just mentioned, the fact that episodic or working memory is offline. And there’s a whole bunch of reasons that a lot of research has been done on on why we can’t recall our dreams, and it is been linked at times to such factors as thin boundaries, the ability to visualize. People who visualize more can, for example, recall the dreams more openness, creativity. Some studies have shown that people who are more creative tend to have more recall of dreams and various other physiological and external factors, such as, for example, just melatonin levels near the end of the sleep cycle, and how we our sleep cycle aligns With our circadian rhythms and surrounding light levels, for example, will change melatonin levels and cause us to wake in different cycles. So all these things have been studied, but basically it has to do with memory. It has to do with episodic memory, a very recent piece of research by Marzano and team, which was reported this last year in the Journal of Neuroscience, shows that there really is a neurological mechanism for green recall that seems to be taking place. They found that when they put EEGs on a number of subjects and control subjects in their in their lab that several certain frontal and temporal regions in the brain which are involved in encoding memory episodes in the waking state were also active in the dream state or in the sleep state. And for example, they found that when these areas became active within about five minutes before waking, usually there was dream recall and they found that with recallers and non recallers, there was a different activity in these areas. So it really does seem to be part of how your memory, how each individual’s memory systems operate, and that maybe have a whole bunch of other factors, like psychological factors and and chemical factors and things associated with but there are truly neurological differences in recallers and non recallers.

Speaker 1 28:39
Yeah, that’s fascinating and and I would think there would have to be something like that going on. Let me run something by you. One of Freud’s early notions was of the dream censor, that one of the reasons that dream seems so strange is that forbidden wishes have been disguised through a process of dream censorship. But in reality, we know that people do sometimes dream of things that would be morally abhorrent to them. Dreams are not immoral, but amoral. That is moral considerations don’t necessarily come into play. Would this be because areas of the prefrontal lobes involved in moral judgment are not active in REM sleep? Well,

Speaker 3 29:24
actually, the the answer is yes, and no, I don’t think a lot of people believe that Freud was correct on on his assumption that there’s a censorship going on, because it’s quite the actual opposite. I think when you really observe dreams, you’ll see it, nothing gets censored Exactly. Your whole soul is revealed in more detail you would ever want it to be in a dream. And so I think censorship is it was definitely not the case. But when it comes to moral judgment, there’s two parts to moral judgment. There is a there’s an internal, unconscious sense, like I said, a sense of knowing, a sense of what’s correct, which is dominated by parts of the dream or parts of the brain that are actually active in dream, things like the medial prefrontal cortex and and those lower regions are really involved in social interaction, and they really do understand how the world works at an unconscious level, and what works and what doesn’t. So there is a sense of moral judgment, like I said, your gut feeling, your intuition, your you know the little angel standing in your corner, you’re in the right corner of your shoulder saying, Hey, this is the right way. All that seems to take place at an unconscious level and is involved in the part of the dream that seems to know how things work. There’s another part of moral judgment which seems to dominate our waking life, and that’s the rational parts of the brain, the dorsal Lara, prefrontal cortex and all the memories and associations that we have been fed through our life, through, you know, a religious upbringing, through our parental upbringing, through society, things of that sort. So there’s a rational set of moral judgments that in waking life tend to override the unconscious set of moral judgments, but in dreams that rational stuff is is offline. Okay, so the rational moral judgments would typically not find their way into dreams, except where they have created a conflict. And so what one of that’s, you know, this point is a good one, because what it brings up is the exactly the kind of stuff the dreams deal with. Dreams deal with with conflicts, conflicting perceptions and they will, for instance, the basal ganglia and the anterior cingulate are heavily involved in detecting conflicts, anomalies, things that don’t fit. So when you have in a waking situation that relates to a moral judgment and it doesn’t fit your internal gut feeling, it doesn’t fit what you know internally, the dream will work on that. There’s an example, one example I have that of a in fact, a number of here’s a good one. This person was who was getting involved in a spiritual concept, new spiritual concepts, which just seemed right to him, and it really clicked and seemed very white, right? Very, very good. But these were in conflict with his upbringing as as a child. I think it was a Catholic upbringing or something as a child. And so he had, and he was, he was also, I think, in Spanish origin, so it probably was a Catholic upbringing. But he had a dream one night where he was flying in this airplane, and this airplane landed in a circular fashion in this Latin American village, and as it landed, there was a priest standing in the center of the circle, and the priest had a rifle and said, Get out of here, threatening our village. So you can see the kind of a metaphoric standpoint he was in this new airplane. This the he was flying around with these new concepts, but they were definitely in conflict with and threatening his old Latin American child childhood upbringing and his religious upbringing. So that’s how the dream will show these conflicts, and then it’ll go on to work on on those particular conflicts.

Speaker 1 33:52
Often there’s a kind of recognition in the dream that you’ve kind of alluded to in our mutual friend Jeremy Taylor’s talks about the aha experience. And I know you’ve written a bit about the moment of surprise. Say a little bit about that in the brain, this moment of surprise.

Speaker 3 34:10
Yeah, one of the things I’ve noted in trying to observe how these particular brain centers might might work, is that when these connections are made, there seem, they seem to and a lot of people say, is there a message in my dream? But if there’s any kind of message or compensation or connections that are being made in our dreams, they’re often observed at moments of surprise in the dream itself and in the last example, excuse me, example I gave of the guy floating around in the boat and trying to find his way out, the moment when the connection was made that no one was at the wheel. That was the moment of surprise and the dream. He looked down, and he was surprised to see that there was absolutely nobody controlling the boat. And so if you, if you look throughout, look at your dreams, and you’re wondering, Where is this compensation taking place? Where is this message from a quote, messaging quotes, because dreams don’t always give you a message you can understand. But where is this? Look for the points of surprise in your dream, and you will see that in there is a picture metaphor of something, some new insight that you can pull out of the dream. What

Speaker 1 35:36
about lucid dream? Sometimes lucid dreamers talk about using that moment of surprise as a trigger to become aware of the fact that one is dreaming and and to go into that lucid state. What does neuroscience have to tell us about lucidity?

Speaker 3 35:57
Well, lucidity, some of the more the later research. There was some earlier research done with EEG that was, I think labers did, Steven Burge, where he saw that when he looked at the EG and the person was in the lucid state, the EEG looked very much like wake of the waking state consciousness. And what some of the later research has shown is this part of the medial frontal cortex, from a part of the brain that regulates cognitive control, becomes active, becomes more active than it was. So in essence, we are truly arriving at a somewhat waking, conscious like state. However, the rest of the brain is still dreaming. Okay, so that we have a degree of free will, we have a degree of consciousness that we did not have before, and a degree of self reflection, we suddenly realize we are ourselves in the dreams. We’re not just, you know, wandering through the or having the dream drag us through, through our actions in the dream, we are now able to control our actions. We observe ourselves. We see ourselves as our ego self, so it allows us then to do some things that we wouldn’t normally be doing in dreams. Oh, it’s kind of interesting, if people have been actually healing on themselves and things like that. So there’s maybe some power in that. But one of the things that’s a lot of fun to do, and it also is an interesting way to explore what you call the unconscious, is to turn around and quit flying in dreams and doing all that kind of stuff. That’s fun, but turn around and talk to the dream cares. Act, ask them where they came from. Ask them, you know, questions about themselves, and you’ll get some interesting answers, because, you know, in one sense, they’re all parts of you, so you’ll be finding out about other parts of your personality. But an even more exciting and really interesting thing to do is realize that there is this collective unconscious. There is this intelligence behind the dream that you can tap into. For example, one of the things I like to do is turn around and say, dream. Show me something I need to know. And what will typically happen is the dream will sparkle out, you know, the scene of the dream will spark an out. Neil in the dream will maybe shoot you down a tunnel or take you to another dream, and it becomes a very meaningful dream that you’ll you’ll find yourself now entering into,

Speaker 1 38:41
well, that sounds really exciting. I have to confess, I’ve not had much success at lucidity. I’ve had maybe two or three dreams that I can recall where lucidity kind of more or less spontaneously happened. How did you manage to did that come naturally to you, or did you go through some kind of training to develop that? No,

Speaker 3 39:02
it’s it’s been with me. It was just natural. I don’t do it that much either. It’s usually somewhat spontaneous, although I find that if I really want to do it, I’ll put the intent in my mind before I go to sleep at night. And that will usually have a I’ll have a better chance of having a lucid dream than than otherwise. There are a couple good books, or some, some books by La Burge on some of his techniques. There’s also one out by Robert Wagner and some co authors called lucid dreaming. That’s that’s got some really good hints as to how to trigger lucid dreaming, and also talks a little bit about what I just mentioned, how to what to do in your lucid dreams to explore this, this new state of consciousness that that you find yourself in, yeah,

Speaker 1 39:50
well, all these techniques have evolved for working on one’s dreams that we collectively refer to them as dream work. Breck, and how does, how do these neuroscientific findings relate to those methods, either supporting them or not supporting them?

Speaker 3 40:12
Well, I like to the way I like to work with with dreams and feel that they’re really the most effective dream work methods are the ones that work with the dream the way your brain does. Okay. For example, talking about a dream and trying to guess what it means, you’re using a part of your brain that was asleep at the time. So it’s not going to work. It’s rare that it works. You’ll go on for hours trying to figure out what a dream means. So the rational thought about dreaming is not going to work. You’ve got to think like the dreaming brain did. So the parts of the brain that are active are responsible for what I mentioned before. They’re responsible for seeing things in terms of association and metaphor. So working with Association and metaphor, which is a fairly common way of working with dreams, is a is right on, you know that’s that’s going to get you further than talking about what the dream means. In other words, if I dream of a door, my association with the doors can be different than yours. I may think it’s an opening, somebody else will associate with a closing. So getting those associations out are necessary. The second thing that’s absolutely necessary is understanding your dreams about your feelings. It’s about emotions. It’s about emotional processing for so techniques that work with emotional content is absolutely important. And then thirdly, the union approach, essentially looking for the insight or the new connections that are taking place in the dreams. Look for the moments of surprise. Look for the seeming guidance or new discoveries in dreams. And also look for how the groom dream self rewards or emotionally, basically learns at the end that the emotional emphasis either positive or negative, because there’s there’s a message in that you know you’re either being led by the dream in the right direction or you’re being given some sort of Warning. So using what we’ve learned about the brain in in working with the dream is is probably the most effective way. Yeah,

Speaker 1 42:28
let me ask you again about that aha experience as a guide to that you’re on the right track in terms of understanding the dream. Okay, because you said surprise in the dream that’s one thing, but then there’s this kind of surprise that can happen, say, in a dream group, where people are sharing their own different associations, and at some point the dreamer may light up with this kind of aha sense of recognition,

Speaker 3 42:57
right, right? Well, what happens in dream groups is people are working with associations and metaphors. They’re suggesting associations and metaphors, and all of a sudden, one of them will click with the dreamer that was pretty close to the association that might have created the dream image. So that’s what the AHA is. It’s like, okay, that connects, that connects, and that’s important and dream groups. What’s actually, actually the method I use is much quicker and much much stronger, because it actually allows the dream to speak by speak itself. In other words, we can sit around and suggest associations and maybe one or more click but if you just let the image in the dream. Speak, you’ll get something that you’ll get the emotions immediately that created the image. I’ll give you example, and it’s called Gestalt therapy. I was training Gestalt work, okay? And I do a very simple version of Gestalt. I do a scripted six question Gestalt. My students call it the six magic questions, but it’s just a way of allowing the thing in the dream to speak and then and the emotions to come out. So you’re not guessing at what created that thing or what what it means. So here’s an example. This was a girl who was she was absolutely frozen in fear of taking on a new job for fear of being fired. She had been fired before from her job after her job was done, after what she was hired to do was done, they told her they no longer needed her, and she thought that was going to happen to her again. This new job was clear across country. She didn’t want to sell her house, and she had, at the time of the dream, she had to, she had to be on on the job in like, three weeks, and she hadn’t even sold her house yet, and this is going across country, so she was totally frozen. Well, she had the following dream. She dreamed that her friend Judy was painting she had painted her walls Gray, and her friend Judy came in and painted them blue and red. And in the dream, she tried to wipe it off, and then woke up screaming. It was a terrifying nightmare. And. Didn’t sound like a nightmare, but that was, it was a night wear to her, wow. And so I said, look around the dream and pick something that attracts your attention, because I want you to become that thing. And she looked around the ring. She said, the rag, you know, it just, just drew her attention. And this is important, because when you’re working with gesture at work, you want to go with the thing that somehow draws you to it, because there’s some emotions in that that are important to you. So she became the rag. And I said, Okay, as the rag Tell me about yourself, she says, I’m a rag in somebody’s hands. My purpose is to be handy and clean things up so it’s kind of represented what your job situation, says, but then she goes on to say, I like being available, needed and used, but I fear getting thrown away when the job is done. So this was a rag speaking, but you could see the emotions that came out when she was the rag not only describe how she felt about the job, why she wanted the job, but also the fears came out. They were spoken immediately, the fears getting thrown away after the job is done. And we didn’t find out about this job situation until after working on the dream. So you can see that the core of her being frozen came out in becoming the thing in the dream, allowing it to speak and looking at the conflict between I like being available, needed and used, and my fear is being thrown away after the job is done. She was frozen between those two things and couldn’t move. And we wouldn’t have known that by sitting around doing associations, thinking about the dream, you have to really let the dream speak in order to get these emotions to come out. Yeah, and so that’s why I like that.

Speaker 1 46:49
Well, I’m sure my listeners are wondering, what are the six magic questions?

Speaker 3 46:56
Okay, well, the six magic questions just guide you through this Gestalt work you could, you could freely become the image and then just speak but, but they help guide you through it. The first one is when you’re when you’re when she was the rag. I basically said, What are you? What is your purpose? And she says, My purpose is to be handy and clean things up. The last next one is what you like about being the rag? And she says, I like being available, needed and use what you dislike? A beat about being the rag. I dislike being thrown away after the job is done. What do you fear about being the rag? She said, discarded. And what do you desire about being the rag? And she said, to be useful and wanted to be used and useful. So that’s the you can see when you ask those six questions. You help to guide the person through very important questions coming very important responses coming out. And it also allows you to get to the conflict, the I like, I dislike, I fear and I desire, usually reveal the conflict the person is in that created the image to begin with. That’s what Freud would be happy with, because it’s a condensation of the image. Is a condensation of the conflicting feelings.

Speaker 1 48:17
I love the way that you’re able to digest these complex theories and then rewrap them in a in an easy to grasp fashion. I wanted to ask you about Alan Hobson, who I know has been one of one of the movers and shakers, and I heard him interviewed years ago on a radio program, and essentially, it seemed like he was saying that, well, dreams have no meaning. They’re not really expressing anything. We just kind of project those meanings on to them. Has he changed his view as time has gone along?

Speaker 3 48:54
Well, what is so interesting? It just about everything that I have talked about in here from the neurosciences for sick. It came from Alan, his colleagues, and, of course, Matt, and very, very many other studies, but, but Alan provided the core for all this. So it’s funny, that funny that he actually says that. But he’s trying. He’s trying to be a peer researcher, and basically, until he can sort out the, you know what I have just spoken about, they sort out the fact that there is a meaning, actually, that the dreams function to provide a meaning, he’s pretty well Not going to admit to it, and it is. There’s still a lot of controversy over how much of this meaning comes out as we dissect the dream and how much was actually there in the dream itself. So you know, he’s going to be a little reluctant to cross that boundary unless it’s absolutely proven. But I think Alan. For example, is, while it was one of the first to say that that, because the limbic system lights up in our dreams, it gives us a reason to believe that the dream really is working on with all emotional issues. And so gradually, as he can see the proof, he will, he will be willing to speak it. But he is, he is, he is one of the, one of the very best researchers that we have in the field and, and it’s, you know, so I think he’s just trying to retain, you know, that basic sense of research, yeah, and it’s not going to make statements unless they really can be proven. Yeah,

Speaker 1 50:42
yeah. Well, I can respect that however. You know, as as a therapist, to me, it doesn’t really matter which came first. You know whether, whether it’s projection after the dream has happened, or whether, you know, those issues actually form the dream, either way, it’s revealing of, yeah, underlying material. Yet,

Speaker 3 51:06
I think what I had observed we did a whole session on is there, is there meaning dreaming in our last conference? And we’re going to do another one this time. But I think what the researchers have now done is divided, divided function. What is the function of dreams? From is there meaning in dreams? Because I think most people realize that just as you stated that whether the dream inherently had the meaning or you pulled it out as you used it for your therapy, there is meaning, and it’s personal meaning to the individual. It’s meaningful to the therapist, etc, and it does reveal what’s going on inside the person, like I just showed in this example. But is that part of the function of dreaming? Is the dream really there to do that? So I think this division between function and meaning will help sort out some of this argument. Yeah.

Speaker 1 51:54
Now you just mentioned the conference, and I believe that you’re the chair of this 29th conference that’s coming, right? That, right? Yeah, yeah. So, so give us the pitch, okay,

Speaker 3 52:06
yeah. We’ve got a every year, the International Association for the Study of dreams puts on an annual conference, and it’s an international conference, totally global. There’s usually about 30 countries represented in these conferences. This is our 29th one. It will be in Berkeley this year at the Berkeley Marina Doubletree. It’s called sailing on the sea of dreams, and it will occur on June 22 through 26 it’s a four and a half day event, totally open to the public. There’ll be 180 presenters,

Unknown Speaker 52:44
really tough part is choosing which things to go, yeah.

Speaker 3 52:47
But what we do, and these are people from all over the world, what we do, though, is we divide the conference into multiple tracks. So if you’re interested in research, there’s a whole research track that doesn’t interfere with the other tracks. So you can see everything there is going on in research. And there’s some somewhere around 50% or so, just just in research alone. And there’s a clinical track. So you know, if you’re trying to get your you know, clinical CES, which we are, or interested in, in what’s going on purely from a psychological standpoint. You go to that track if you’re interested in spiritual aspects of dreams, or the Psy aspect of dreams, or dream art, things of that sort, there will be tracks on that, even anthropological tracks on how different cultures around the world. Deal with the deal with dream. So we have we divided into tracks, plus we will record the conference, at least the presentation section sessions, not the workshops, but the presentation session. So people can, if they can’t go to everything which you can’t, they’ll at least be able to get recordings. And this year we have some really good keynotes. Fred Alan Wolf, Dr quantum, okay, you start in the movie. What the Bree What the Bleep Do We Know will be our opening keynote? Patricia Garfield, who has is a prize winning offer, author of over 11 books on dreams, will be another keynote. And then lastly, Tracy Khan, last but not least, Tracy Khan, PhD, she’ll be talking on research, Dream research, via another key keynote. We have a whole bunch of it’s not just a conference, but a whole bunch of fun events too. We’ve got a green dream art exhibition that will be taking place at the conference and at a local gallery, we’ve got a Dream Telepathy contest run by, actually, Bob and Castle, who did a lot of the early Dream Telepathy research. So you’ll get to participate in that and it. Dreams. The conference ends with a costume dream ball and where we all dream, all dream. We all dress up as our dream characters and have a lot of fun. There’s a dream hike along the bay, and also a cruise at the San Francisco Bay one evening where we have a dessert cruise the chocolate fountain, so you can drink or eat as much chocolate as you want. So that’s a conference. And if you’re interested, go to www.as dreams.org, that’s the iasd site. That’s a S, D, R, E, A, M, s.org,

Speaker 1 55:38
for more information, okay, well, thanks for that run down. I look forward to seeing you there, and hopefully some of my listeners as well. So Bob Haas, thanks for being my guest once again today on shrink wrap radio. Thank you.

Speaker 1 56:01
I hope you learned as much as I did from this engaging conversation on the neuroscience of dreaming with Bob Haas. I’m really impressed by the way he’s able to keep all those brain regions and their functions on the tip of his tongue, given that he’s not really a neuroscientist himself, rather, he’s a dedicated instructor who’s really pulled together a lot of the latest research in a very compelling way. I was particularly glad to be reminded of his six step approach to working on dreams, which, as he mentioned, is basically derived from Gestalt therapy. I was quite impressed by Gestalt therapy in my early days of clinical practice, and use that approach quite a bit in my therapy at that time, including dream work. So of course, I’m quite familiar with the technique, but Bob has added something really nice here by boiling the essence of Gestalt dream work into a series of six simple steps that anyone can understand and use now, of course, the idea of giving dream characters a voice can also be seen as Jungian active imagination. I’m not aware of Fritz Perls, the pioneer of Gestalt therapy, ever having given any credit to Jung, there are some real similarities, and I don’t know if pearls was perhaps influenced by Jung or just happened to develop his ideas independently. Pearls was originally trained as a psychoanalyst, so there would be some theoretical kinship. In any case, I have a copy of Bob’s 2005 book Dream language, which I pulled off the shelf after our interview, and I’d forgotten that he had his six magic steps spelled out on the very first page of that book. I’m happy to be reminded of these because I’m teaching a lifelong learning class on dream work at Sonoma State University, which starts in a couple of weeks, and this will be a good technique to share with those students. So thanks again to Bob for giving me a lot of fresh ammunition to bring to my own teaching.

Speaker 4 58:07
That’s right. Shrink Wrap. Radio coming at you now. Yo, everybody, let’s get down. There’s a new MC in town talking psychology interviews. Dr Dave is all the rave. Ain’t no slouch on the digital couch. He’s on the pod podcast. Got the vibe you want to be in the know. Talking shrink wrap radio, shrink wrap radio, shrink wrap radio, I’m talking shrink wrap radio. Radio, shrink wrap radio. All right.

Speaker 1 58:52
Hello again, everyone. Welcome to the Big 300th anniversary show. Yay. In the past, I’ve tried to do something different to celebrate the 100th and the 200th episodes. Union analyst Monica Wickman has been an enthusiastic supporter of this effort, and she suggested that she’d be up for interviewing me for this episode as a way of marking the occasion. But I was a bit shy, and time has a way of just moving ahead, and I wanted to get the next episode out. So I know some of you out there have been on board for all 300 episodes. When I first got the idea for shrink wrap radio, some seven years ago, I had no vision of how long it would go on or how much ground we would cover. Looking back, I have to say, it’s been a very fulfilling journey, and I feel blessed by all of you who’ve come along for the ride. I have been working a bit ahead. So it’s now several weeks since I conducted the interview you just heard with Bob Haas. I’ve already been teaching my dreams. Last for two weeks for Sonoma State University’s Osher Lifelong Learning Program, and I’m happy to report that it’s going well. All of this brings us much closer to the International Association for the Study of dreams conference that Bob Haas talked about that’s coming up in June at the Berkeley Marina double tree. That’s June 22 through the 26th of 2012 and you’re all invited to attend. And you’ll find a link to the conference website in the show notes at shrink wrap radio.com and don’t forget that you can earn four continuing education units in dream work for listening to selected past interviews on dreams and you can be sure that more dream courses will be on the way as time goes by. And closely related are the 26 continuing education units you can earn, along with a certificate of completion on Union approaches. Just go to the store tab on our shrink wrap radio.com site for more information. At present, there is no new wise counsel episode to announce. I think there are a few more left in the queue, and so I’ll let you know as they get put on the wise counsel site, and there are also no new transcripts. Those of you who signed up to transcribe episodes, please finish them up or let me know that you won’t be able to do so, so I can reassign them to other volunteers, as always. Big thanks to all of you who have made one time or continuing financial contributions to help support shrink wrap radio. If you appreciate the in depth coverage you get here and haven’t yet added your financial support, please join the ranks of those who have made that commitment. In fact, your donation would be a wonderful way to celebrate this 300th episode and help us to get to number 400 and don’t forget our amazon.com links, both for the books you hear about here and for all your Amazon purchases.

Speaker 5 1:02:11
Hello. My name is Kelly Sullivan Walden. Some people call me Dr dream. I’m a hypnotherapist, Dream therapist and author of the book. I have the strangest dream, and I’m on the couch with Dr Dave.

Speaker 1 1:02:24
Well, how appropriate. It just so happens that my next interview will also be about dream work, and my guest will be Kelly Sullivan Walden. More about that in a bit. First, let’s listen to a few recent emails from our shrink wrap radio listener community. First we hear from Patricia, who responded to my thanks for both a one time and a continuing contribution. And I wrote her, thinking she might have accidentally contributed twice, and she responded, Hi, David, yes, those were intentional. I’ve been listening for a couple of months, but hadn’t gotten around to recharging my PayPal account so I could donate. Finally took care of that and sent a retroactive donation as well as the subscription. Thanks for all the great work you do. I listen to both podcasts regularly now, and I feel my happy dons have increased as a result. Best regards Pat. And I love that reference to happy Don’s from a recent interview. I’d already forgotten about the term, and it made me smile even just now, just seeing the word again. And of course, I’m smiling widely for receiving these two donations from a relatively recent listener who’s who’s joined, unfortunately, wise counsel is going away. They’re just a few more episodes in the queue, and then that’ll be all for wise counsel. But it just means I’ll be doing more shrink wrap radios. Really. Nothing changes that much since, since I’m the person who chooses the interviewees and sets up the show. And the only difference is I tended to go I tend to go into I spend more time here on shrink wrap radio, since that was the first one. That’s my first passion. Next we hear from Jason, who also responded to a thank you from me for his donation. And Jason writes, David, you are most welcome. I was introduced to shrink wrap radio via my depth psychology program that I’m finishing up at Pacifica Graduate Institute. Tom Eisner provided the class with a link to your Monica Wickman interview on alchemy. Since then, I’ve been listening to many of your shows. In particular the Jungian oriented ones had learned a bit just from listening, and it’s fun to get a voice attached to some of the authors. The interview with Tom Eisner came together really well, I thought since listening to. Show, I’ve been interviewed myself. After listening to the interview with Jane Teresa Anderson, I signed up to have a dream of mine as material for Dream working on her show. It comes out April 6. She’s good. I had to keep reminding myself that she doesn’t know me. I had been meaning to donate for a little while, and your frequent reminders were helpful. Keep up the good work, Jason. Well, I’m glad to hear, Jason that the frequent reminders worked and weren’t too offensive. And April 6 has already come and gone, so I will have to go to Jane Teresa Anderson’s website and listen to the dream work that she did with you that’ll be very interesting to hear. She was a great guest here. I know she’d be up for coming back, and perhaps I will bring her back. Finally, here’s one more from long time listener and supporter Jo In Australia, and she writes, Hi David. I just wanted to let you know how very much I enjoyed your interview with Dr Peter Flom on your wise counsel podcast. Such a dynamic conversation, and most interesting to hear about the disorder that he lives with and has adapted to so very well. It’s a great pity that you will not be continuing the wise counsel series, and I’m sure your work there will be greatly missed by listeners there, you certainly are leaving on a very high note, just when I thought that interview would be hard to top, I listened to shrink wrap radio episode number 299, and what a wonderful interview. That was too. Dr John Beebe is another wonderful guest, and I was thrilled to hear you both discussed the film A Dangerous Method, while incorporating interesting historical details to come to contrast with the artistic license used by the film director and so many other enriching aspects to the interview. Since your next episode will be number 300 Let me congratulate you in advance, a lovely milestone, and I hope you will use it as a good excuse to celebrate cheers from Joe. Joe, just in time, your email is the celebratory email. So I thank you for that, and I thank you for your continuing support financially, trans transcriptionally, somebody’s done a lot of transcripts and and emotionally and spiritually. So I think that better wrap it up for today. You can send your emails as always, to shrink at shrink wrap radio.com, you can also leave comments about individual shows in the comments area on the site. You can leave voice mails on Skype where I’m shrinkpod, or on our phone at 206-337-0622, or better. Yet, purchase our iPhone or Android app on our store at shrinkcraft radio.com, and then you can directly leave messages, voice messages or emails, very easily, thanks to longtime dream worker, author and International Association for the Study of dreams, conference chair, Bob Haas for sharing his work on recent developments in the neuroscience of dreaming. My next episode will be with yet another dream worker and author, Kelly Sullivan Walden. She’s going to be a workshop presenter at that June iasd conference. I keep mentioning, as I was looking through their program, I was struck by her topic, which involves supplying Joseph Campbell’s journey of the hero model to dream work. Now this is something I’ve been working on myself, and so I was eager to get her take on that. I’m planning to attend her workshop in June, and in the meantime, we can all get a preview in the very next episode, she’s a very original and energetic and charismatic woman, and I know you’re going to enjoy this next episode. So until then, this is Dr Dave saying it’s all in your mind. You’ve

Speaker 6 1:09:13
been shrink wrapped by Dr Dave all the psychology you need to know and just enough to make you dangerous. You.

Media/Characters Mentioned

• Inside Out 2
• Inside Out (original)
• Riley and her emotions
• Joy
• Anxiety,
• Sadness
• Anger
• Ennui
• Envy
• Embarrassment
• Nostalgia
• Bing Bong
• Bob Iger
• TikTok trends
• Meet the Robinsons
• Yellow Chair Collective Podcast

Topics/Themes Mentioned

• Anxiety attacks
• Panic attacks
• Perfectionism as survival response
• Identity formation and core beliefs
• Internal Family Systems theory
• Racialized trauma and cultural disconnection
• Emotional literacy in education
• Art therapy and expressive interventions
• Gamification and experiential learning
• Cultural reinterpretation of emotion
• Belief systems and the fragility of self
• Sports as identity development
• Western emotional frameworks vs cultural concepts

Helen Garcia, ACSW
Yellow Chair Collective Website: https://yellowchaircollective.com/
IG: https://www.instagram.com/yellowchaircollective/

Website: happy.geektherapy.com
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| Stef on X: @stefa_kneee | Ariel on Instagram: @airyell3000 |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
Website: www.geektherapy.org
| GT Facebook: @GeekTherapy | GT Facebook Group: @GeekTherapyCommunity
| GT X: @GeekTherapy | GT Discord: geektherapy.com/discord |
| GT Forum: forum.geektherapy.com |

Magical Ink

June 28, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/ac5ab972/bbb486d9.mp3

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46: Ariel and Stef are joined by Dr. Jinxi Caddel for a heartfelt and art-filled dive into the world of tattoos, identity, and Disney fandom. From full Alice in Wonderland back pieces to tiny churro flash tats, this episode celebrates how ink becomes a personal archive of memory, culture, and connection.

Jinxi shares her journey from tattoo publishing to mental health, co-owning a tattoo shop, and running a private practice for those who color outside the lines. Together, they unpack stigma, nostalgia, and the healing power of self-expression—through Disney and beyond. Whether you’re tattooed, tattoo-curious, or just love a good Dole Whip, this one’s for you.

Summary

00:00 Hosts and guest introductions
02:00 Childhood Disney memories and first tattoos
04:00 Jinxi’s journey from tattoo publishing to psychology
08:00 Stigma, acceptance, and professional visibility
13:00 Tattoos in families and intergenerational storytelling
16:00 Favorite Disney tattoos—characters, quotes, and food!
20:00 Fandoms in ink: Star Wars, Marvel, and park icons
24:00 Flash tattoos and memory markers
28:00 Permanent makeup and cultural ties
32:00 Tattoos as affirmations and emotional touchstones
35:00 Therapeutic meaning behind body art
40:00 Building safe, expressive spaces in education and therapy
46:00 Final reflections and where to find Jinxi’s work

Transcription

00:00:03:20 – 00:00:05:01
Hello, everyone.

00:00:05:01 – 00:00:07:01
Welcome to the Happiest Pod on Earth.

00:00:07:01 – 00:00:07:18
I’m Stef

00:00:07:18 – 00:00:09:12
I’m an educator who uses passions

00:00:09:12 – 00:00:10:09
and fandoms to help

00:00:10:09 – 00:00:11:15
my students grow

00:00:11:15 – 00:00:12:19
and learn about themselves

00:00:12:19 – 00:00:14:07
and the world around them.

00:00:14:07 – 00:00:16:01
And I’m Ariel, a licensed therapist

00:00:16:01 – 00:00:17:20
who uses clients passions and fandoms

00:00:17:20 – 00:00:18:15
to help them grow

00:00:18:15 – 00:00:19:11
and heal from trauma

00:00:19:11 – 00:00:21:19
and mental and wellness.

00:00:21:19 – 00:00:23:14
And I am Jinxi

00:00:23:14 – 00:00:25:19
and I’m a mental health therapist

00:00:25:19 – 00:00:27:12
and a book publisher.

00:00:27:12 – 00:00:29:10
And the tattoo shop owner,

00:00:29:10 – 00:00:31:11
in Eugene, Oregon.

00:00:31:11 – 00:00:33:01
I have a practice called Black

00:00:33:01 – 00:00:33:20
Sleep Therapy,

00:00:33:20 – 00:00:36:20
where, I like to help people who,

00:00:36:22 – 00:00:39:02
like to color outside the lines.

00:00:39:02 – 00:00:40:09
That might be black sheep

00:00:40:09 – 00:00:43:05
or unicorns themselves.

00:00:43:05 – 00:00:45:02
So I’m happy to be here.

00:00:45:02 – 00:00:46:04
Wonderful.

00:00:46:04 – 00:00:47:11
And here at Happiest Pod,

00:00:47:11 – 00:00:48:19
we dissect Disney mediums

00:00:48:19 – 00:00:50:05
So the critical lens. Why?

00:00:50:05 – 00:00:51:15
Because we are more than just fans,

00:00:51:15 – 00:00:53:06
and we expect more from the mediums

00:00:53:06 – 00:00:54:07
we consume.

00:00:54:07 – 00:00:56:15
So, what are we talking about today?

00:00:57:21 – 00:00:59:09
Well, we have another very

00:00:59:09 – 00:01:01:04
special guest on our podcast.

00:01:01:04 – 00:01:03:04
Welcome, Dr. Jinxi Right?

00:01:03:04 – 00:01:04:05
It is.

00:01:04:05 – 00:01:05:17
Thank you so much.

00:01:05:17 – 00:01:06:11
I appreciate it,

00:01:06:11 – 00:01:08:09
but I’m so happy to be here.

00:01:08:09 – 00:01:09:15
Yeah, absolutely.

00:01:09:15 – 00:01:11:22
And we’re we have a really fun topic

00:01:11:22 – 00:01:12:15
to talk about.

00:01:12:15 – 00:01:13:18
And,

00:01:13:18 – 00:01:16:11
we talk about Disney art on many levels,

00:01:16:11 – 00:01:18:09
but I think this is a level of Disney

00:01:18:09 – 00:01:20:21
art that we haven’t quite talked about,

00:01:20:21 – 00:01:23:14
which is body art and tattoos.

00:01:23:14 – 00:01:24:13
And,

00:01:24:13 – 00:01:26:11
I think with the recent,

00:01:26:11 – 00:01:28:14
I think resurgence of tattoos

00:01:28:14 – 00:01:29:17
and the accessibility

00:01:29:17 – 00:01:30:19
to getting tattoos

00:01:30:19 – 00:01:33:15
has been widely seen and respected.

00:01:33:15 – 00:01:35:17
And, we just love

00:01:35:17 – 00:01:36:19
especially going to the parks

00:01:36:19 – 00:01:37:15
and seeing different

00:01:37:15 – 00:01:40:00
interpretations of Disney art.

00:01:40:00 – 00:01:40:16
And also,

00:01:40:16 – 00:01:40:21
you know,

00:01:40:21 – 00:01:42:17
we were really curious for you,

00:01:42:17 – 00:01:44:02
Dr. Jinxi

00:01:44:02 – 00:01:47:02
you’re kind of journey into your

00:01:47:02 – 00:01:49:17
amazing life, I think, as a therapist

00:01:49:17 – 00:01:51:02
and as an artist.

00:01:51:02 – 00:01:52:18
I think it’s a very unique,

00:01:52:18 – 00:01:54:01
perspective

00:01:54:01 – 00:01:55:10
that not many people know about.

00:01:55:10 – 00:01:57:11
Yeah. Well, thank you so much.

00:01:57:11 – 00:02:00:11
I, you know, it’s funny because

00:02:00:17 – 00:02:03:14
as a child, my very first experience

00:02:03:14 – 00:02:07:03
with a tattoo was at Disneyland,

00:02:07:03 – 00:02:10:05
and I was behind a girl in line

00:02:10:05 – 00:02:11:16
who had a Cheshire

00:02:11:16 – 00:02:14:08
cat tattoo on her back.

00:02:14:08 – 00:02:15:20
And I thought it was like,

00:02:15:20 – 00:02:18:08
the dreamiest thing I had ever seen,

00:02:18:08 – 00:02:19:01
and I.

00:02:19:01 – 00:02:19:23
I can’t remember

00:02:19:23 – 00:02:22:05
how old I was, but I just

00:02:22:05 – 00:02:25:05
it was locked in and I just knew

00:02:25:05 – 00:02:27:05
someday I wanted tattoos to,

00:02:28:16 – 00:02:30:07
And, I

00:02:30:07 – 00:02:31:16
actually didn’t get

00:02:31:16 – 00:02:34:01
my first tattoo until,

00:02:34:01 – 00:02:34:08
like,

00:02:34:08 – 00:02:35:13
my mid to late

00:02:35:13 – 00:02:36:22
20s, after

00:02:36:22 – 00:02:38:17
I had had all of my kids

00:02:38:17 – 00:02:43:23
and, I was working as a, an editor

00:02:43:23 – 00:02:44:17
and a writer

00:02:44:17 – 00:02:45:18
for several,

00:02:45:18 – 00:02:48:18
tattoo magazines at the time.

00:02:48:21 – 00:02:51:04
And so that just opened

00:02:51:04 – 00:02:51:19
my world

00:02:51:19 – 00:02:54:04
into all of these incredible artists.

00:02:54:04 – 00:02:55:09
And,

00:02:55:09 – 00:02:56:18
my very first tattoo

00:02:56:18 – 00:02:59:18
was a tiny little cherry on my ankle.

00:03:00:00 – 00:03:01:00
And,

00:03:01:00 – 00:03:04:03
and that has since grown into pretty much

00:03:04:03 – 00:03:05:06
I have my whole head

00:03:05:06 – 00:03:08:05
tattooed, down, down to my toes.

00:03:08:05 – 00:03:09:08
Most of it’s covered.

00:03:09:08 – 00:03:10:21
I have a couple little spots

00:03:10:21 – 00:03:12:23
that I’m trying to hopefully

00:03:12:23 – 00:03:14:19
be conservative them with now,

00:03:14:19 – 00:03:15:07
because I don’t

00:03:15:07 – 00:03:18:07
have much real estate left.

00:03:19:04 – 00:03:20:17
But, that’s a real thing.

00:03:20:17 – 00:03:21:09
That’s a real thing.

00:03:21:09 – 00:03:22:21
The real estate is limited

00:03:22:21 – 00:03:25:11
And, you know, I did it,

00:03:25:11 – 00:03:26:21
when I first started,

00:03:26:21 – 00:03:30:01
I was so into the art form

00:03:30:01 – 00:03:33:04
and the, the camaraderie

00:03:33:04 – 00:03:35:01
and just the whole experience

00:03:35:01 – 00:03:36:04
of getting tattooed

00:03:36:04 – 00:03:37:20
that I went full force,

00:03:37:20 – 00:03:38:17
you know, like, once

00:03:38:17 – 00:03:40:00
I was ready to do it,

00:03:40:00 – 00:03:43:00
I was like, just going.

00:03:43:06 – 00:03:44:06
So I.

00:03:44:06 – 00:03:45:14
I covered up a lot,

00:03:45:14 – 00:03:48:06
you know, my arms, pretty early on,

00:03:48:06 – 00:03:49:16
a lot of the precious

00:03:49:16 – 00:03:51:10
real estate got taken up,

00:03:51:10 – 00:03:52:20
you know, in my early years.

00:03:52:20 – 00:03:55:12
But, now I’m much more,

00:03:55:12 – 00:03:57:08
you know, thoughtful. I think.

00:03:57:08 – 00:04:00:06
So I worked

00:04:00:06 – 00:04:01:20
in the publishing world

00:04:01:20 – 00:04:04:09
for a long time in the tattoo realm,

00:04:04:09 – 00:04:05:02
and,

00:04:05:02 – 00:04:06:00
eventually worked

00:04:06:00 – 00:04:08:11
for a publishing company in the,

00:04:08:11 – 00:04:10:09
where I kind of learn

00:04:10:09 – 00:04:13:03
the ropes of how to put books together.

00:04:13:03 – 00:04:14:12
And then my husband

00:04:14:12 – 00:04:17:12
and I, started Out of Step Books

00:04:17:13 – 00:04:20:13
in, 2010.

00:04:20:13 – 00:04:23:10
And we made art and tattoo books.

00:04:23:10 – 00:04:24:11
We still run it,

00:04:24:11 – 00:04:25:23
but we’re both pretty busy

00:04:25:23 – 00:04:26:22
with lots of things.

00:04:26:22 – 00:04:28:16
So we haven’t done a book

00:04:28:16 – 00:04:29:23
for two years now,

00:04:29:23 – 00:04:32:23
but we did 28 publications,

00:04:32:23 – 00:04:35:20
including, two children’s books,

00:04:35:20 – 00:04:39:06
and they’re all somehow tattoo related.

00:04:39:15 – 00:04:40:02
What the

00:04:40:02 – 00:04:41:06
the kids book is

00:04:41:06 – 00:04:42:11
kind of a little dip

00:04:42:11 – 00:04:45:01
into positive psychology

00:04:45:01 – 00:04:47:19
about having a positive mental attitude,

00:04:47:19 – 00:04:49:09
and it was illustrated

00:04:49:09 – 00:04:51:05
by a tattoo artist.

00:04:51:05 – 00:04:53:06
And then we have one of the other kids

00:04:53:06 – 00:04:55:05
books is a little ABC book,

00:04:55:05 – 00:04:56:00
and it was,

00:04:56:00 – 00:04:57:18
26 tattoo artists

00:04:57:18 – 00:05:00:14
each did a letter of the alphabet.

00:05:00:14 – 00:05:03:12
It’s super cute and…. That’s amazing!

00:05:03:12 – 00:05:04:03
Yeah,

00:05:04:03 – 00:05:04:21
it was fun

00:05:04:21 – 00:05:05:21
because we used to go

00:05:05:21 – 00:05:07:09
to a lot of conventions

00:05:07:09 – 00:05:08:07
to sell the books.

00:05:08:07 – 00:05:10:08
And, you know, a lot of tattoo

00:05:10:08 – 00:05:11:19
collectors have children.

00:05:11:19 – 00:05:13:03
Yeah.

00:05:13:03 – 00:05:13:21
It was just. Yeah.

00:05:13:21 – 00:05:16:00
You know, it was pretty awesome

00:05:16:00 – 00:05:17:17
to get to have that.

00:05:17:17 – 00:05:21:12
And then when we moved to,

00:05:21:12 – 00:05:23:03
Eugene, Oregon, we,

00:05:23:03 – 00:05:24:17
opened the, tattoo

00:05:24:17 – 00:05:26:23
shop, called Out of Step Tattoo.

00:05:26:23 – 00:05:28:03
And at this time,

00:05:28:03 – 00:05:30:01
I had gone back to school,

00:05:30:01 – 00:05:31:05
many years ago

00:05:31:05 – 00:05:33:11
to get my masters and my doctorate

00:05:33:11 – 00:05:35:05
in clinical psychology.

00:05:35:05 – 00:05:38:07
So I kind of, I still have

00:05:38:15 – 00:05:42:05
my artistic ties because obviously, it’s

00:05:42:05 – 00:05:43:11
my outlet,

00:05:43:11 – 00:05:45:12
you know, for the things today,

00:05:45:12 – 00:05:48:01
a part of my self-care.

00:05:48:01 – 00:05:51:01
And, I need that in my life

00:05:51:02 – 00:05:52:21
to be able to handle the work

00:05:52:21 – 00:05:55:03
I do as a therapist.

00:05:55:03 – 00:05:57:15
So it’s been a very unique,

00:05:57:15 – 00:06:01:01
but awesome balance for me.

00:06:01:01 – 00:06:03:08
Yes. Yeah, yeah.

00:06:03:08 – 00:06:04:13
So I’m, I’m hearing

00:06:04:13 – 00:06:05:14
that you got to

00:06:05:14 – 00:06:06:19
really meld together

00:06:06:19 – 00:06:08:02
different parts of yourself

00:06:08:02 – 00:06:09:09
for authenticity

00:06:09:09 – 00:06:11:04
And I’m hearing that as being

00:06:11:04 – 00:06:11:21
it feeds you.

00:06:11:21 – 00:06:13:12
It continues to rejuvenate

00:06:13:12 – 00:06:15:19
you and be a new experience.

00:06:15:19 – 00:06:16:22
Absolutely.

00:06:16:22 – 00:06:18:19
And the tattoo community

00:06:18:19 – 00:06:21:19
became so important in my life, too.

00:06:21:20 – 00:06:24:17
You know, they I feel like it’s family.

00:06:24:17 – 00:06:26:20
And it gave me so much.

00:06:26:20 – 00:06:28:11
And the artists

00:06:28:11 – 00:06:30:06
I worked with were so important,

00:06:30:06 – 00:06:31:11
especially on the books.

00:06:31:11 – 00:06:33:22
We would work with thousands of artists

00:06:33:22 – 00:06:34:23
from across the world.

00:06:34:23 – 00:06:36:06
So,

00:06:36:06 – 00:06:38:15
it just became such a part of my life,

00:06:38:15 – 00:06:39:01
you know?

00:06:39:01 – 00:06:40:19
And honestly,

00:06:40:19 – 00:06:42:17
shout out to the tattoo community,

00:06:42:17 – 00:06:43:23
because when we were low

00:06:43:23 – 00:06:46:23
on masks and gloves during the pandemic,

00:06:47:08 – 00:06:48:19
a lot of tattoo artists

00:06:48:19 – 00:06:50:20
donated those things to hospital.

00:06:50:20 – 00:06:52:08
Like it was vital for us

00:06:52:08 – 00:06:53:06
our ability

00:06:53:06 – 00:06:54:19
to be able to move forward

00:06:54:19 – 00:06:57:09
and take care of our healing professions.

00:06:57:09 – 00:06:58:14
Absolutely

00:06:58:14 – 00:07:00:11
I know it’s it’s

00:07:00:11 – 00:07:03:06
really is an incredible community

00:07:03:06 – 00:07:04:09
of people.

00:07:04:09 – 00:07:06:09
And,

00:07:06:09 – 00:07:07:21
I, I still I’m

00:07:07:21 – 00:07:09:15
a co-owner of the tattoo shop.

00:07:09:15 – 00:07:10:14
I don’t get to be

00:07:10:14 – 00:07:11:23
there as much as I like

00:07:11:23 – 00:07:14:15
because I’m always in my office.

00:07:14:15 – 00:07:17:15
But, but my partner, runs it,

00:07:17:16 – 00:07:19:15
and we have 12 amazing

00:07:19:15 – 00:07:23:17
artists who are very, dedicated to

00:07:23:17 – 00:07:25:23
and inclusive environment that,

00:07:25:23 – 00:07:28:23
you know, that just delivers

00:07:28:23 – 00:07:32:05
special and wonderful art to collectors.

00:07:32:11 – 00:07:34:01
So it’s.

00:07:34:01 – 00:07:36:20
Yeah, it’s it’s been a it’s been a

00:07:36:20 – 00:07:38:04
I feel super lucky,

00:07:38:04 – 00:07:40:14
you know, to have been on this journey

00:07:40:14 – 00:07:41:12
in this way.

00:07:41:12 – 00:07:42:10
And, you know,

00:07:42:10 – 00:07:43:01
it’s funny

00:07:43:01 – 00:07:46:05
because when I first went back to school,

00:07:46:09 – 00:07:49:03
I was really concerned about my tattoos

00:07:49:03 – 00:07:51:00
because I had very visible,

00:07:51:00 – 00:07:53:14
you know, head, neck and hand tattoos

00:07:53:14 – 00:07:57:11
and I didn’t know if, it would be okay.

00:07:57:11 – 00:07:59:20
You know, in my, in the profession

00:07:59:20 – 00:08:02:15
because I didn’t know if people would

00:08:02:15 – 00:08:04:10
accept me and hire me.

00:08:05:23 – 00:08:08:19
But, you know, it’s it’s been,

00:08:08:19 – 00:08:10:11
I don’t feel like my tattoos

00:08:10:11 – 00:08:12:17
have ever held me back at all

00:08:12:17 – 00:08:14:20
in the mental health world. It’s been.

00:08:14:20 – 00:08:15:11
If anything,

00:08:15:11 – 00:08:16:03
I feel like

00:08:16:03 – 00:08:19:06
it helps me to connect to my clients.

00:08:19:13 – 00:08:19:17
Yeah.

00:08:19:17 – 00:08:20:12
And,

00:08:20:12 – 00:08:22:21
I think a lot of people maybe seek me out

00:08:22:21 – 00:08:24:08
because they,

00:08:24:08 – 00:08:25:10
they see things

00:08:25:10 – 00:08:28:07
that they feel related to.

00:08:28:07 – 00:08:31:07
So it’s it’s been it’s been cool.

00:08:32:09 – 00:08:33:10
I’m curious.

00:08:33:10 – 00:08:35:16
I know that you have tattoos

00:08:35:16 – 00:08:37:21
all over your body with visible, Stef?

00:08:37:21 – 00:08:39:07
Do you have tattoos

00:08:39:07 – 00:08:41:10
because you’re in an education space?

00:08:41:10 – 00:08:44:06
And is that was there worry there or now?

00:08:44:06 – 00:08:45:14
Has the perception changed?

00:08:45:14 – 00:08:46:12
Because I know that

00:08:46:12 – 00:08:47:22
in the mental health field,

00:08:47:22 – 00:08:50:01
we’re allowing clinicians

00:08:50:01 – 00:08:51:12
to be more authentic,

00:08:51:12 – 00:08:53:11
no longer the blank slate.

00:08:53:11 – 00:08:56:17
So has that, experience you’re having?

00:08:57:21 – 00:09:00:04
No, actually, when I

00:09:00:04 – 00:09:00:18
finish school,

00:09:00:18 – 00:09:01:16
because I finish school

00:09:01:16 – 00:09:02:10
a little bit later,

00:09:02:10 – 00:09:05:06
I got my teaching credential in Masters.

00:09:05:06 – 00:09:06:04
A little bit later.

00:09:06:04 – 00:09:06:16
Wasn’t left,

00:09:06:16 – 00:09:07:16
like, right out of high school.

00:09:07:16 – 00:09:09:11
I worked for a long time,

00:09:09:11 – 00:09:11:02
when I was doing my student teaching,

00:09:11:02 – 00:09:12:09
I met a lot of colleagues,

00:09:12:09 – 00:09:13:23
especially in the schools,

00:09:13:23 – 00:09:16:08
that I was doing my student teaching at,

00:09:16:08 – 00:09:17:20
that had visible tattoos.

00:09:17:20 – 00:09:20:04
Mainly they were on their arms.

00:09:20:04 – 00:09:21:12
Sometimes they had them on their necks

00:09:21:12 – 00:09:22:08
and things like that.

00:09:22:08 – 00:09:24:21
But now being in Los Angeles, it’s

00:09:24:21 – 00:09:25:13
it was a little bit

00:09:25:13 – 00:09:26:09
more expected

00:09:26:09 – 00:09:28:00
because we are

00:09:28:00 – 00:09:28:06
we were

00:09:28:06 – 00:09:29:10
kind of going into the wave

00:09:29:10 – 00:09:30:13
of younger

00:09:30:13 – 00:09:31:20
educators now

00:09:31:20 – 00:09:32:19
because a lot of our

00:09:32:19 – 00:09:34:12
educators were retiring.

00:09:34:12 – 00:09:35:22
And some of my mentors,

00:09:35:22 – 00:09:37:21
one of my mentors in particular,

00:09:37:21 – 00:09:39:16
he was a musician as well,

00:09:39:16 – 00:09:40:22
but he had been teaching in the

00:09:40:22 – 00:09:43:23
LSD system for somewhat 20 years,

00:09:43:23 – 00:09:46:19
and he had tattoos only on his arms.

00:09:46:19 – 00:09:47:11
But,

00:09:47:11 – 00:09:49:00
it totally took that stigma

00:09:49:00 – 00:09:50:12
away from me immediately.

00:09:50:12 – 00:09:52:05
And then when I got hired

00:09:52:05 – 00:09:54:03
at the school that I’m currently in,

00:09:54:03 – 00:09:56:04
my coworkers, they had tattoos.

00:09:56:04 – 00:09:58:17
This one, they were female and nice.

00:09:58:17 – 00:09:59:20
You know, the kids love them

00:09:59:20 – 00:10:02:05
because they were colorful.

00:10:02:05 – 00:10:04:02
Know the parents that we serve.

00:10:04:02 – 00:10:05:22
They have tattoos, too.

00:10:05:22 – 00:10:07:09
And I think

00:10:07:09 – 00:10:08:10
now it’s it’s

00:10:08:10 – 00:10:10:14
more of an expression of their art

00:10:10:14 – 00:10:12:05
and things that they love

00:10:12:05 – 00:10:14:12
as opposed to an identity marker.

00:10:14:12 – 00:10:16:21
And, I know there was so many years

00:10:16:21 – 00:10:18:22
that it was a negative identity marker,

00:10:18:22 – 00:10:20:13
especially in certain areas of,

00:10:20:13 – 00:10:21:21
you know, Los Angeles

00:10:21:21 – 00:10:22:23
and other big cities.

00:10:22:23 – 00:10:25:21
But I think slowly that stigma

00:10:25:21 – 00:10:27:09
has kind of gone away now

00:10:27:09 – 00:10:29:17
because these people,

00:10:29:17 – 00:10:31:08
they’re just here with their families

00:10:31:08 – 00:10:32:08
and they just want their kids

00:10:32:08 – 00:10:33:09
to have a safe space

00:10:33:09 – 00:10:35:01
where they can be themselves.

00:10:35:01 – 00:10:36:23
So, I mean, I have

00:10:36:23 – 00:10:39:16
two visible tattoos, but I have,

00:10:39:16 – 00:10:41:03
you know, hope

00:10:41:03 – 00:10:42:05
I’ve been wanting to have more,

00:10:42:05 – 00:10:44:03
but having kids in the middle of it

00:10:44:03 – 00:10:45:18
got kind of hard.

00:10:45:18 – 00:10:47:19
But it’s true.

00:10:47:19 – 00:10:49:07
But my husband, he’s,

00:10:49:07 – 00:10:50:05
you know,

00:10:50:05 – 00:10:51:04
we’ve mentioned before

00:10:51:04 – 00:10:52:13
he’s enlisted in the military,

00:10:52:13 – 00:10:56:09
and he is all tatted up, but,

00:10:56:09 – 00:10:56:18
you know,

00:10:56:18 – 00:10:57:16
even though

00:10:57:16 – 00:10:59:15
they have certain regulations,

00:10:59:15 – 00:11:03:14
I think when he changes into his,

00:11:03:14 – 00:11:04:20
physical training clothes,

00:11:04:20 – 00:11:06:19
everyone’s like, oh, my gosh,

00:11:06:19 – 00:11:08:17
I didn’t know you were blasting

00:11:08:17 – 00:11:10:03
all your arms and legs.

00:11:10:03 – 00:11:13:03
And it’s a conversation piece.

00:11:13:05 – 00:11:14:14
And, yeah,

00:11:14:14 – 00:11:15:11
you know, for him,

00:11:15:11 – 00:11:18:08
we were just at Disney World recently,

00:11:18:08 – 00:11:20:20
and so many people come up to him

00:11:20:20 – 00:11:22:21
and ask him, hey, man, I love your ink.

00:11:22:21 – 00:11:24:09
Like I really love the art.

00:11:24:09 – 00:11:25:03
You know, like,

00:11:25:03 – 00:11:26:09
you know, just kudos to you.

00:11:26:09 – 00:11:27:12
And that’s how they strike

00:11:27:12 – 00:11:29:07
conversation and commonality.

00:11:29:07 – 00:11:30:07
And even though

00:11:30:07 – 00:11:31:13
they weren’t Disney tattoos,

00:11:31:13 – 00:11:34:00
they just admire the work of the artist.

00:11:34:00 – 00:11:35:18
And that in itself creates community.

00:11:35:18 – 00:11:38:08
And it’s so beautiful to see. Totally.

00:11:38:08 – 00:11:41:17
I, I love to hear that so many educators

00:11:41:20 – 00:11:43:11
have visible tattoos.

00:11:43:11 – 00:11:44:19
That makes me so happy.

00:11:44:19 – 00:11:46:23
It’s so, so awesome.

00:11:46:23 – 00:11:50:12
I, I worked for a short period of time

00:11:50:12 – 00:11:51:06
in high school

00:11:51:06 – 00:11:52:00
and middle school

00:11:52:00 – 00:11:53:01
as a therapist,

00:11:53:01 – 00:11:54:10
and I again,

00:11:54:10 – 00:11:55:16
I was worried,

00:11:55:16 – 00:11:57:00
you know, that it

00:11:57:00 – 00:11:59:20
it might not be cool with the parents and

00:11:59:20 – 00:12:01:06
but it just

00:12:01:06 – 00:12:03:14
I think as you said, the stigma

00:12:03:14 – 00:12:05:12
has changed

00:12:05:12 – 00:12:06:16
You know we are

00:12:06:16 – 00:12:08:01
we’re it’s just different.

00:12:08:01 – 00:12:08:14
And people

00:12:08:14 – 00:12:09:15
are accepting

00:12:09:15 – 00:12:12:13
and appreciating the art form.

00:12:12:13 – 00:12:15:16
And I love to hear that for myself.

00:12:15:16 – 00:12:17:09
I do not have any tattoos.

00:12:17:09 – 00:12:19:02
However,

00:12:19:02 – 00:12:20:15
my grandmother got her

00:12:20:15 – 00:12:22:08
first tattoo in her 60s

00:12:22:08 – 00:12:23:15
because she couldn’t

00:12:23:15 – 00:12:26:15
draw her eyeliner on.

00:12:27:00 – 00:12:28:23
It was because of her arthritis.

00:12:28:23 – 00:12:30:12
So she went to the doctor

00:12:30:12 – 00:12:32:19
and the doctor did a tattoo. Eyeliner.

00:12:32:19 – 00:12:34:21
Oh, that’s so cute.

00:12:34:21 – 00:12:38:05
I know my aunt in her 60s

00:12:38:05 – 00:12:39:11
got her first tattoo

00:12:39:11 – 00:12:41:04
and it was lip liner again

00:12:41:04 – 00:12:42:23
because she didn’t know the time.

00:12:42:23 – 00:12:45:11
So I think I have to uphold that

00:12:45:11 – 00:12:47:15
tradition to where my first tattoo

00:12:47:15 – 00:12:49:17
needs to be on my face. And my 60s.

00:12:49:17 – 00:12:52:07
That’s what I’ve decided.

00:12:52:07 – 00:12:53:16
That’s a big commitment.

00:12:54:22 – 00:12:56:02
Yeah.

00:12:56:02 – 00:12:56:20
You know,

00:12:56:20 – 00:12:57:23
permanent

00:12:57:23 – 00:12:59:20
makeup artists are incredible

00:12:59:20 – 00:13:03:07
to that whole that whole, craft has, has

00:13:03:07 – 00:13:06:15
just changed leaps and bounds as well.

00:13:06:15 – 00:13:08:12
And it’s it’s

00:13:08:12 – 00:13:09:07
how amazing

00:13:09:07 – 00:13:12:07
is it right to be able to have that that.

00:13:12:11 – 00:13:13:18
Yeah. Yeah.

00:13:13:18 – 00:13:14:23
And I think the first

00:13:14:23 – 00:13:16:18
like the first experience

00:13:16:18 – 00:13:17:12
that I had

00:13:17:12 – 00:13:18:17
with my family members

00:13:18:17 – 00:13:20:05
getting anything that resembled

00:13:20:05 – 00:13:22:10
a tattoo was permanent makeup

00:13:22:10 – 00:13:23:17
because I remember

00:13:23:17 – 00:13:26:01
my aunts would go back to the Philippines

00:13:26:01 – 00:13:28:05
and they would get permanent makeup done

00:13:28:05 – 00:13:29:11
because they simply just

00:13:29:11 – 00:13:30:19
didn’t want to do the routine

00:13:30:19 – 00:13:31:18
every single day.

00:13:31:18 – 00:13:32:02
Yeah.

00:13:32:02 – 00:13:32:18
And I was

00:13:32:18 – 00:13:33:13
and I know the ink

00:13:33:13 – 00:13:34:22
pattern was a little bit different

00:13:34:22 – 00:13:36:00
because it would like,

00:13:36:00 – 00:13:37:14
somehow fade to like blue

00:13:37:14 – 00:13:39:04
or purple after a while.

00:13:40:05 – 00:13:41:04
But now, I mean, the

00:13:41:04 – 00:13:42:14
technology has changed

00:13:42:14 – 00:13:43:09
because I was like,

00:13:43:09 – 00:13:45:03
I like, is that a rite of passage

00:13:45:03 – 00:13:46:05
that I have to do,

00:13:46:05 – 00:13:47:07
like one day

00:13:47:07 – 00:13:49:13
when I don’t have any eyebrows,

00:13:49:13 – 00:13:50:10
which is fine,

00:13:50:10 – 00:13:50:22
but I don’t know

00:13:50:22 – 00:13:53:01
if I like the color blue. Yeah.

00:13:53:01 – 00:13:55:05
But luckily,

00:13:55:05 – 00:13:56:17
you know, I’m smart enough to know

00:13:56:17 – 00:13:57:19
now that the technology

00:13:57:19 – 00:13:59:08
has changed to wear,

00:13:59:08 – 00:14:02:03
you know, stay the same color.

00:14:02:03 – 00:14:03:14
But, yeah,

00:14:03:14 – 00:14:04:18
I don’t have to live with myself.

00:14:04:18 – 00:14:07:17
The permanent eye makeup I love.

00:14:07:17 – 00:14:08:22
Yeah, the ink.

00:14:08:22 – 00:14:10:21
Companies have come

00:14:10:21 – 00:14:13:05
so far to everything.

00:14:13:05 – 00:14:13:21
Oh, man.

00:14:13:21 – 00:14:16:23
It compared to when we started,

00:14:17:14 – 00:14:21:06
you know, 25, almost 30 years ago,

00:14:21:19 – 00:14:22:20
getting tattooed, it’s

00:14:22:20 – 00:14:25:08
changed so, so significantly.

00:14:25:08 – 00:14:28:19
And it’s so exciting to see all of the,

00:14:30:10 – 00:14:31:23
Leaps and bounds

00:14:31:23 – 00:14:34:03
It’s it’s become. It’s pretty.

00:14:34:03 – 00:14:35:11
It’s pretty exciting.

00:14:35:11 – 00:14:36:18
Okay, well, as we know,

00:14:36:18 – 00:14:38:15
this is a Disney podcast.

00:14:38:15 – 00:14:41:15
So yeah, the fact that you own a tattoo

00:14:41:16 – 00:14:43:21
shop, what are the Disney tattoos

00:14:43:21 – 00:14:44:20
that you’ve seen?

00:14:44:20 – 00:14:48:13
I do know for us on episode 39,

00:14:48:13 – 00:14:49:18
The Battle of the Pumpkin King,

00:14:49:18 – 00:14:52:05
we had an author named Dan Conner on,

00:14:52:05 – 00:14:54:10
and he wrote a graphic novel,

00:14:54:10 – 00:14:56:06
oh, The Battle for Pumpkin King.

00:14:56:06 – 00:14:56:21
And he said he’s

00:14:56:21 – 00:14:58:04
seen so many Nightmare

00:14:58:04 – 00:15:01:02
Before Christmas tattoos at conventions

00:15:01:02 – 00:15:01:14
And that’s, like,

00:15:01:14 – 00:15:04:06
very popular characters to have.

00:15:04:06 – 00:15:05:02
So cool.

00:15:05:02 – 00:15:06:09
Well,

00:15:06:09 – 00:15:09:09
I mean, just because of the beloved

00:15:09:21 – 00:15:12:11
ness of Disney characters, it’s

00:15:12:11 – 00:15:14:10
it’s always going to be such

00:15:14:10 – 00:15:16:02
a popular thing.

00:15:16:02 – 00:15:16:16
You know,

00:15:16:16 – 00:15:17:09
I have,

00:15:17:09 – 00:15:21:11
the little oyster babies on my arm,

00:15:21:11 – 00:15:22:07
and my whole,

00:15:22:07 – 00:15:25:07
my whole back is, Alice in Wonderland.

00:15:25:10 – 00:15:27:02
Disney Alice

00:15:27:02 – 00:15:28:10
Yeah.

00:15:28:10 – 00:15:30:19
So, I love that.

00:15:30:19 – 00:15:32:13
I love them, too.

00:15:32:13 – 00:15:35:07
I oh, man, I can’t even

00:15:35:07 – 00:15:36:23
I don’t even know where to start with.

00:15:36:23 – 00:15:41:05
I think a lot of people do, quotes,

00:15:41:05 – 00:15:41:21
you know,

00:15:41:21 – 00:15:45:20
things like, like Hakuna matata or,

00:15:45:22 – 00:15:47:17
you know,

00:15:47:17 – 00:15:48:12
doing the,

00:15:48:12 – 00:15:51:12
To infinity and beyond things like that, you know,

00:15:51:12 – 00:15:54:09
but then the characters I, you see

00:15:54:09 – 00:15:55:05
such a huge,

00:15:56:04 – 00:15:58:10
array.

00:15:58:10 – 00:16:00:04
I think Tinkerbell has always

00:16:00:04 – 00:16:03:04
been very, popular.

00:16:03:06 – 00:16:06:09
She’s, you know, just the magical element

00:16:06:09 – 00:16:09:09
and, her feistiness and,

00:16:10:03 – 00:16:12:22
Alice in Wonderland does seem to be

00:16:12:22 – 00:16:14:14
still very popular.

00:16:14:14 – 00:16:17:16
You know, Lilo and Stitch,

00:16:17:17 – 00:16:19:21
I think we’ve seen a lot.

00:16:19:21 – 00:16:24:21
Ohana, just, you know, that

00:16:24:22 – 00:16:26:06
that whole

00:16:26:06 – 00:16:27:19
family,

00:16:27:19 – 00:16:31:03
anything that can tie things together

00:16:31:03 – 00:16:34:03
that you hold dear to yourself.

00:16:34:22 – 00:16:38:09
I see a lot of Disney theme park tattoos.

00:16:39:11 – 00:16:42:14
I recently saw a cool, on Instagram.

00:16:42:14 – 00:16:46:10
I saw a cool, Dole whip, tattoo.

00:16:46:16 – 00:16:48:01
That is so cute.

00:16:48:01 – 00:16:48:22
And,

00:16:48:22 – 00:16:53:22
just like the Mickey Mouse, ice cream bars

00:16:53:22 – 00:16:56:21
of course, the castle is huge.

00:16:56:21 – 00:16:58:10
And,

00:16:58:10 – 00:17:00:07
Oh, man, it’s endless, right?

00:17:00:07 – 00:17:01:12
Because everybody

00:17:01:12 – 00:17:05:03
has their special character or saying

00:17:05:08 – 00:17:06:21
or memory

00:17:06:21 – 00:17:09:05
that they want to keep with them.

00:17:09:05 – 00:17:10:06
And yeah,

00:17:10:06 – 00:17:14:01
I think that element of nostalgia, and,

00:17:14:01 – 00:17:17:14
and also just the, associations

00:17:17:14 – 00:17:20:09
that it can have for people is so,

00:17:20:09 – 00:17:22:15
so special. So yeah.

00:17:23:20 – 00:17:24:15
Yeah, yeah,

00:17:24:15 – 00:17:25:17
I definitely seen

00:17:25:17 – 00:17:27:05
a lot of the food items

00:17:27:05 – 00:17:29:02
as like flash tattoos

00:17:29:02 – 00:17:30:19
because they’re just so easy to do

00:17:30:19 – 00:17:31:21
and they’re very quick.

00:17:31:21 – 00:17:33:14
And it’s just a little trinket

00:17:33:14 – 00:17:35:16
of like a churro or like you say,

00:17:35:16 – 00:17:38:00
a Mickey pops or a Dole whip

00:17:38:00 – 00:17:39:14
or even like a popcorn bucket.

00:17:39:14 – 00:17:40:12
I’ve seen,

00:17:40:12 – 00:17:41:17
but yeah,

00:17:41:17 – 00:17:43:15
I it’s just as like, simple as,

00:17:43:15 – 00:17:45:06
you know, getting an enamel pin.

00:17:45:06 – 00:17:45:21
I feel like

00:17:45:21 – 00:17:48:01
it’s like you collect those things

00:17:48:01 – 00:17:49:23
to show on your body as opposed

00:17:49:23 – 00:17:51:17
to, like, your bag.

00:17:51:17 – 00:17:52:13
You know, it’s something

00:17:52:13 – 00:17:53:17
that you’re probably going to love

00:17:53:17 – 00:17:55:18
forever is tied to a special memory,

00:17:55:18 – 00:17:57:21
which is, you know, I think pretty cool.

00:17:57:21 – 00:17:58:21
Well,

00:17:58:21 – 00:17:59:19
Disney has, like,

00:17:59:19 – 00:18:01:13
Marvel and Star Wars like.

00:18:01:13 – 00:18:02:15
And that franchise.

00:18:02:15 – 00:18:05:18
Oh, more and more of those tattoos.

00:18:05:18 – 00:18:08:06
Lots of, like, Captain America’s shield.

00:18:08:06 – 00:18:11:06
So lots of like Wakanda Forever.

00:18:11:06 – 00:18:13:16
I, I’ve seen a numerous amount of those.

00:18:13:16 – 00:18:15:10
And then every kind of lightsaber.

00:18:15:10 – 00:18:18:18
Imagine light side, dark side rebels.

00:18:18:18 – 00:18:19:13
Yeah.

00:18:19:13 – 00:18:22:08
I wasn’t even thinking of the Star Wars

00:18:22:08 – 00:18:23:12
part of it because,

00:18:23:12 – 00:18:26:12
as you know, that is just

00:18:26:15 – 00:18:28:05
an incredibly huge

00:18:28:05 – 00:18:30:10
genre of tattoos in itself.

00:18:30:10 – 00:18:32:18
There are some tattoo artists who

00:18:32:18 – 00:18:33:19
that’s all they do

00:18:33:19 – 00:18:35:07
because they have such

00:18:35:07 – 00:18:36:08
a demand for it

00:18:36:08 – 00:18:38:20
that that’s all they could keep up,

00:18:38:20 – 00:18:39:18
you know?

00:18:39:18 – 00:18:41:20
And same with Disney.

00:18:41:20 – 00:18:43:21
There are so many tattoo artists

00:18:43:21 – 00:18:47:20
who specialize in Disney themed tattoos,

00:18:47:20 – 00:18:49:05
and they have such huge

00:18:49:05 – 00:18:50:04
waiting lists

00:18:50:04 – 00:18:53:02
that they don’t need to do anything else,

00:18:53:02 – 00:18:54:04
you know?

00:18:54:04 – 00:18:54:22
Oh,

00:18:54:22 – 00:18:58:01
I was thinking to like the glass slipper.

00:18:58:15 – 00:19:00:22
The apple from Snow White

00:19:00:22 – 00:19:03:14
You know, just all those iconic

00:19:03:14 – 00:19:06:00
things that that, you know,

00:19:06:00 – 00:19:07:07
as soon as you look at it.

00:19:07:07 – 00:19:09:16
What it is, Yes.

00:19:09:16 – 00:19:11:17
And same with the food.

00:19:11:17 – 00:19:15:17
Those things are so memorable.

00:19:15:22 – 00:19:16:13
You know,

00:19:16:13 – 00:19:18:23
we we all know exactly what it is

00:19:18:23 – 00:19:20:12
as soon as you see it.

00:19:20:12 – 00:19:22:21
So. Yeah, like you said, like iconic.

00:19:24:06 – 00:19:25:03
Yes.

00:19:25:03 – 00:19:27:02
It. And

00:19:27:02 – 00:19:30:05
like nobody else can do it like Disney.

00:19:30:08 – 00:19:30:19
Right.

00:19:30:19 – 00:19:33:21
So I feel like it’s just it

00:19:34:06 – 00:19:37:12
you see it and you know and it’s also has

00:19:37:18 – 00:19:39:16
a special meaning to the,

00:19:39:16 – 00:19:42:05
the person who’s wearing it.

00:19:42:05 – 00:19:43:00
Yeah.

00:19:43:00 – 00:19:45:01
I’m curious to know, are there

00:19:45:01 – 00:19:47:16
people still a little embarrassed

00:19:47:16 – 00:19:49:14
that they’re getting a Disney tattoo

00:19:49:14 – 00:19:50:09
that you’ve seen?

00:19:50:09 – 00:19:51:19
Because, you know,

00:19:51:19 – 00:19:54:04
there’s talk about Disney adults

00:19:54:04 – 00:19:55:02
and, you know, like, oh,

00:19:55:02 – 00:19:56:03
that’s so childish.

00:19:56:03 – 00:19:57:15
And I know that some

00:19:57:15 – 00:19:58:07
sometimes, I mean,

00:19:58:07 – 00:20:00:03
usually a tattoo is symbolize,

00:20:00:03 – 00:20:00:19
you know, to

00:20:00:19 – 00:20:02:19
to make you appear a certain way,

00:20:02:19 – 00:20:04:20
maybe intimidating or what have you.

00:20:04:20 – 00:20:07:01
But has there people been you know,

00:20:07:01 – 00:20:08:09
I do want to get this tattoo,

00:20:08:09 – 00:20:12:01
but I’m a little embarrassed, you know,

00:20:12:13 – 00:20:13:08
I can’t

00:20:13:08 – 00:20:16:01
I can’t recall anything like that.

00:20:16:01 – 00:20:18:06
I’m sure that that happens.

00:20:18:06 – 00:20:19:20
But I feel like

00:20:19:20 – 00:20:20:22
getting tattooed

00:20:20:22 – 00:20:23:19
is such an empowering thing

00:20:23:19 – 00:20:25:19
that when you decide

00:20:25:19 – 00:20:26:06
that you’re

00:20:26:06 – 00:20:27:19
dedicating this space

00:20:27:19 – 00:20:29:07
on your body to something,

00:20:30:06 – 00:20:31:22
if that’s what you love and

00:20:31:22 – 00:20:32:17
care about,

00:20:32:17 – 00:20:35:17
you’re probably really proud to wear it.

00:20:35:17 – 00:20:36:08
You know,

00:20:36:08 – 00:20:37:09
regardless of how

00:20:37:09 – 00:20:39:08
the rest of the world sees you.

00:20:39:08 – 00:20:42:11
And I think that Disney,

00:20:42:19 – 00:20:45:23
Disney adults, Disney fans like that.

00:20:45:23 – 00:20:48:11
They love it, right? That’s true.

00:20:48:11 – 00:20:48:18
It.

00:20:48:18 – 00:20:51:21
Yeah, but I’m sure that that’s there.

00:20:52:07 – 00:20:54:15
I, I can’t think of an instance

00:20:54:15 – 00:20:56:07
where I have seen that,

00:20:56:07 – 00:20:58:23
but I’m sure that, you know,

00:20:58:23 – 00:21:01:23
people who observe of them might still

00:21:02:17 – 00:21:05:15
say that talking about the empowerment

00:21:05:15 – 00:21:06:04
for you,

00:21:06:04 – 00:21:07:01
what have you noticed

00:21:07:01 – 00:21:08:08
as the benefits

00:21:08:08 – 00:21:09:14
of tattooing,

00:21:09:14 – 00:21:12:08
the benefits of getting a tattoo

00:21:12:08 – 00:21:13:04
on the end?

00:21:13:04 – 00:21:16:08
I feel like it’s such an endless list.

00:21:16:13 – 00:21:19:04
You know,

00:21:19:04 – 00:21:21:01
I think it’s so it can become

00:21:21:01 – 00:21:24:01
so connected to a person’s identity

00:21:24:03 – 00:21:26:05
and what they hold,

00:21:26:05 – 00:21:28:07
important to themselves.

00:21:28:07 – 00:21:29:01
It can

00:21:29:01 – 00:21:32:20
and it can encompass past memories,

00:21:32:22 – 00:21:35:08
things that have happened in your life

00:21:35:08 – 00:21:38:04
as well as dreams for your future.

00:21:38:04 – 00:21:42:06
And, I think, like we talked about

00:21:42:06 – 00:21:44:05
with the nostalgia,

00:21:44:05 – 00:21:45:04
things that

00:21:45:04 – 00:21:47:07
have been important to you

00:21:47:07 – 00:21:51:04
in your childhood that you want to relive

00:21:51:04 – 00:21:55:19
and remember, I think a really big thing

00:21:55:19 – 00:21:56:10
I’ve seen

00:21:56:10 – 00:21:58:05
is that community,

00:21:58:05 – 00:22:00:11
sense of belongingness

00:22:00:11 – 00:22:02:16
that can be so important

00:22:02:16 – 00:22:04:23
to our mental health and well-being.

00:22:04:23 – 00:22:06:02
You know, having

00:22:06:02 – 00:22:08:20
those social identities that,

00:22:08:20 – 00:22:12:01
that, you know, you belong somewhere.

00:22:12:04 – 00:22:15:04
It can be so empowering for somebody.

00:22:15:15 – 00:22:18:15
And is that form of expression

00:22:18:18 – 00:22:20:11
because that as we know

00:22:20:11 – 00:22:23:12
that when you decide to take that on,

00:22:23:18 – 00:22:25:18
to wear it on your body,

00:22:25:18 – 00:22:28:08
you’re giving a bold statement

00:22:28:08 – 00:22:32:02
about, about yourself and, yeah,

00:22:32:04 – 00:22:34:06
what you’re willing to,

00:22:34:06 – 00:22:36:09
portray to the world.

00:22:37:20 – 00:22:39:01
I see

00:22:39:01 – 00:22:39:16
a lot

00:22:39:16 – 00:22:43:05
of my clients do I see wear tattoos,

00:22:43:10 – 00:22:46:17
and we use it so often in the work

00:22:46:17 – 00:22:49:17
just because it can be,

00:22:49:18 – 00:22:51:22
such a form of healing.

00:22:51:22 – 00:22:54:22
If you’re overcoming trauma

00:22:55:00 – 00:22:56:10
and you want to

00:22:56:10 – 00:22:59:01
learn how to take that power back,

00:22:59:01 – 00:23:01:18
it can be just great reminders

00:23:01:18 – 00:23:02:22
to look down

00:23:02:22 – 00:23:03:20
at something

00:23:03:20 – 00:23:09:04
that helps you to stay strong or a, or,

00:23:09:06 – 00:23:12:04
a quote or something that

00:23:12:04 – 00:23:13:16
that it has been

00:23:13:16 – 00:23:15:22
important in your healing.

00:23:15:22 – 00:23:17:02
Yeah. Yeah.

00:23:17:02 – 00:23:19:19
I, I for me, it

00:23:19:19 – 00:23:21:16
it has become a very important

00:23:21:16 – 00:23:23:19
part of my identity.

00:23:23:19 – 00:23:26:15
I think it helped me to become,

00:23:26:15 – 00:23:29:19
to step outside of

00:23:31:02 – 00:23:33:07
barriers that were created for me

00:23:33:07 – 00:23:35:04
as a child and,

00:23:35:04 – 00:23:38:02
and be able to kind of become

00:23:38:02 – 00:23:39:11
my own person.

00:23:39:11 – 00:23:42:08
And as you, as you weave them

00:23:42:08 – 00:23:43:12
all together,

00:23:43:12 – 00:23:45:14
that becomes stronger and stronger.

00:23:45:14 – 00:23:48:02
It did for me. Yeah.

00:23:48:02 – 00:23:51:01
So it it’s, I don’t know, I,

00:23:51:01 – 00:23:52:21
I just for me, it’s

00:23:52:21 – 00:23:55:08
been such an incredible part

00:23:55:08 – 00:23:56:14
of my own journey

00:23:56:14 – 00:23:58:04
and tool to use

00:23:58:04 – 00:23:59:17
with people that I work with.

00:24:01:10 – 00:24:03:01
I think it really gives another meaning

00:24:03:01 – 00:24:05:09
to being comfortable in your skin. Right?

00:24:05:09 – 00:24:05:23
Because I think

00:24:05:23 – 00:24:08:02
once you get past that barrier of,

00:24:08:02 – 00:24:09:09
hey, this is me,

00:24:09:09 – 00:24:10:04
I’m just going to wear it

00:24:10:04 – 00:24:12:14
proudly on my body.

00:24:12:14 – 00:24:13:21
That you don’t have to think about it

00:24:13:21 – 00:24:14:20
consciously anymore.

00:24:14:20 – 00:24:16:07
You’re not so much in your head

00:24:16:07 – 00:24:17:12
and you’re just like, hey,

00:24:17:12 – 00:24:18:14
and this is it.

00:24:18:14 – 00:24:20:18
Just accept me as I am or,

00:24:20:18 – 00:24:22:21
you know, move along. You sort of thing.

00:24:22:21 – 00:24:24:06
It totally.

00:24:24:06 – 00:24:26:02
And and that, you know,

00:24:26:02 – 00:24:27:09
when people have been

00:24:27:09 – 00:24:28:23
through really hard things,

00:24:28:23 – 00:24:31:12
in their lives, sometimes you,

00:24:31:12 – 00:24:33:05
you need that.

00:24:33:05 – 00:24:35:06
You just need

00:24:35:06 – 00:24:37:06
whatever tool that is.

00:24:37:06 – 00:24:37:18
And,

00:24:37:18 – 00:24:40:18
and sometimes tattoos can just be such,

00:24:40:19 – 00:24:43:09
helpful part of that,

00:24:43:09 – 00:24:44:12
I think, to,

00:24:44:12 – 00:24:46:21
to help somebody to make those decisions,

00:24:46:21 – 00:24:49:06
make those commitments and,

00:24:49:06 – 00:24:51:09
and then proudly wear it.

00:24:51:09 – 00:24:51:17
Is it

00:24:51:17 – 00:24:53:02
something that you

00:24:53:02 – 00:24:55:03
hold with you every day?

00:24:55:03 – 00:24:58:03
And that can be such a great reminder?

00:24:58:09 – 00:25:02:05
Yeah, I noticed in my practice,

00:25:02:05 – 00:25:04:06
when we are talking about tattoos,

00:25:04:06 – 00:25:05:20
it often aligns with someone’s

00:25:05:20 – 00:25:07:23
grief experience. Right? With them.

00:25:07:23 – 00:25:08:06
Yeah.

00:25:08:06 – 00:25:11:09
Or a date, or an image.

00:25:11:18 – 00:25:13:15
And the really beautiful thing about

00:25:13:15 – 00:25:15:19
it is not only does it honor that loss,

00:25:15:19 – 00:25:17:10
but it opens the door

00:25:17:10 – 00:25:19:07
to be able to talk about this person.

00:25:19:07 – 00:25:20:04
And I know for

00:25:20:04 – 00:25:20:18
my clients

00:25:20:18 – 00:25:21:21
recovering from grief,

00:25:21:21 – 00:25:24:21
everyone’s afraid to like, make them sad.

00:25:25:02 – 00:25:26:01
Oh, we don’t mention it.

00:25:26:01 – 00:25:27:02
We don’t say anything

00:25:27:02 – 00:25:28:07
because we don’t want to.

00:25:28:07 – 00:25:30:01
We don’t want to bring stuff up.

00:25:30:01 – 00:25:31:08
And they want to talk

00:25:31:08 – 00:25:32:18
about the person they lost.

00:25:32:18 – 00:25:34:06
They want to celebrate them

00:25:34:06 – 00:25:35:22
It doesn’t just bring sadness, it

00:25:35:22 – 00:25:37:18
brings joy and lots of nostalgia,

00:25:37:18 – 00:25:39:09
lots of loving memories.

00:25:39:09 – 00:25:41:18
And with a tattoo with a beautiful image,

00:25:41:18 – 00:25:43:02
someone will ask about it

00:25:43:02 – 00:25:44:08
and it opens up the door

00:25:44:08 – 00:25:45:15
to have the conversation.

00:25:45:15 – 00:25:47:23
And it didn’t start from them

00:25:47:23 – 00:25:49:05
asking out of fear.

00:25:49:05 – 00:25:51:05
Was curiosity right?

00:25:51:05 – 00:25:53:07
That oh, that you nailed it.

00:25:53:07 – 00:25:57:00
That’s that’s so, so powerful, isn’t it?

00:25:57:00 – 00:26:00:00
Because memorial tattoos,

00:26:00:03 – 00:26:02:06
they can mean so much to people

00:26:02:06 – 00:26:04:19
and as you said, opening that door

00:26:04:19 – 00:26:07:20
and being able to have a conversation

00:26:07:20 – 00:26:10:23
starter that, in fact, it’s funny,

00:26:10:23 – 00:26:14:10
is that because I do have a client who,

00:26:14:21 – 00:26:18:03
his father passed away and

00:26:18:11 – 00:26:20:05
was a guitar player

00:26:20:05 – 00:26:23:05
and got a tattoo of a guitar,

00:26:23:05 – 00:26:26:05
with, like, the banner that says Dad

00:26:26:07 – 00:26:28:03
And,

00:26:28:03 – 00:26:31:00
that has happened so many times for them

00:26:31:00 – 00:26:32:08
where you know,

00:26:32:08 – 00:26:34:03
somebody comments on the tattoo,

00:26:34:03 – 00:26:34:21
and then

00:26:34:21 – 00:26:38:10
they get to explain how important

00:26:38:10 – 00:26:39:04
and meaningful

00:26:39:04 – 00:26:42:16
that is without, as you said, making,

00:26:42:16 – 00:26:43:05
you know,

00:26:43:05 – 00:26:45:04
that helps them to open the door

00:26:45:04 – 00:26:46:01
to talk about it

00:26:46:01 – 00:26:47:11
so that they’re

00:26:47:11 – 00:26:49:01
the person on the receiving end

00:26:49:01 – 00:26:50:12
doesn’t feel

00:26:50:12 – 00:26:52:10
bad or wonder about

00:26:52:10 – 00:26:54:22
when it’s appropriate to talk.

00:26:54:22 – 00:26:58:14
And memorial tattoos are so special.

00:26:58:14 – 00:27:01:14
And whether it’s it’s a portrait of a

00:27:02:03 – 00:27:05:22
loved one or a date or name or a pet,

00:27:05:22 – 00:27:10:08
I have a tattoo of a special little kitty

00:27:10:08 – 00:27:13:11
that we lost a few years ago that I see

00:27:13:11 – 00:27:16:11
every day, and I it means so much to me.

00:27:16:18 – 00:27:19:20
And yeah, I, I agree, memorial

00:27:19:20 – 00:27:22:21
tattoos are such a gift, you know,

00:27:23:02 – 00:27:26:07
because it it helps a person to heal

00:27:26:07 – 00:27:29:11
and keep that with them in a positive way

00:27:30:01 – 00:27:31:21
and, and help the world

00:27:31:21 – 00:27:34:14
around them to also feel comfortable.

00:27:34:21 – 00:27:35:18
Yeah, definitely.

00:27:35:18 – 00:27:36:23
And you know, on the note

00:27:36:23 – 00:27:38:06
of telling a story,

00:27:38:06 – 00:27:39:14
whether it’s a story of grief

00:27:39:14 – 00:27:41:00
or a story of love,

00:27:41:00 – 00:27:43:13
we also know that tattoos are a symbol

00:27:43:13 – 00:27:45:15
of cultural expression as well.

00:27:45:15 – 00:27:46:21
So I know that,

00:27:46:21 – 00:27:47:06
you know,

00:27:47:06 – 00:27:49:04
many more people are honing in

00:27:49:04 – 00:27:51:10
on their cultural expression.

00:27:51:10 – 00:27:52:13
I know for myself,

00:27:52:13 – 00:27:54:10
and I know we’re Filipina Americans,

00:27:54:10 – 00:27:56:06
and so many Filipinos

00:27:56:06 – 00:27:58:08
are tapping into that,

00:27:58:08 – 00:28:01:14
sense of, you know, tribe and family

00:28:01:14 – 00:28:03:02
to an ancient place

00:28:03:02 – 00:28:04:07
that we we’ve never

00:28:04:07 – 00:28:06:04
experienced will want to grow,

00:28:06:04 – 00:28:06:21
you know, closer

00:28:06:21 – 00:28:08:16
to where I know

00:28:08:16 – 00:28:10:07
that, you know, for Disney fans,

00:28:10:07 – 00:28:11:09
they want to be connected

00:28:11:09 – 00:28:12:07
to certain cultures

00:28:12:07 – 00:28:14:09
that they might not be connected to.

00:28:14:09 – 00:28:17:21
But to use tattoos is a bridge to

00:28:17:21 – 00:28:19:04
something like that.

00:28:19:04 – 00:28:22:14
So for have you seen like, certain ways

00:28:22:14 – 00:28:24:18
that people have embraced kind of,

00:28:24:18 – 00:28:27:00
you know, that culture in that way?

00:28:27:00 – 00:28:28:18
Oh for sure. I mean,

00:28:30:03 – 00:28:33:08
first, it’s so it’s so special

00:28:33:08 – 00:28:34:00
to be able

00:28:34:00 – 00:28:35:01
to understand

00:28:35:01 – 00:28:37:08
some of the roots of tattooing.

00:28:37:08 – 00:28:39:17
Like the Tā Moko,

00:28:39:17 – 00:28:42:23
with indigenous, people in New Zealand

00:28:43:09 – 00:28:48:16
and, Irezumi is the tattoo in, Japan.

00:28:49:04 – 00:28:50:20
And to be able to

00:28:50:20 – 00:28:53:17
look at some of the origins of that,

00:28:53:17 – 00:28:57:15
because you do see how essential

00:28:57:15 – 00:29:00:21
that is in, in their community,

00:29:01:02 – 00:29:04:15
you know, women who receive the,

00:29:04:15 – 00:29:07:13
the chin tattoos in New Zealand.

00:29:07:13 – 00:29:10:19
A few years ago, there was a,

00:29:11:07 – 00:29:14:20
newscaster there who, proudly

00:29:14:20 – 00:29:19:01
wears hers and, and it was, on the news.

00:29:19:01 – 00:29:23:16
And it was such a amazing step for,

00:29:24:20 – 00:29:27:20
allowing that to be normalized.

00:29:28:17 – 00:29:30:09
And I,

00:29:30:09 – 00:29:34:07
I love to see how all of that comes back

00:29:35:01 – 00:29:36:15
around when people come in

00:29:36:15 – 00:29:37:14
and want something

00:29:37:14 – 00:29:39:20
connected to their cultural

00:29:39:20 – 00:29:40:21
and their heritage.

00:29:40:21 – 00:29:43:21
It’s because those are the the roots.

00:29:43:21 – 00:29:44:10
You know,

00:29:44:10 – 00:29:46:05
tattooing is so rich in

00:29:46:05 – 00:29:48:20
in this historical

00:29:48:20 – 00:29:51:02
form of storytelling and,

00:29:51:02 – 00:29:54:04
and that’s your way to also carry that.

00:29:55:09 – 00:29:58:21
I am so happy that, Disney has,

00:29:59:06 – 00:30:00:18
Moana

00:30:00:18 – 00:30:03:18
we were able to see a tattooed character.

00:30:03:19 – 00:30:06:16
I, I would love to see them

00:30:06:16 – 00:30:09:12
continue this,

00:30:09:12 – 00:30:13:15
maybe to even work with, tattoo

00:30:13:15 – 00:30:14:18
artists, indigenous

00:30:14:18 – 00:30:17:21
tattoo artists to be able to incorporate

00:30:18:23 – 00:30:21:15
true forms of,

00:30:21:15 – 00:30:23:23
into other character development.

00:30:23:23 – 00:30:26:21
That would be so exciting to see.

00:30:26:21 – 00:30:29:01
And, and wouldn’t

00:30:29:01 – 00:30:31:05
it be great to see more tattoo

00:30:31:05 – 00:30:33:23
characters, you know, just in general,

00:30:33:23 – 00:30:36:01
because as we’ve talked about

00:30:36:01 – 00:30:36:22
this is

00:30:36:22 – 00:30:39:18
a very normal part of our culture.

00:30:39:18 – 00:30:42:21
Now, a lot of people wear tattoos.

00:30:42:21 – 00:30:43:21
And I

00:30:43:21 – 00:30:45:19
think, if I’m not mistaken,

00:30:45:19 – 00:30:48:00
we only have one

00:30:48:00 – 00:30:50:20
Disney character with tattoos right now.

00:30:50:20 – 00:30:51:23
We have Maui.

00:30:51:23 – 00:30:52:19
Maui.

00:30:52:19 – 00:30:55:05
Moana doesn’t get it.

00:30:55:05 – 00:30:57:15
Looks like Moana gets hers right.

00:30:57:15 – 00:30:58:16
In the next movie,

00:30:58:16 – 00:31:01:16
we saw a trailer and then Pocahontas.

00:31:02:03 – 00:31:03:10
Oh you’re right.

00:31:03:10 – 00:31:06:16
Oh of course, yeah, but unfortunately,

00:31:07:01 – 00:31:07:22
you know, Pocahontas

00:31:07:22 – 00:31:09:13
is based off of a real person,

00:31:09:13 – 00:31:10:12
and her tattoos

00:31:10:12 – 00:31:11:20
are actually very intricate.

00:31:11:20 – 00:31:12:18
According to, like,

00:31:12:18 – 00:31:14:02
what some of the imagery was.

00:31:14:02 – 00:31:15:05
So what they have,

00:31:15:05 – 00:31:16:10
I think that they show her

00:31:16:10 – 00:31:17:19
having is very,

00:31:17:19 – 00:31:21:03
very basic as the youths say right.

00:31:21:11 – 00:31:22:23
I was the band and then.

00:31:22:23 – 00:31:23:13
Yeah,

00:31:23:13 – 00:31:24:00
if you

00:31:24:00 – 00:31:25:00
if you want to

00:31:25:00 – 00:31:28:02
maybe argue it does you know

00:31:28:02 – 00:31:31:02
Andy writing his name on his toys

00:31:31:02 – 00:31:32:03
is that tattooing

00:31:34:17 – 00:31:35:18
I would

00:31:35:18 – 00:31:36:15
I like to

00:31:36:15 – 00:31:37:22
think it’s

00:31:37:22 – 00:31:40:12
well it’s a form of of marking.

00:31:40:12 – 00:31:41:00
Right.

00:31:41:00 – 00:31:44:19
Which a tattoo is an obviously becomes

00:31:44:19 – 00:31:48:03
so essential to the story when,

00:31:48:14 – 00:31:52:14
when he’s questioning his value

00:31:52:14 – 00:31:53:15
to Andy

00:31:53:15 – 00:31:55:09
when Woody is questioning his value.

00:31:55:09 – 00:31:59:01
And that kind of connects that to

00:31:59:05 – 00:32:02:04
because, sometimes getting tattoo

00:32:02:04 – 00:32:05:15
can help us to establish or identity.

00:32:06:08 – 00:32:08:15
So I would love to think

00:32:08:15 – 00:32:10:02
that they’re going for that.

00:32:10:02 – 00:32:12:10
But what do you guys think?

00:32:12:10 – 00:32:13:00
I mean,

00:32:13:00 – 00:32:16:02
we it’s still a form of marking though.

00:32:16:02 – 00:32:18:13
And,

00:32:18:13 – 00:32:20:15
and, you know, just

00:32:20:15 – 00:32:23:15
the importance of him

00:32:24:05 – 00:32:27:00
or the two characters to each other,

00:32:27:00 – 00:32:28:09
you know, yeah,

00:32:28:09 – 00:32:30:09
it’s funny that you mentioned Andy

00:32:30:09 – 00:32:32:08
questioning his, like,

00:32:32:08 – 00:32:33:21
I guess, allegiance to whoever

00:32:33:21 – 00:32:35:14
it was his owner at the time,

00:32:35:14 – 00:32:37:20
because I was thinking, you know, if he,

00:32:37:20 – 00:32:39:10
you know, had any contemplation

00:32:39:10 – 00:32:41:01
on taking that away,

00:32:41:01 – 00:32:42:15
it was like as if he was breaking up

00:32:42:15 – 00:32:44:03
with Andy.

00:32:44:03 – 00:32:44:15
Like, you know,

00:32:44:15 – 00:32:46:02
when somebody gets a tattoo of,

00:32:46:02 – 00:32:46:20
like, a form or,

00:32:46:20 – 00:32:48:19
you know, like, significant other

00:32:48:19 – 00:32:49:20
and they don’t want to remember

00:32:49:20 – 00:32:50:19
that anymore.

00:32:50:19 – 00:32:51:03
I was like,

00:32:51:03 – 00:32:53:00
is he technically lasering this away?

00:32:53:00 – 00:32:54:00
Like, yeah,

00:32:54:00 – 00:32:54:08
you know,

00:32:54:08 – 00:32:54:20
because he doesn’t

00:32:54:20 – 00:32:55:17
want anything to do with

00:32:55:17 – 00:32:56:22
but you,

00:32:56:22 – 00:32:59:19
you know, only go during that parallel.

00:32:59:19 – 00:33:01:08
Yeah. Yeah.

00:33:01:08 – 00:33:01:17
Yeah.

00:33:01:17 – 00:33:04:05
I would love to see more of that.

00:33:04:05 – 00:33:05:21
I know, I know, yeah.

00:33:05:21 – 00:33:06:05
Go ahead.

00:33:06:05 – 00:33:06:13
Well,

00:33:06:13 – 00:33:07:04
when I think of

00:33:07:04 – 00:33:08:19
representation of tattoos,

00:33:08:19 – 00:33:10:02
aside from those characters,

00:33:10:02 – 00:33:12:03
we have like what Jack Sparrow

00:33:12:03 – 00:33:13:16
and anybody who is a pirate.

00:33:13:16 – 00:33:15:18
Yeah. True.

00:33:15:18 – 00:33:17:11
And that which,

00:33:17:11 – 00:33:19:07
which kind of hearkens back

00:33:19:07 – 00:33:22:04
more to the stigmatized way

00:33:22:04 – 00:33:23:16
of seeing that. Right.

00:33:23:16 – 00:33:27:12
Because but wouldn’t

00:33:27:12 – 00:33:31:01
it be an amazing opportunity to teach

00:33:31:09 – 00:33:34:02
about cultural heritage

00:33:34:02 – 00:33:35:11
and the connection

00:33:35:11 – 00:33:36:21
of, of those characters

00:33:36:21 – 00:33:39:10
and to do their part

00:33:39:10 – 00:33:42:05
with normalizing tattoos?

00:33:42:05 – 00:33:44:21
Because I mean it

00:33:44:21 – 00:33:46:12
I understand needing

00:33:46:12 – 00:33:48:04
to keep the balance for children.

00:33:48:04 – 00:33:50:15
However, children are exposed

00:33:50:15 – 00:33:52:23
to tattoo people all the time. Yes.

00:33:52:23 – 00:33:55:16
And I, you know, growing.

00:33:55:16 – 00:33:57:05
When my kids grew up,

00:33:57:05 – 00:33:59:13
we obviously were tattooed

00:33:59:13 – 00:34:01:07
and we tried to incorporate

00:34:01:07 – 00:34:03:10
lots of different art into the house.

00:34:03:10 – 00:34:05:14
And I really find that

00:34:05:14 – 00:34:07:12
when when you normalize

00:34:07:12 – 00:34:09:14
something, they’re not scared of it

00:34:09:14 – 00:34:11:21
and they don’t think it’s taboo

00:34:11:21 – 00:34:12:14
and, and like,

00:34:12:14 – 00:34:15:18
they don’t want to rebel back to it

00:34:15:18 – 00:34:19:18
as much as when you, repress it

00:34:19:18 – 00:34:21:19
and teach them that it’s scary.

00:34:22:18 – 00:34:24:13
So I would just love to

00:34:24:13 – 00:34:25:01
see them

00:34:25:01 – 00:34:25:22
just, you know,

00:34:25:22 – 00:34:27:16
not know that they think,

00:34:27:16 – 00:34:28:07
yeah,

00:34:28:07 – 00:34:29:09
we have to get

00:34:29:09 – 00:34:31:09
them head tattoos or facial,

00:34:31:09 – 00:34:32:16
but just easy. Cool.

00:34:32:16 – 00:34:34:12
They have a few new characters

00:34:34:12 – 00:34:38:00
that just sported something, you know.

00:34:38:04 – 00:34:38:21
So, you know,

00:34:38:21 – 00:34:40:11
I always thought that,

00:34:40:11 – 00:34:40:19
you know,

00:34:40:19 – 00:34:42:22
we didn’t get tattoos on characters

00:34:42:22 – 00:34:44:03
because I thought it was difficult

00:34:44:03 – 00:34:47:16
for the animators to like, portray

00:34:48:03 – 00:34:49:22
like a really good piece of art

00:34:49:22 – 00:34:52:12
because sometimes it can get so intricate

00:34:52:12 – 00:34:53:23
and you don’t want to,

00:34:53:23 – 00:34:55:15
you know, make that dull

00:34:55:15 – 00:34:56:20
and you don’t want it to be a bad

00:34:56:20 – 00:34:58:15
looking tattoo.

00:34:58:15 – 00:35:00:05
But I mean, when they did Maui,

00:35:00:05 – 00:35:03:02
I think the CGI and also

00:35:03:02 – 00:35:04:19
the animation has gone so far

00:35:04:19 – 00:35:06:08
that maybe there’s a little bit

00:35:06:08 – 00:35:07:18
easier for, you know, digital

00:35:07:18 – 00:35:09:05
animators to do that.

00:35:09:05 – 00:35:11:06
Because when I saw Maui’s

00:35:11:06 – 00:35:12:09
I was like, these are good.

00:35:12:09 – 00:35:14:15
Look, you know, they’re accurate, right?

00:35:14:15 – 00:35:15:10
Portrayed

00:35:15:10 – 00:35:16:17
and they don’t look weird

00:35:16:17 – 00:35:18:14
and they look great on the skin.

00:35:18:14 – 00:35:19:10
But, you know,

00:35:19:10 – 00:35:20:21
I can imagine if that was harder

00:35:20:21 – 00:35:23:09
for like a 2D animation to do that.

00:35:23:09 – 00:35:24:12
So, you know,

00:35:24:12 – 00:35:25:07
I don’t know if you guys

00:35:25:07 – 00:35:26:16
had a thought about that

00:35:26:16 – 00:35:28:19
because he does move

00:35:28:19 – 00:35:31:17
and they flow with the movements

00:35:31:17 – 00:35:32:15
really well.

00:35:32:15 – 00:35:35:05
That’s a that’s a great point.

00:35:35:05 – 00:35:36:08
Yeah.

00:35:36:08 – 00:35:39:08
But that they can do it I know they can.

00:35:39:11 – 00:35:40:10
Yeah, I could do it.

00:35:40:10 – 00:35:41:17
I have a feeling we can

00:35:41:17 – 00:35:42:19
if we believe in you,

00:35:42:19 – 00:35:45:18
get more tattooed individuals in Disney.

00:35:45:18 – 00:35:47:03
It’s going to come from Pixar.

00:35:48:07 – 00:35:50:11
Oh I get it’s for the money.

00:35:50:11 – 00:35:50:22
Right.

00:35:50:22 – 00:35:53:22
So yeah that’s for the money.

00:35:56:12 – 00:35:58:12
I going back to the cultural

00:35:58:12 – 00:35:59:06
element though,

00:35:59:06 – 00:36:00:13
I, I just,

00:36:00:13 – 00:36:03:03
I think that’s such a great opportunity

00:36:03:03 – 00:36:05:16
to really have those accurate,

00:36:05:16 – 00:36:08:19
you know, depictions of something

00:36:08:19 – 00:36:11:19
that can be so important.

00:36:12:03 – 00:36:13:02
And, and I know

00:36:13:02 – 00:36:15:05
we saw the one part of the song

00:36:15:05 – 00:36:17:12
where the one guy was getting his tattoo.

00:36:17:12 – 00:36:20:00
That’s how that’s that’s true.

00:36:20:00 – 00:36:22:19
So so kudos to that.

00:36:22:19 – 00:36:23:21
Yeah.

00:36:23:21 – 00:36:26:02
So I and I would like to think

00:36:26:02 – 00:36:28:04
that as we progress

00:36:28:04 – 00:36:30:18
that that will change to. Right.

00:36:30:18 – 00:36:33:01
Because things that,

00:36:33:01 – 00:36:35:16
that they incorporated years ago

00:36:35:16 – 00:36:37:02
have certainly changed

00:36:37:02 – 00:36:40:02
with women’s roles and

00:36:40:02 – 00:36:42:15
and just progress in general.

00:36:42:15 – 00:36:45:00
So fingers crossed.

00:36:45:00 – 00:36:45:06
Well,

00:36:45:06 – 00:36:46:05
and then speaking

00:36:46:05 – 00:36:47:17
in the cultural component Stef

00:36:47:17 – 00:36:48:23
I think when your husband

00:36:48:23 – 00:36:50:16
had to get one of his tattoos, didn’t

00:36:50:16 – 00:36:51:21
he have to like, answer

00:36:51:21 – 00:36:52:19
this questionnaire

00:36:52:19 – 00:36:54:23
for lineage, for certain imagery

00:36:54:23 – 00:36:56:17
and things that could be used

00:36:56:17 – 00:36:58:02
that were like that

00:36:58:02 – 00:36:59:08
historically represents

00:36:59:08 – 00:37:00:16
a certain tribe of people?

00:37:01:15 – 00:37:02:00
Yeah.

00:37:02:00 – 00:37:03:06
So there’s a place here

00:37:03:06 – 00:37:04:01
in Orange County,

00:37:04:01 – 00:37:05:13
actually, that specializes

00:37:05:13 – 00:37:07:07
in tribal Filipino tattoos.

00:37:07:07 – 00:37:08:09
Oh, okay.

00:37:08:09 – 00:37:10:04
So it was like a lengthy,

00:37:10:04 – 00:37:13:08
like, multi-month process where we had to

00:37:13:22 – 00:37:15:01
we had to like,

00:37:15:01 – 00:37:15:21
kind of dig deep

00:37:15:21 – 00:37:17:00
and see what his grandmother

00:37:17:00 – 00:37:17:23
did for living,

00:37:17:23 – 00:37:18:21
what his grandfather

00:37:18:21 – 00:37:21:05
did on both sides of his family, kind of,

00:37:21:05 – 00:37:22:18
you know, like what their,

00:37:22:18 – 00:37:25:02
what their role was in the family

00:37:25:02 – 00:37:25:09
and like,

00:37:25:09 – 00:37:27:05
what industry that they worked in.

00:37:27:05 – 00:37:29:21
And they work that into his entire sleeve

00:37:29:21 – 00:37:30:18
and his sleeve

00:37:30:18 – 00:37:33:15
basically tells the story of his family,

00:37:33:15 – 00:37:34:21
what he does for a living.

00:37:34:21 – 00:37:36:01
He’s in communication.

00:37:36:01 – 00:37:38:05
So he had, like little lightning bolts

00:37:38:05 – 00:37:39:06
that like, symbolize,

00:37:39:06 – 00:37:39:19
you know,

00:37:39:19 – 00:37:41:20
the transfer of like, information

00:37:41:20 – 00:37:42:15
and things like that.

00:37:42:15 – 00:37:44:20
So yeah, it was it was really great.

00:37:44:20 – 00:37:45:14
And it helped us

00:37:45:14 – 00:37:47:02
learn more about his lineage,

00:37:47:02 – 00:37:48:11
which we wouldn’t have known

00:37:48:11 – 00:37:50:19
if he didn’t decide to do that.

00:37:50:19 – 00:37:51:05
Wow.

00:37:51:05 – 00:37:52:09
So is this

00:37:52:09 – 00:37:55:07
are these things that the tattoo

00:37:55:07 – 00:37:55:20
you artist

00:37:55:20 – 00:38:00:02
or the shop did research on to wow.

00:38:00:08 – 00:38:01:03
That is it is.

00:38:02:07 – 00:38:03:10
And then the next part of it

00:38:03:10 – 00:38:05:06
is the actual work, the

00:38:05:06 – 00:38:07:20
oh my gosh, that’s amazing process.

00:38:07:20 – 00:38:10:15
What it’s like a genealogy project

00:38:10:15 – 00:38:12:06
that comes to life on skin.

00:38:12:06 – 00:38:15:15
And that’s really amazing and so special.

00:38:15:15 – 00:38:17:19
That just makes it so special.

00:38:17:19 – 00:38:18:15
You know,

00:38:18:15 – 00:38:19:08
any time

00:38:19:08 – 00:38:20:09
you have an artist

00:38:20:09 – 00:38:24:04
that goes to those lengths and really cares

00:38:24:04 – 00:38:26:12
about the final product,

00:38:26:12 – 00:38:28:12
that’s that’s magic.

00:38:28:12 – 00:38:31:14
You know, that’s that’s so amazing.

00:38:32:02 – 00:38:34:13
And he must be so proud to wear it

00:38:34:13 – 00:38:36:08
and to tell the story. Right.

00:38:36:08 – 00:38:38:09
Because the story

00:38:38:09 – 00:38:39:19
he has to like kind of figure out

00:38:39:19 – 00:38:41:00
how he’s going to say it

00:38:41:00 – 00:38:42:21
because there’s so much to talk about.

00:38:42:21 – 00:38:44:05
But sometimes somebody asks him,

00:38:44:05 – 00:38:45:21
like in line at Disneyland.

00:38:45:21 – 00:38:47:18
So he has like two seconds to like

00:38:47:18 – 00:38:48:08
this background.

00:38:49:11 – 00:38:51:03
My mom said, okay, bye.

00:38:51:03 – 00:38:51:15
See you later.

00:38:51:15 – 00:38:52:03
Thank you.

00:38:52:03 – 00:38:53:17
Oh, that’s so cute.

00:38:53:17 – 00:38:55:11
Or hours in line.

00:38:55:11 – 00:38:57:03
I mean, you get maybe.

00:38:57:03 – 00:38:58:13
No, I’m just kidding. What?

00:38:58:13 – 00:38:59:16
When you don’t have Genie+

00:38:59:16 – 00:39:02:02
When we don’t have lightning lane, Right.

00:39:02:02 – 00:39:02:21
Nope.

00:39:02:21 – 00:39:06:20
So we have been in Oregon since 2015,

00:39:07:07 – 00:39:09:09
but we used to be annual passholders,

00:39:09:09 – 00:39:12:09
so we lived in, we I was telling Ariel that,

00:39:12:12 – 00:39:15:05
I lived in Riverside most of my life

00:39:15:05 – 00:39:16:05
growing up.

00:39:16:05 – 00:39:17:16
So I used to go all the time.

00:39:17:16 – 00:39:18:05
I mean, I know

00:39:18:05 – 00:39:21:05
things have changed so much, so I don’t

00:39:21:05 – 00:39:22:17
I don’t fully understand

00:39:22:17 – 00:39:25:22
all of the new rules, with lines and all.

00:39:25:22 – 00:39:27:05
There’s a lot to know.

00:39:27:05 – 00:39:28:11
And you know what?

00:39:28:11 – 00:39:29:21
We’ll save that for another podcast.

00:39:29:21 – 00:39:31:09
Okay, there we go.

00:39:33:06 – 00:39:33:16
That’s

00:39:33:16 – 00:39:34:11
really, really

00:39:34:11 – 00:39:35:16
cool about your husband’s

00:39:35:16 – 00:39:36:18
tattoo, though,

00:39:36:18 – 00:39:39:13
I, I think it’s amazing

00:39:39:13 – 00:39:42:07
that there is a shop that can

00:39:42:07 – 00:39:43:14
isn’t that cool, that

00:39:43:14 – 00:39:47:10
there can be a shop that is so focused on

00:39:48:05 – 00:39:52:06
such a particular community, so amazing.

00:39:52:06 – 00:39:53:03
It’s really.

00:39:53:03 – 00:39:53:12
Yeah.

00:39:53:12 – 00:39:55:13
And knowing that there, you know,

00:39:55:13 – 00:39:57:23
we do have like a cultural history

00:39:57:23 – 00:39:59:08
of that being, you know,

00:39:59:08 – 00:40:00:09
you know, attached to us.

00:40:00:09 – 00:40:02:09
I think it’s great that there’s people

00:40:02:09 – 00:40:04:04
who do their research and continue

00:40:04:04 – 00:40:05:20
on that tradition for,

00:40:05:20 – 00:40:06:14
you know, those,

00:40:06:14 – 00:40:08:06
you know, us in the diaspora

00:40:08:06 – 00:40:11:05
that don’t have access to it because,

00:40:11:05 – 00:40:11:13
all right,

00:40:11:13 – 00:40:12:23
you know, our country so far away.

00:40:12:23 – 00:40:14:15
So it was really, really great.

00:40:14:15 – 00:40:16:01
So cool.

00:40:16:01 – 00:40:19:01
And yeah, I love that.

00:40:19:02 – 00:40:21:08
And you know, that really sets artists

00:40:21:08 – 00:40:21:23
apart too,

00:40:21:23 – 00:40:23:19
because there are a lot of

00:40:23:19 – 00:40:25:14
tattoo artists in the world nowadays.

00:40:25:14 – 00:40:26:04
And when you

00:40:26:04 – 00:40:27:09
when you have something

00:40:27:09 – 00:40:31:04
so niche like that but and special it’s

00:40:31:12 – 00:40:33:08
it’s brilliant honestly.

00:40:33:08 – 00:40:35:03
So super cool.

00:40:35:03 – 00:40:36:01
Yeah.

00:40:36:01 – 00:40:36:15
I’m, I’m

00:40:36:15 – 00:40:39:00
curious do with the tattoo artists

00:40:39:00 – 00:40:39:21
that you’ve worked with

00:40:39:21 – 00:40:42:23
or talked to when you have already iconic

00:40:42:23 – 00:40:45:23
imagery like Disney imagery does that

00:40:46:22 – 00:40:47:09
bring more

00:40:47:09 – 00:40:50:19
challenge to how they create the art,

00:40:50:19 – 00:40:51:19
or does it

00:40:51:19 – 00:40:52:18
like having that

00:40:52:18 – 00:40:54:12
that already iconic imagery

00:40:54:12 – 00:40:55:12
make it easier?

00:40:55:12 – 00:40:57:03
Like what is that like for them

00:40:57:03 – 00:40:59:19
creative wise?

00:40:59:19 – 00:41:02:01
I, I think it’s it’s

00:41:02:01 – 00:41:04:15
probably changed a lot over the years.

00:41:04:15 – 00:41:06:03
I it’s funny,

00:41:06:03 – 00:41:06:20
I remember

00:41:06:20 – 00:41:10:06
when, I first started getting tattooed

00:41:10:20 – 00:41:13:10
it was still a little risky

00:41:13:10 – 00:41:16:15
to actually get an accurate,

00:41:16:16 – 00:41:18:15
replica

00:41:18:15 – 00:41:20:23
of a tattoo of a Disney character.

00:41:20:23 – 00:41:22:22
I, I know this is wild,

00:41:22:22 – 00:41:25:00
but there were stories back

00:41:25:00 – 00:41:27:13
then where they would, sue people,

00:41:27:13 – 00:41:29:14
you know, for having

00:41:29:14 – 00:41:32:15
or having Disney images on that

00:41:32:15 – 00:41:35:15
that weren’t changed.

00:41:35:17 – 00:41:36:22
Which is

00:41:36:22 – 00:41:38:13
I mean, this is a long time ago, but,

00:41:38:13 – 00:41:39:08
yeah, obviously

00:41:39:08 – 00:41:42:08
things have changed drastically.

00:41:42:08 – 00:41:44:19
So I think in those times,

00:41:44:19 – 00:41:48:10
artists had to make some alterations

00:41:48:10 – 00:41:48:18
to it.

00:41:48:18 – 00:41:50:06
So, you know,

00:41:50:06 – 00:41:52:04
I mean, you can still hide it,

00:41:52:04 – 00:41:56:03
I’m sure, but but just to be in alignment

00:41:56:06 – 00:41:57:16
with their

00:41:57:16 – 00:42:00:00
what they were requiring at the time.

00:42:00:00 – 00:42:03:01
But, I think now

00:42:03:13 – 00:42:07:12
it’s probably such a benefit to have

00:42:08:03 – 00:42:10:22
that,

00:42:10:22 – 00:42:12:20
you know, that core imagery

00:42:12:20 – 00:42:15:21
because it, it it’s, you know, it’s so

00:42:15:21 – 00:42:19:07
well done and so, memorable,

00:42:19:17 – 00:42:21:00
and then adding

00:42:21:00 – 00:42:22:18
those little touches to it

00:42:22:18 – 00:42:26:05
and your style, because everybody’s

00:42:26:05 – 00:42:29:23
got a little flair that makes their stuff

00:42:30:18 – 00:42:34:15
pop, you know, and whether it’s like,

00:42:34:15 – 00:42:36:11
watercolor version

00:42:36:11 – 00:42:39:09
or maybe just black and gray,

00:42:39:09 – 00:42:40:23
you know, taking a taking

00:42:40:23 – 00:42:42:13
a very colorful character,

00:42:42:13 – 00:42:43:20
but just doing know, cool

00:42:43:20 – 00:42:47:02
black and gray imagery or adding

00:42:47:07 – 00:42:48:16
something behind it

00:42:48:16 – 00:42:50:18
that means something to the person.

00:42:52:03 – 00:42:53:22
I’m sure it.

00:42:53:22 – 00:42:54:08
Mr..

00:42:54:08 – 00:42:54:20
It’s probably

00:42:54:20 – 00:42:57:21
a different answer for tattoo artist.

00:42:57:21 – 00:43:00:21
Right. There’s just

00:43:01:09 – 00:43:03:09
sometimes just taking an image

00:43:03:09 – 00:43:07:02
and making a stencil of it and pop,

00:43:07:08 – 00:43:08:09
you know, you’re done.

00:43:08:09 – 00:43:11:05
That’s that’s super easy.

00:43:11:05 – 00:43:12:12
And and so

00:43:12:12 – 00:43:14:16
but putting all that extra into

00:43:14:16 – 00:43:17:16
it is makes it special and.

00:43:18:01 – 00:43:18:15
Yeah.

00:43:18:15 – 00:43:20:12
Yeah, that’s a good question though

00:43:20:12 – 00:43:22:20
I know I want to ask all these artists

00:43:22:20 – 00:43:25:15
what they think. Yeah.

00:43:25:15 – 00:43:28:00
Well and I know you had a presentation

00:43:28:00 – 00:43:31:07
at tag’s 2022 where you highlighted

00:43:31:07 – 00:43:32:13
a lot of the benefits,

00:43:32:13 – 00:43:34:07
the therapeutic benefits of tattooing.

00:43:34:07 – 00:43:36:21
And we have discussed some things,

00:43:36:21 – 00:43:38:12
but I’m curious for you,

00:43:38:12 – 00:43:40:02
for newer clinicians,

00:43:40:02 – 00:43:41:18
how can they bring up the subject

00:43:41:18 – 00:43:42:22
of someone’s tattoos?

00:43:42:22 – 00:43:43:17
You just straight up

00:43:43:17 – 00:43:44:16
ask them, like, what?

00:43:44:16 – 00:43:46:23
What have you noticed about the waves

00:43:46:23 – 00:43:48:21
and what have you noticed?

00:43:48:21 – 00:43:50:23
Has been therapeutic conversations

00:43:50:23 – 00:43:52:07
about it.

00:43:52:07 – 00:43:52:22
Well,

00:43:52:22 – 00:43:56:09
I first, as I mentioned earlier, I,

00:43:56:17 – 00:44:00:20
I always embrace that when I see people

00:44:01:05 – 00:44:02:01
who are tattoo

00:44:02:01 – 00:44:03:13
because I know

00:44:03:13 – 00:44:04:17
from my own experience

00:44:04:17 – 00:44:07:01
that you have so many stories

00:44:07:01 – 00:44:08:06
to tell through it.

00:44:08:06 – 00:44:09:23
So if somebody know

00:44:09:23 – 00:44:11:07
this is and

00:44:11:07 – 00:44:14:00
and wants to talk about it, it’s,

00:44:14:00 – 00:44:14:19
you know, it’s

00:44:14:19 – 00:44:17:03
it’s usually this open door

00:44:17:03 – 00:44:18:14
that lets you.

00:44:18:14 – 00:44:21:05
Yeah, open up all kinds of things.

00:44:21:05 – 00:44:24:14
I think the main thing that I have found

00:44:24:14 – 00:44:25:05
has been so

00:44:25:05 – 00:44:28:05
valuable is through narrative therapy,

00:44:28:06 – 00:44:32:09
because tattoos are your storybook,

00:44:32:14 – 00:44:32:23
you know,

00:44:32:23 – 00:44:35:19
they are your way of telling your journey

00:44:35:19 – 00:44:37:03
and your story.

00:44:37:03 – 00:44:38:01
And a lot of times

00:44:38:01 – 00:44:40:09
when people are, do it

00:44:40:09 – 00:44:42:04
when we’re doing trauma work,

00:44:42:04 – 00:44:45:17
the whole goal is to rewrite that story

00:44:45:17 – 00:44:48:22
in a powerful, new, positive way.

00:44:49:12 – 00:44:52:18
And tattoos can be that stepping stone

00:44:52:20 – 00:44:53:14
for that.

00:44:55:07 – 00:44:57:16
It’s, I

00:44:57:16 – 00:45:00:18
had a client a while ago who was in a

00:45:01:07 – 00:45:03:19
really, bad car accident

00:45:03:19 – 00:45:06:14
and had a few tattoos, but,

00:45:06:14 – 00:45:10:09
through the work, she decided

00:45:10:09 – 00:45:13:09
to get a Phoenix tattoo,

00:45:13:11 – 00:45:16:11
because it represents rebirth.

00:45:16:16 – 00:45:18:15
And it was strength.

00:45:18:15 – 00:45:20:02
And,

00:45:20:02 – 00:45:23:01
it was such the incredible experience

00:45:23:01 – 00:45:23:12
for her

00:45:23:12 – 00:45:27:00
to even just making the appointment

00:45:27:00 – 00:45:28:21
because this was,

00:45:28:21 – 00:45:29:12
this started

00:45:29:12 – 00:45:30:18
this whole new story

00:45:30:18 – 00:45:31:05
that now

00:45:31:05 – 00:45:34:08
she gets to tell as she’s healing

00:45:34:08 – 00:45:35:16
both physically

00:45:35:16 – 00:45:37:20
and mentally and emotionally.

00:45:37:20 – 00:45:41:10
And each, tattoo session

00:45:41:21 – 00:45:45:08
just brought so much for her as she was

00:45:45:08 – 00:45:46:15
coming out of something

00:45:46:15 – 00:45:49:15
very traumatic into this beautiful

00:45:50:09 – 00:45:51:01
phoenix,

00:45:51:01 – 00:45:54:08
you know, that actually represents that,

00:45:55:01 – 00:45:58:11
another way of seeing it work

00:45:58:21 – 00:46:02:09
very powerfully is, and just

00:46:02:20 – 00:46:03:20
trigger warning

00:46:03:20 – 00:46:06:03
in case anybody, struggles

00:46:06:03 – 00:46:07:01
with self-harm,

00:46:07:01 – 00:46:11:17
but, through self-harm scars,

00:46:11:20 – 00:46:12:21
this

00:46:12:21 – 00:46:15:04
this has become a really beautiful thing

00:46:15:04 – 00:46:16:16
that a lot of tattoo artists do

00:46:16:16 – 00:46:21:00
now to tattoo over and kind of with

00:46:21:05 – 00:46:22:15
the, the scars.

00:46:23:21 – 00:46:24:21
It’s so

00:46:24:21 – 00:46:25:18
powerful and

00:46:25:18 – 00:46:26:10
healing

00:46:26:10 – 00:46:29:10
to be able to take something so painful

00:46:29:16 – 00:46:33:16
that you are want to grow and

00:46:33:16 – 00:46:35:14
and change from

00:46:35:14 – 00:46:38:12
and cover it up with something beautiful

00:46:38:12 – 00:46:40:12
and where you used to look down

00:46:40:12 – 00:46:42:15
and see something,

00:46:42:15 – 00:46:44:15
you know, very hard

00:46:44:15 – 00:46:46:04
And, now

00:46:46:04 – 00:46:46:18
you have

00:46:46:18 – 00:46:49:09
this whole new way of seeing that.

00:46:49:09 – 00:46:51:21
So that’s

00:46:51:21 – 00:46:54:01
that is a really incredible,

00:46:54:01 – 00:46:57:10
direction that a lot of artists do now.

00:46:58:07 – 00:47:00:23
Also, mastectomy

00:47:00:23 – 00:47:04:19
tattoo is can be incredible

00:47:04:20 – 00:47:07:03
new journey into again

00:47:07:03 – 00:47:08:21
something that we have been difficult

00:47:08:21 – 00:47:10:13
to get through you

00:47:10:13 – 00:47:11:14
Oh my gosh,

00:47:11:14 – 00:47:13:06
some of the mastectomy

00:47:13:06 – 00:47:14:22
artists are so incredible.

00:47:14:22 – 00:47:17:08
Not only with 3D nipple tattoos,

00:47:17:08 – 00:47:20:09
but also, just adorning it

00:47:20:09 – 00:47:23:11
with flowers or octopus

00:47:23:11 – 00:47:24:15
or whatever,

00:47:24:15 – 00:47:25:19
whatever it is

00:47:25:19 – 00:47:27:05
that you guys came up with,

00:47:27:05 – 00:47:30:04
and now you’ve transformed something

00:47:30:04 – 00:47:33:16
into this very proud part of you.

00:47:34:06 – 00:47:35:09
Yeah.

00:47:35:09 – 00:47:38:12
Same same for, the top surgery.

00:47:39:00 – 00:47:40:09
People

00:47:40:09 – 00:47:41:18
that go through top surgery

00:47:41:18 – 00:47:45:07
that want to have a 3D nipple tattooed,

00:47:45:14 – 00:47:48:04
I, I’m sure you guys have seen the work.

00:47:48:04 – 00:47:50:19
It’s absolutely mind blowing.

00:47:50:19 – 00:47:53:16
It looks so, so real.

00:47:53:16 – 00:47:55:03
And. And how,

00:47:57:05 – 00:47:59:01
how wonderful.

00:47:59:01 – 00:47:59:10
Right.

00:47:59:10 – 00:48:00:03
For somebody

00:48:00:03 – 00:48:03:06
to be able to have the opportunity

00:48:03:06 – 00:48:07:02
to feel whole and and as themself.

00:48:07:12 – 00:48:09:16
So I know, something else

00:48:09:16 – 00:48:12:02
I’ve seen with tattoos in my practice,

00:48:12:02 – 00:48:13:22
as the audience might remember,

00:48:13:22 – 00:48:14:19
I specialize

00:48:14:19 – 00:48:15:18
with survivors

00:48:15:18 – 00:48:18:18
of child sexual abuse or sexual abuse

00:48:18:22 – 00:48:21:05
And so

00:48:21:05 – 00:48:22:15
getting any tattoo

00:48:22:15 – 00:48:25:04
feels like a reclaim of the body.

00:48:25:04 – 00:48:27:16
That right is like,

00:48:27:16 – 00:48:29:16
I can mark a moment of,

00:48:29:16 – 00:48:31:21
this moving forward is me,

00:48:31:21 – 00:48:33:23
like in my post-traumatic growth or,

00:48:33:23 – 00:48:35:05
exactly

00:48:35:05 – 00:48:38:03
like owning all parts of myself again.

00:48:38:03 – 00:48:38:10
Yeah.

00:48:38:10 – 00:48:41:18
And it could be as as simple as,

00:48:41:18 – 00:48:43:02
you know, some dots on the hand

00:48:43:02 – 00:48:44:19
or a little flower or on the hand right.

00:48:44:19 – 00:48:46:13
It can be very immaculate

00:48:46:13 – 00:48:49:22
It, and I know that,

00:48:50:14 – 00:48:52:02
that was the only way

00:48:52:02 – 00:48:53:19
that healing moving forward

00:48:53:19 – 00:48:55:09
was going to happen was

00:48:55:09 – 00:48:56:19
if my client could feel like

00:48:56:19 – 00:48:59:00
they owned their body again.

00:48:59:00 – 00:49:00:08
Right?

00:49:00:08 – 00:49:01:02
Yes.

00:49:01:02 – 00:49:03:20
It’s it’s so powerful.

00:49:03:20 – 00:49:05:10
It really is. It’s like

00:49:06:13 – 00:49:09:18
deciding to make that step

00:49:10:05 – 00:49:13:07
and using your own body as that,

00:49:13:20 – 00:49:17:16
that catalyst to be able to reclaim that.

00:49:17:16 – 00:49:19:12
Oh my gosh, it’s huge.

00:49:19:12 – 00:49:22:05
And I also always love

00:49:22:05 – 00:49:23:01
that you get to

00:49:23:01 – 00:49:25:07
where you get to hold it with you always.

00:49:25:07 – 00:49:26:06
You know,

00:49:26:06 – 00:49:29:07
because it’s not even like a moment

00:49:29:07 – 00:49:30:06
or a day

00:49:30:06 – 00:49:32:14
where you’re having this ceremony

00:49:32:14 – 00:49:33:21
or special thing.

00:49:33:21 – 00:49:36:21
It’s like something that you get to turn to

00:49:37:03 – 00:49:39:11
when you need to do to reminds you

00:49:39:11 – 00:49:40:16
that you did that.

00:49:40:16 – 00:49:42:09
You took back that power.

00:49:42:09 – 00:49:46:21
So I, I see it so often and I, I just

00:49:46:21 – 00:49:47:16
I love that

00:49:47:16 – 00:49:50:03
that’s something that is available

00:49:50:03 – 00:49:53:03
in in trauma work

00:49:53:03 – 00:49:55:21
and rewriting your story

00:49:55:21 – 00:49:57:08
with narrative therapy.

00:49:57:08 – 00:49:59:14
So yeah. Thank you.

00:49:59:14 – 00:50:00:02
You guys did

00:50:00:02 – 00:50:03:04
ask the question about, educational,

00:50:03:09 – 00:50:04:14
tools

00:50:04:14 – 00:50:07:00
that that teachers might be able to.

00:50:07:00 – 00:50:10:00
And I know we, we talked a lot about how

00:50:10:00 – 00:50:13:03
that is kind of a part of school now,

00:50:13:03 – 00:50:14:21
which makes me so happy.

00:50:14:21 – 00:50:16:21
But I did make a couple little notes

00:50:16:21 – 00:50:20:17
about, I thought, integrating tattoos

00:50:20:17 – 00:50:23:22
into curriculum in the cultural sense,

00:50:24:07 – 00:50:25:23
you know, is amazing

00:50:25:23 – 00:50:29:18
way to teach historical and

00:50:29:18 – 00:50:31:11
cultural significance

00:50:31:11 – 00:50:36:01
Introducing some of, like the

00:50:36:04 – 00:50:39:04
the Māori Tā moko or

00:50:39:06 – 00:50:42:00
Japanese Irezumi things

00:50:42:00 – 00:50:44:17
maybe having a guest speaker,

00:50:44:17 – 00:50:47:17
a, teacher could do either

00:50:47:17 – 00:50:48:21
a tattoo artist

00:50:48:21 – 00:50:51:06
or somebody who was very,

00:50:51:06 – 00:50:53:13
knowledgeable about tattoo history.

00:50:53:13 – 00:50:55:18
I think kids would love that.

00:50:55:18 – 00:50:57:11
And and maybe things

00:50:57:11 – 00:50:59:14
that they might be scared about asking.

00:50:59:14 – 00:51:02:04
They could feel comfortable with.

00:51:02:04 – 00:51:03:21
Yeah.

00:51:03:21 – 00:51:06:11
Obviously art in art class.

00:51:06:11 – 00:51:08:10
Just asking kids

00:51:08:10 – 00:51:09:14
to design their own

00:51:09:14 – 00:51:11:07
tattoo and, like, what?

00:51:11:07 – 00:51:14:03
Personal meaning that you have to them.

00:51:14:03 – 00:51:18:06
And just being able to explore symbolism

00:51:18:06 – 00:51:20:06
and the design elements

00:51:20:06 – 00:51:21:16
and all the cool things

00:51:21:16 – 00:51:23:22
you could do with art, of course.

00:51:23:22 – 00:51:26:16
And then had, Oh, I also see,

00:51:26:16 – 00:51:28:11
with literature,

00:51:28:11 – 00:51:29:20
creative writing

00:51:29:20 – 00:51:32:12
lady using tattoos as a motif

00:51:32:12 – 00:51:36:10
or a symbol for a creative writing.

00:51:36:10 – 00:51:40:07
Exercise to, like, analyze

00:51:40:15 – 00:51:43:13
characters or themes or plots or,

00:51:43:13 – 00:51:44:21
you know, just,

00:51:44:21 – 00:51:45:18
I guess

00:51:45:18 – 00:51:47:12
another big part of that to me

00:51:47:12 – 00:51:49:06
is normalizing it.

00:51:49:06 – 00:51:52:17
So it’s not something that feels so

00:51:53:09 – 00:51:54:06
taboo.

00:51:54:06 – 00:51:55:11
You know, I just

00:51:55:11 – 00:51:56:10
I really like that

00:51:56:10 – 00:51:58:03
because I did see online

00:51:58:03 – 00:52:00:06
somebody do a book writing assignment

00:52:00:06 – 00:52:00:19
where instead of

00:52:00:19 – 00:52:02:22
just writing like a book report,

00:52:02:22 – 00:52:05:05
they had to pick, like is

00:52:05:05 – 00:52:07:12
are they called jibbitz on the Crocs

00:52:07:12 – 00:52:10:02
widget? Yes. Yeah.

00:52:10:02 – 00:52:13:00
They had to make a Croc for the character

00:52:13:00 – 00:52:15:00
and put jibbitz on there.

00:52:15:00 – 00:52:17:19
So it’s like the character in your book.

00:52:17:19 – 00:52:19:15
Like what tattoos would they have?

00:52:19:15 – 00:52:20:04
Like,

00:52:20:04 – 00:52:22:02
would Ponyboy from The Outsiders

00:52:22:02 – 00:52:23:17
be wearing?

00:52:23:17 – 00:52:24:13
Exactly.

00:52:24:13 – 00:52:26:19
Like, there’s endless things, right,

00:52:26:19 – 00:52:28:10
that you could do.

00:52:28:10 – 00:52:30:10
I think that’s so cool.

00:52:30:10 – 00:52:30:20
That’s

00:52:30:20 – 00:52:34:14
that’s a great little, little assignment

00:52:34:20 – 00:52:36:01
that teacher do that would

00:52:37:13 – 00:52:40:01
Do you have any like, advice for anybody

00:52:40:01 – 00:52:41:01
who’s an aspiring

00:52:41:01 – 00:52:43:04
tattoo artist that you know,

00:52:43:04 – 00:52:44:09
wants to hone in on something

00:52:44:09 – 00:52:46:12
because there’s so many out there, but,

00:52:46:12 – 00:52:47:00
you know,

00:52:47:00 – 00:52:48:10
is there any advice that you would give

00:52:48:10 – 00:52:49:00
for somebody

00:52:49:00 – 00:52:52:00
to just believe in what they can do?

00:52:52:16 – 00:52:53:01
Yeah.

00:52:53:01 – 00:52:53:19
Well,

00:52:53:19 – 00:52:56:14
the best thing any aspiring tattoo

00:52:56:14 – 00:52:58:15
artist can do is to draw.

00:52:58:15 – 00:53:00:23
Draw a draw

00:53:00:23 – 00:53:03:11
Just like live.

00:53:03:11 – 00:53:05:07
Breathe. Practicing.

00:53:05:07 – 00:53:06:00
You know,

00:53:06:00 – 00:53:08:17
because it’s muscle memory, right?

00:53:08:17 – 00:53:10:11
So if you’ve done it

00:53:10:11 – 00:53:13:11
over and over on your iPad or your paper,

00:53:13:12 – 00:53:15:18
obviously going into to do that,

00:53:15:18 – 00:53:18:16
On skin is going to feel normal.

00:53:18:16 – 00:53:21:02
Interestingly enough,

00:53:21:02 – 00:53:23:16
because I lived in California and Oregon,

00:53:23:16 – 00:53:26:14
in Oregon, we’re one of the few states

00:53:26:14 – 00:53:29:23
that required tattoo school

00:53:29:23 – 00:53:33:20
a person has to go to tattoo school and,

00:53:33:20 – 00:53:35:05
finish a program

00:53:35:05 – 00:53:38:01
and take a test to be licensed.

00:53:38:01 – 00:53:40:22
So it’s a little bit different experience

00:53:40:22 – 00:53:42:12
here than what

00:53:42:12 – 00:53:44:09
I was used to coming from California,

00:53:44:09 – 00:53:48:04
where basically, you know, you can

00:53:48:13 – 00:53:50:13
you can hone your skills

00:53:50:13 – 00:53:52:20
and opening up shop basically, you know,

00:53:52:20 – 00:53:55:17
there are some, important,

00:53:55:17 – 00:53:57:04
like bloodborne pathogens

00:53:57:04 – 00:53:59:17
and things that you need to be.

00:53:59:17 – 00:54:00:15
Yeah.

00:54:00:15 – 00:54:03:21
But in Oregon, they’re a little bit,

00:54:04:03 – 00:54:05:19
more strict with,

00:54:05:19 – 00:54:07:23
who could get into the field,

00:54:07:23 – 00:54:10:10
which there’s a lot of debate

00:54:10:10 – 00:54:13:15
in the tattoo world on tattoo schools.

00:54:13:15 – 00:54:14:01
There’s

00:54:14:01 – 00:54:15:20
kind of the old school way

00:54:15:20 – 00:54:19:02
of doing an apprentice ship, earning

00:54:19:03 – 00:54:20:00
your way,

00:54:20:00 – 00:54:20:09
you know,

00:54:20:09 – 00:54:21:21
which used to be

00:54:21:21 – 00:54:23:22
the way that things were done.

00:54:23:22 – 00:54:26:12
And, So.

00:54:26:12 – 00:54:27:23
But in Oregon, you just

00:54:27:23 – 00:54:30:06
you don’t have a choice.

00:54:30:06 – 00:54:32:08
You know, even with the even though

00:54:32:08 – 00:54:33:14
people, you know,

00:54:33:14 – 00:54:35:01
want them to earn it

00:54:35:01 – 00:54:36:03
and go through the old school

00:54:36:03 – 00:54:38:05
boy, you just have to go to school.

00:54:38:05 – 00:54:42:17
So, but I, I say just draw,

00:54:42:17 – 00:54:46:12
live it, breathe it, do your research.

00:54:46:12 – 00:54:48:17
Follow amazing tattoo artists.

00:54:48:17 – 00:54:51:20
That inspiration is so huge.

00:54:52:05 – 00:54:54:20
One of the things that our books

00:54:54:20 – 00:54:55:12
that we used to

00:54:55:12 – 00:54:58:14
make, were made for that purpose.

00:54:58:14 – 00:55:01:00
They were inspirational books

00:55:01:00 – 00:55:04:00
to get people to give ideas and stuff

00:55:04:00 – 00:55:04:14
for others.

00:55:04:14 – 00:55:06:03
And the way we would do

00:55:06:03 – 00:55:08:21
it is we would have a theme

00:55:08:21 – 00:55:11:01
and we would open up a call for art.

00:55:11:01 – 00:55:12:11
So for instance,

00:55:12:11 – 00:55:15:04
we had like a book on birds,

00:55:15:04 – 00:55:18:04
on one on insects, one on skulls,

00:55:18:05 – 00:55:21:02
one on under the sea, you know, so

00:55:21:02 – 00:55:22:16
we would have an idea,

00:55:22:16 – 00:55:24:23
open up the call for art.

00:55:24:23 – 00:55:26:14
People would create tattoos

00:55:26:14 – 00:55:29:04
or drawings or paintings or sculptures,

00:55:29:04 – 00:55:30:19
whatever their need then was,

00:55:30:19 – 00:55:33:23
and then they would submit the images.

00:55:34:06 – 00:55:35:01
And then once

00:55:35:01 – 00:55:37:03
we would get all of that stuff after,

00:55:37:03 – 00:55:38:19
we usually have, submissions open

00:55:38:19 – 00:55:40:14
for like 6 to 8 months,

00:55:40:14 – 00:55:41:15
and then we would take

00:55:41:15 – 00:55:42:19
all the submissions

00:55:42:19 – 00:55:44:07
and, and kind of choose

00:55:44:07 – 00:55:46:08
what was going to be in the books.

00:55:46:08 – 00:55:49:23
And they became kind of,

00:55:50:14 – 00:55:52:19
inspirational tools that a lot of tattoo

00:55:52:19 – 00:55:54:08
artists have in their shop,

00:55:54:08 – 00:55:55:15
so that when people come in

00:55:55:15 – 00:55:58:15
and they can look at ideas for that.

00:55:58:15 – 00:56:02:13
So, gathering, books and,

00:56:02:17 – 00:56:06:07
just all kinds of the line drawings

00:56:06:07 – 00:56:09:10
and anything you can do to practice

00:56:09:10 – 00:56:13:08
and just understand, what it takes

00:56:13:08 – 00:56:14:00
because it’s,

00:56:15:12 – 00:56:16:02
you have to be

00:56:16:02 – 00:56:17:04
very dedicated

00:56:17:04 – 00:56:19:20
to that craft to do well in it.

00:56:19:20 – 00:56:23:01
And, yeah, I love that.

00:56:23:01 – 00:56:25:18
It’s there are so many tattoo artists.

00:56:25:18 – 00:56:26:00
Yeah.

00:56:26:00 – 00:56:27:05
Which is so different

00:56:27:05 – 00:56:29:08
from when I first started.

00:56:29:08 – 00:56:31:04
But it’s so exciting to see

00:56:31:04 – 00:56:33:00
how many young people

00:56:33:00 – 00:56:34:20
are coming into the field.

00:56:34:20 – 00:56:36:08
It’s pretty cool.

00:56:36:08 – 00:56:37:02
They. Yeah.

00:56:37:02 – 00:56:38:19
I think, when talking about,

00:56:38:19 – 00:56:41:01
like, family members and tattoos,

00:56:41:01 – 00:56:43:12
my first family member

00:56:43:12 – 00:56:45:09
that had a tattoo that I saw.

00:56:45:09 – 00:56:46:05
So maybe others

00:56:46:05 – 00:56:47:03
did, you know,

00:56:47:03 – 00:56:50:03
it was my great Uncle Fred.

00:56:50:04 – 00:56:51:20
He was one of the last people

00:56:51:20 – 00:56:53:03
to be in the horse Calvary.

00:56:53:03 – 00:56:56:03
So he’s, you know, old, old man.

00:56:56:14 – 00:56:58:16
And he was, he was a marine,

00:56:58:16 – 00:56:59:19
and he was in the Navy.

00:56:59:19 – 00:57:02:02
So you you got to get a tattoo.

00:57:02:02 – 00:57:03:13
You just. Right.

00:57:03:13 – 00:57:06:15
So on his arm, he had a naked woman,

00:57:06:22 – 00:57:09:19
and he comes home and my great great

00:57:09:19 – 00:57:10:15
aunt goes,

00:57:10:15 – 00:57:12:13
you put some clothes on that lady.

00:57:13:16 – 00:57:15:06
So you had a tattoo, you

00:57:15:06 – 00:57:17:04
a bathing suit over her.

00:57:17:04 – 00:57:19:15
And so when I, I knew him, he was

00:57:19:15 – 00:57:22:10
he was in his 80s, into his 90s.

00:57:22:10 – 00:57:23:22
He was rolling around his wheelchair

00:57:23:22 – 00:57:24:19
and he would be like,

00:57:24:19 – 00:57:26:19
I can make her dance.

00:57:26:19 – 00:57:29:05
And we would just sit there

00:57:29:05 – 00:57:31:15
and he would make his, his lady dance.

00:57:31:15 – 00:57:32:11
And.

00:57:32:11 – 00:57:34:07
Yeah, it was,

00:57:34:07 – 00:57:35:22
when I knew him, it was fading.

00:57:35:22 – 00:57:37:18
It was obviously really old ink.

00:57:37:18 – 00:57:38:15
And so she was

00:57:38:15 – 00:57:41:15
both bathing suit and naked.

00:57:41:19 – 00:57:43:13
It’s like, no.

00:57:43:13 – 00:57:46:14
Oh, my God, I love that he went for it.

00:57:46:16 – 00:57:48:01
Yes, but for. Right.

00:57:48:01 – 00:57:49:13
And on his arm.

00:57:49:13 – 00:57:51:21
Yeah. That’s a very prominent place.

00:57:51:21 – 00:57:53:13
Oh, it’s right here. Yeah.

00:57:53:13 – 00:57:54:21
Oh. In the.

00:57:54:21 – 00:57:56:17
Oh, no.

00:57:56:17 – 00:57:58:07
Yeah. Watch her dance

00:58:01:08 – 00:58:01:21
Good for him.

00:58:01:21 – 00:58:03:21
Him? What was his name?

00:58:03:21 – 00:58:04:07
Fred.

00:58:04:07 – 00:58:05:11
Everybody called him Bus

00:58:05:11 – 00:58:07:15
and I called him Uncle Fred and. Yeah.

00:58:07:15 – 00:58:09:07
Rest in peace,he

00:58:09:07 – 00:58:11:19
he loved his little naked lady tattoo.

00:58:11:19 – 00:58:14:04
And his mama said, you he she said,

00:58:14:04 – 00:58:15:13
put some clothes on her.

00:58:15:13 – 00:58:18:13
You make her a right woman.

00:58:18:18 – 00:58:19:17
So.

00:58:19:17 – 00:58:22:07
Yeah, Good for him, man.

00:58:22:07 – 00:58:25:15
You see, like those during that time,

00:58:26:02 – 00:58:29:13
it was, you know, a lot of a lot of,

00:58:29:13 – 00:58:30:04
you know,

00:58:30:04 – 00:58:33:17
naval officers or motorcycle gangs.

00:58:33:22 – 00:58:34:08
It’s like,

00:58:34:08 – 00:58:36:16
you know, it’s that old school,

00:58:36:16 – 00:58:37:22
that stigma

00:58:37:22 – 00:58:40:02
that that kind of stuck for so long.

00:58:40:02 – 00:58:42:17
But for him, that’s so cute.

00:58:42:17 – 00:58:44:16
That’s a great story.

00:58:44:16 – 00:58:45:00
Yeah.

00:58:45:00 – 00:58:46:17
And then, as the listeners know,

00:58:46:17 – 00:58:47:19
my dad is in the Navy,

00:58:47:19 – 00:58:49:06
but he was deathly afraid of needles,

00:58:49:06 – 00:58:50:05
so that was the only reason

00:58:50:05 – 00:58:51:13
he didn’t get a tattoo.

00:58:51:13 – 00:58:53:04
And,

00:58:53:04 – 00:58:55:19
I guess my grandma had to pick it up.

00:58:57:16 – 00:58:58:18
I you okay?

00:58:58:18 – 00:59:00:07
So it’s like my aunt with the lips,

00:59:00:07 – 00:59:01:14
my grandma with the eyeliner.

00:59:01:14 – 00:59:03:05
So I guess I have to have eyebrows.

00:59:03:05 – 00:59:05:19
Like, that’s the only other. Oh,

00:59:05:19 – 00:59:07:06
that I know

00:59:07:06 – 00:59:10:01
you are definitely next, don’t you think?

00:59:10:01 – 00:59:11:04
Stefanie? She.

00:59:11:04 – 00:59:14:04
It’s got to be up.

00:59:14:05 – 00:59:15:10
Yeah.

00:59:15:10 – 00:59:17:09
Well, this is completely lovely.

00:59:17:09 – 00:59:20:10
And before we wrap up, Dr. Jinxi

00:59:20:10 – 00:59:21:15
where can our listeners

00:59:21:15 – 00:59:23:14
find more information about your work

00:59:23:14 – 00:59:25:03
and maybe some resources

00:59:25:03 – 00:59:25:22
that you’d recommend

00:59:25:22 – 00:59:27:02
for those interested

00:59:27:02 – 00:59:28:04
in the positive mental

00:59:28:04 – 00:59:30:00
health effects of tattoos?

00:59:30:00 – 00:59:32:01
Oh, thank you for asking.

00:59:32:01 – 00:59:32:11
You know,

00:59:32:11 – 00:59:34:03
I do have,

00:59:34:03 – 00:59:36:08
there’s an amazing tattoo artist.

00:59:36:08 – 00:59:39:16
She’s also an interdisciplinary artist

00:59:39:16 – 00:59:41:15
in many amazing mediums.

00:59:41:15 – 00:59:44:16
But her name is Tamara Santibanez

00:59:45:03 – 00:59:46:12
and she wrote,

00:59:46:12 – 00:59:49:07
I think it was 2021 or 2022.

00:59:49:07 – 00:59:51:00
She wrote this really incredible

00:59:51:00 – 00:59:52:02
book called,

00:59:52:02 – 00:59:52:22
Could This

00:59:52:22 – 00:59:56:11
Be Magic Tattooing as Liberation Work.

00:59:57:00 – 00:59:59:06
And it’s beautiful.

00:59:59:06 – 01:00:04:12
It’s, it talks about, trauma

01:00:04:17 – 01:00:06:06
and, you know,

01:00:06:06 – 01:00:09:06
using tattooing as a way to,

01:00:09:06 – 01:00:12:18
kind of help people create boundaries

01:00:13:04 – 01:00:16:03
and shape being like, a more ethical

01:00:16:03 – 01:00:19:23
way of doing that work,

01:00:19:23 – 01:00:21:09
in with it

01:00:21:09 – 01:00:24:09
through a, trauma informed lens.

01:00:24:15 – 01:00:27:07
And she has the full pdf of that book

01:00:27:07 – 01:00:29:18
for free actually on her website.

01:00:29:18 – 01:00:33:10
So it’s I highly recommend that,

01:00:33:10 – 01:00:34:21
and then there’s another,

01:00:34:21 – 01:00:37:21
I think it’s from the early 2000,

01:00:37:23 – 01:00:39:05
but it’s called

01:00:39:05 – 01:00:42:19
Tattooed: The Socio Genesis of Body Art.

01:00:43:05 – 01:00:45:00
And it’s really a great book

01:00:45:00 – 01:00:46:14
by Michael Atkinson,

01:00:46:14 – 01:00:49:17
and it has a lot of research in it

01:00:49:17 – 01:00:50:22
that connects,

01:00:50:22 – 01:00:53:05
a lot of the psychological,

01:00:53:05 – 01:00:56:05
components that we talked about today.

01:00:56:06 – 01:00:58:20
So definitely recommend those.

01:00:58:20 – 01:01:04:09
And then me, I oh, thank my,

01:01:04:09 – 01:01:05:08
my website

01:01:05:08 – 01:01:08:15
for my practice is, drjinxi.com

01:01:10:00 – 01:01:12:10
And then my, Instagram,

01:01:12:10 – 01:01:15:10
like, my personal Instagram is @Jinxi

01:01:16:18 – 01:01:22:05
Our tattoo shop is @OOSTattoo

01:01:22:05 – 01:01:25:01
And, the book publishing

01:01:25:01 – 01:01:29:09
company is @OutofStepBooks

01:01:29:09 – 01:01:32:03
and, all of our tattoo and art

01:01:32:03 – 01:01:33:15
books can be found.

01:01:33:15 – 01:01:37:01
oosbooks.com

01:01:38:08 – 01:01:41:01
And I think that’s it.

01:01:41:01 – 01:01:42:03
You can find me a like

01:01:42:03 – 01:01:44:03
LinkedIn and ResearchGate

01:01:44:03 – 01:01:47:03
with some of my my research, with just

01:01:47:03 – 01:01:50:03
putting my name in it.

01:01:50:12 – 01:01:52:02
Wonderful, wonderful.

01:01:52:02 – 01:01:52:13
Well,

01:01:52:13 – 01:01:54:15
if you have an amazing Disney

01:01:54:15 – 01:01:55:04
tattoo,

01:01:55:04 – 01:01:57:06
please DM us an image of it

01:01:57:06 – 01:01:59:00
@HappiestPodGT

01:01:59:00 – 01:02:02:03
You can find us on IG and on X.

01:02:02:15 – 01:02:03:03
Thank you,

01:02:03:03 – 01:02:04:19
Dr. Jinxi this is a beautiful,

01:02:04:19 – 01:02:06:06
wonderful conversation.

01:02:06:06 – 01:02:08:08
So much for joining.

01:02:08:08 – 01:02:11:10
Hopefully me or Ariel could visit

01:02:11:10 – 01:02:13:18
you one day. Oh, I would love that.

Media/Characters Mentioned

• Alice in Wonderland
• Nightmare Before Christmas
• Toy Story (Woody)
• Moana
• Pocahontas
• Tinkerbell
• Lilo & Stitch
• Mickey Mouse (parks food)
• Star Wars (lightsabers, rebels)
• Marvel (Captain America, Black Panther)

Topics/Themes Mentioned
  • Tattoo culture and stigma
  • Identity and self-expression
  • Disney nostalgia and fandom
  • Permanent makeup & family traditions
  • Healing through art
  • Storytelling through bodywork
  • Representation in education and therapy
  • Cultural tattoo practices
  • Tattoos as community and connection

DR. Jinxi’s website: www.drjinxi.com
Dr. Jinxi’s Tattoo + Book Publishing: oosbooks.com
IG: @oostattoo

Website: happy.geektherapy.com
| Instagram: @HappiestPodGT | X: @HappiestPodGT | Facebook: @HappiestPodGT |
| Stef on X: @stefa_kneee | Ariel on Instagram: @airyell3000 |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
Website: www.geektherapy.org
| GT Facebook: @GeekTherapy | GT Facebook Group: @GeekTherapyCommunity
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| GT Forum: forum.geektherapy.com |

Queer Cheer: Disney Dreams & Rainbow Realness

June 19, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/ab1fabd2/573f021f.mp3

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Join Ariel, Stef, and their guests Jodie Anders and Shalom (aka Boy Venus) for an honest, colorful, and insightful episode that celebrates queer identity through the magic (and mess) of Disney. The conversation spans nostalgic awakenings, media analysis, cultural critique, and the affirming power of telling your story—your way.

Jodie, author of Queer Cheer, shares how travel and diverse narratives helped her discover her own queerness. Shalom, a young activist and indie musician, reflects on the power of subtext in media like Luca and Frozen, and how art has been central to their self-exploration. Together, this group celebrates Pride, critiques tokenism, and envisions a future where queer stories aren’t subplots—they’re the main event.

Summary

Summary of HPOE 45:

  • 00:00 Hosts and Guests Introduction
  • 00:50 Pride Month focus and framing queer media through Disney
  • 02:00 Progress or performative? Disney’s track record on LGBTQ+ representation
  • 06:00 Nostalgic queer awakenings: crushes, princesses, and games
  • 10:00 Queer coding in villains: Ursula, Jafar, and beyond
  • 13:30 Explaining the Hays Code and its legacy in queer subtext
  • 15:00 Highlights from Disney’s official Pride Night
  • 18:00 Emotional weight of safe spaces at theme parks
  • 20:00 Critiques of Disney’s capitalist allyship
  • 22:00 Centering joy: queer characters beyond coming-out stories
  • 24:30 Luca and fan interpretations as liberation
  • 28:30 Elsa, headcanons, and intersectional readings
  • 31:00 The power of dynamic identities in evolving characters
  • 33:00 Queering Spider-Man and self-discovery through metaphor
  • 36:00 Labels, fluidity, and growing into new identities
  • 38:00 Demisexuality and the importance of representation
  • 40:00 Jodie on travel, storytelling, and affirming queer youth
  • 43:00 Affirmations that actually work
  • 46:00 Shalom on community building and queer history
  • 50:00 Spotlighting queer media: Punks, Watermelon Woman, indie music
  • 54:00 Real allyship: more than rainbows—listen, uplift, include
  • 59:00 Final thoughts and where to find Queer Cheer and Boy Venus’s music
Transcription

00:00:00:00 – 00:00:08:18

00:00:08:18 – 00:00:35:00

Unknown

Hello, everyone. Welcome to the happiest pot on Earth. I’m Steph. I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them. And I’m Ariel, a licensed therapist who uses clients passions and fandom to help them grow and heal from trauma and mental and wellness. Hey everyone, I’m Jodi Anders, I am a Jewish bisexual creator and I focus on creating diversity and promoting youth empowerment.

00:00:35:02 – 00:01:01:01

Unknown

I currently serve as the publicity and communications director for a youth nonprofit in California, and I’ve spent over two decades mentoring teens in confidence and leadership skills. I’m the coauthor author of Queer Cheer Activities Advice and Affirmations for LGBTQ Plus Teens, and I also produce a podcast. Let’s talk about leadership, service, and Sisterhood, which is a podcast for teens by teens.

00:01:01:01 – 00:01:25:12

Unknown

Hi. My name is Shalom. As a student, I’ve been involved in many campaigns and community organizing organizations, working with youth organizers in the San Fernando Valley to fight for the rights of Filipino migrant workers, justice and visibility for displaced ethnic communities abroad, and have worked to create, support and educate members of the Residents of Color community through the creation of my ever growing coalition.

00:01:25:14 – 00:01:51:16

Unknown

California State University, Northridge is Queer Students of Color Club. I’m also a queer indie musician, producing music under the name Boy Venus. Check me out on SoundCloud if you’re interested. Specifically working within the electronic genre to make music reminiscent of games like Pokemon Legends of Zelda, Undertale, while also using techniques from artists like Rebecca Sugar, Ivy Tran and Stephen Filemon.

00:01:52:00 – 00:02:08:14

Unknown

beautiful. And here at Happiest Pod, we dissect Disney Medium. So the critical lens. Why? Because we are more than just fans and we expect more from the mediums we consume. So, what are we talking about today? As you both heard these wonderful introductions from our exceptional guests today we have Jodi and Shalom.

00:02:08:15 – 00:02:38:08

Unknown

Welcome to the happiest Pod on Earth. We are so thrilled that you are here to talk about all things LGBTQ representation. In honor of Pride Month and we’re really excited to really dive in, and, see the world and see the Disney World from Euro Isles lens. So yeah, welcome to the podcast. So to be here, I’m curious, you know, we have heard about representation in general in the media.

00:02:38:08 – 00:02:59:20

Unknown

And when it comes to Disney, do you feel or believe that they’re increasing LGBTQ plus representation, and if so, when do you think they’ve done it? And are there opportunities they missed or were they just like completely missed the mark? I feel like it’s kind of like an ebb and flow situation. I mean, it’s definitely had some more, you know, representation.

00:02:59:20 – 00:03:24:23

Unknown

And actually this discussion can get so nuanced, right? Because are we talking about like, original animation? Are we talking about like the entire Disney, universe, you know, within Marvel and Star Wars? So, at this point, apparently Hulu’s in there too. So if there’s some horror movies, or other anime animation you want to include that counts.

00:03:25:01 – 00:04:11:02

Unknown

Yeah, I think like in the more like traditional sense of Disney Pixar. It’s it’s slowly increasing, like strictly within like movies and TV. Like in movies, I feel like we’re still not other than maybe like Strange World getting those main characters. That would be great. But, it’s really nice to see at least, you know, some nuances through the community, like having a non-binary character in elementals or, just, you know, at least some representation.

00:04:11:02 – 00:04:57:15

Unknown

Which is better than that. But, there’s also just questionable things that they’ve done in the sense of like pulling from different markets or, you know, like, I know, so, like when they did Lightyear, I, I loved that they had a Lisa like, that his sidekick was such a big representation. And then it was so incredibly heartbreaking to have this, reaction to what was not even a minute of their relationship, the lesbian relationship she had, which was this beautiful little heartwarming family and, seeing at the time, like them, like pulling it from market to things like that.

00:04:57:17 – 00:05:01:20

Unknown

But at the same time, like, if we kind of pull back the lens a little bit,

00:05:01:20 – 00:05:25:22

Unknown

at the same time, there’s like getting the, the monthly emails, not even just the LGBTQ, pieces. They will highlight a monthly email, but like other minority communities and, even, like, abilities, I think they’re doing better on, although sometimes embarrassing when they maybe only have 1 or 2.

00:05:26:00 – 00:05:49:16

Unknown

And I mean, I went to Pride Night. I just do that last night, which, you know, they now officially have their official one. And how many years do we have our unofficial. You know, we we still do have kids at Disneyland, but like, it’s nice that they’re officially hosting that. So. Getting better. But riding a wave and still carrying a little too much.

00:05:49:16 – 00:06:15:06

Unknown

Maybe about what some people think. Sheila, any thoughts on your in? Yeah. I totally agree. And I think when thinking about representation at Disney, it’s when you look at it as like a conglomerate. I do think that they’ve missed the mark in a lot of ways. But I do think if you look at individual stories and individual narratives, then, you know, there’s some great representation.

00:06:15:08 – 00:06:31:16

Unknown

At Disney for queer people, like just recently, in fact, they did a remake of the goosebumps books, and Myles McKenna, who’s a trans, activist, trans activist, actor and musician, is one of the leads in the show. And so, like,

00:06:31:16 – 00:06:45:16

Unknown

individual properties, you know, they do have great representation. And even ones that, like, aren’t necessarily inherently queer, like frozen, you know what I mean?

00:06:45:16 – 00:07:10:02

Unknown

Or like, not well, turning red too. But then also, Luca, you know, those are movies that weren’t intended to be queer, but they’re autobiographical stories that, you know, queer people can relate to. You know, like having those is great and that it makes you feel more seen. But I think as a, like a conglomeration, I think that’s really the way.

00:07:10:04 – 00:07:39:18

Unknown

And I love when you said that there are stories that have been out there that queer people can relate to. So thinking back when you were younger, did you have any specific Disney characters that you were drawn to? Or like you were you just felt this special connection to real? Yeah. I, Todd, Jody and Eric, actually that, the way that I found out that I was queer is through watching The Little Mermaid.

00:07:39:20 – 00:08:06:04

Unknown

Because I had a crush on both Eric and area. Yes. And that was really my first, like, understanding of queerness, you know, even before I could put words to it. Disney kind of opened up my mind for queerness, and I think a large part of that was like, I grew up, for a while in a very, like, predominantly woman like community.

00:08:06:04 – 00:08:34:06

Unknown

I don’t know how to say that, but I grew up with a lot of women, basically. My best friend for like a long time was my cousin, and, like, she taught me how to braid. She taught me how to, like, dress dolls and things. Like, I learned how to paint nails and, we would watch, like, Disney princess movies and play the little like, there used to be a switch game where you just got, like, a toggle and you just slid like, I don’t know, not switch.

00:08:34:08 – 00:08:54:08

Unknown

We like, tendo we Disney princess game. Yeah. Where you just, like, would toggle and, like, do little mini games for each Disney princess. And I was like, my favorite game. And so like, yeah, I think Disney in a lot of ways as, like a child was my first avenue of queerness even before I knew what it meant.

00:08:54:10 – 00:09:35:08

Unknown

So. Yeah. Yeah. How about you, Jody? Oh my gosh. You know, I think that I like to be 1,000% honest. Like, until I got older, like, I missed a lot of, like, the queer coding that happened in Disney. And it’s incredible. Like, even, you know, when I was pregnant, last night, like, seeing quotes and seeing things that are pulled out of, like, movies that I watched as a teenager, that I’m like, oh my gosh, like, how did I miss, like given that, like we just talked about a Little Mermaid, you know, and like, the entire, like, part of their world on, you know, and how so many people have

00:09:35:08 – 00:10:08:02

Unknown

taken that on as like a, an anthem. Otherness in a way, you know, like, and now like, kind of thinking back to, you know, how much like I was obsessed at the time with like, beauty and the beast and, just kind of thinking that I, I felt that like, I saw it like I saw, characters that were, that were othered and that were, like, outcast and that I was drawn to them without, like, really understanding what was happening to me.

00:10:08:04 – 00:10:34:12

Unknown

Yeah. Something so beautiful, especially about The Little Mermaid two that you reminded me of Jodi is like, I think the guy who wrote it was queer. And like his writing of The Little Mermaid story was about, like, his experience with unrequited love as a queer person. Which is why when the prince rejects her, she, like, turns into seafoam at the end.

00:10:34:14 – 00:10:51:06

Unknown

And the original, Hans Christian Andersen, like. Yeah. Yeah, yeah. So I don’t know, it’s like there’s beauty even in that. Just like exposing people to queer stories, even if they aren’t like queer when you’re exposed to that. Yeah. You know what I mean?

00:10:51:07 – 00:11:18:18

Unknown

and for our listeners, our episode 24 Disney Villains, where we had chance on, he explained what queer coding is, which is an attribution of queer traits to a fictional character, sometimes stereotypical, sometimes, hidden, where they create a expression of gender identity or sexual orientation that, could be projected onto them for people who have a queer experience.

00:11:18:20 – 00:11:49:05

Unknown

And the reason we talked about that in the Dylan the Villains episode is because a lot of villains are quite coded. And speaking of villains, the inspiration for Ursula herself was a drag queen named divine. So it was right there in front of our faces for a very long time. And that it posed as inspiration. And she isn’t such an iconic villain that, you know, Ursula in herself, the way Disney portrayed her was very tied to queerness.

00:11:49:07 – 00:12:09:00

Unknown

It was so funny, actually, when I was talking with a friend of mine about, which characters are queer coded in Disney? There was like kind of a piece of me that was like, why are they villains? And I was like, rejecting something. And like, one of them came up. Jafar. Right. And and I was like, Jafar.

00:12:09:01 – 00:12:50:17

Unknown

What? Why are there so many people? It’s ever, like looking into it and actually, the creator who was gay said, yes, I created him after, like. And I’m like, I’m wrong. I’m wrong. You know, like. Yeah, yeah. It’s especially interesting to think about things like that, like with, the impacts of the Hays Code and, you know, film and television, you know, like having to queer code characters, so that people can have representation and see themselves and like the idea of Devo worshiping and things like that come from the Hays Code and like, not having proper representation.

00:12:50:17 – 00:13:26:14

Unknown

So you cling to like, female characters who go through similar things as you and like, I don’t know, it’s like even when they try to stop us, we’ll find a way. And I just love that, you know what I mean? Are you able to explain to our audience with the Hays Code? Is, yes. So the Hays Code was a list of rules, and guidelines for television and film that were created and enforced, from, I think, the 1930s to the 1960s, 1934 to 1968.

00:13:26:16 – 00:13:57:07

Unknown

Yes. Yes. Yeah. And so, it prohibited things like, like conversations about menstruation. I’m pretty sure, as well as birth, like just real. Yeah. Birth. Anything that was considered, like, sexually promiscuous, or like perverted, which includes queer people. I think conversations about, like, wrongdoings of the military as well were in there.

00:13:57:07 – 00:14:20:07

Unknown

Yes. So, yeah. Yeah, a lot of censoring. A lot of things. Yes. Yeah. Yes. And and we know it ended in, the 60s because of the civil rights movement and the push towards appropriate representation and questioning some of the things that we were seeing on screen, specifically the, the rule that was respect for the law and that law could not be ridiculed.

00:14:20:07 – 00:14:30:03

Unknown

And there should be, sympathy towards, those who might violate it if they are within uniform. Yeah. In that progression for sure.

00:14:30:03 – 00:14:58:08

Unknown

Jody, could you tell us about Pride Night? Is there one thing you really loved and one thing that you would change? So. Right. Night. They had their first night last night, and, Guys. Okay. I just remember, like, first thing that happened last night, so we we there’s, like, a lot of really cute things, like, there’s an overabundance of rainbow food, which is, like, overwhelming.

00:14:58:10 – 00:15:26:13

Unknown

And there’s, like, lots of really cute, like, backdrops that you can take your picture with and quotes that they’ve taken from, like, different movies they perceive to, you know, being inspirational and related to pride. But I love my favorite things are, one that they take the characters and they dress them in cool like pride, rainbow clothes that like, make you like, sorry.

00:15:26:14 – 00:15:51:05

Unknown

No, it was Donald. No, I said Mickey. Donald’s like, my favorite. Donald had. That’s like, beanie hat thing on with a cute little rainbow. Is it like a beret? Glitter? Or would you call it rhinestone? You know, they really. Because it was like a beanie hat with, like, rhinestone heart in rainbow hat, and he’s, like, pointing it out to me.

00:15:51:05 – 00:16:09:15

Unknown

It was the cutest thing. And then, like, Clarabelle had this, like, rainbow pleated dress on, Oh, my gosh, there’s so many highlights, guys. And then Melissa and Cruella literally did like a,

00:16:09:15 – 00:16:21:09

Unknown

a runway. They did like, they were like they were voguing. Yes, they were, they were they were holding hands. I would have loved to see that.

00:16:21:11 – 00:16:51:22

Unknown

Wow. I was so yeah, I hope there’s a recording that I, there’s got to be I know that people were okay. We got there like, just in time, to see it. And I was dying. I was dying just talking about how they’re also queer coded and. That they were they were amazing. They were amazing. But okay, literally the best thing, honestly, to be is,

00:16:52:00 – 00:17:18:20

Unknown

Guys, like, anywhere I, anywhere I go, like, sometimes there’s a question of like, am I going into the space where it’s safe? Like, is it okay for me to wear something pride related or, you know, and it was just so beautiful. Like I was telling my friend last night, when I’m in a space and I see something like rainbow or I see something pride, my eye like zooms to it like, oh, that’s somebody from my community or that’s Covid, you know, whatever.

00:17:18:22 – 00:17:47:05

Unknown

And everybody last night, like every single person is way sometimes like, oh my gosh, this is like this, this is my place. And we’re dancing with like Lilo and Stitch and I’m looking at I’m like, oh my gosh, there’s every like person from every background, every ability. And we’re all dancing together and like, we don’t care, you know, can we we look like we’re we’re like, say, do we like how silly we look like we’re just happy.

00:17:47:05 – 00:18:11:03

Unknown

Like we’re accepted. We’re here. Like, this is gorgeous. Like that. Like, to me, the beauty of any pride space, really. And it was nice for Disneyland to give that to us. Beautiful. Wonderful. Oh, that’s so lovely. It sounds way better than what happened to me. And stuff was like, so I’m so. Oh, yeah, yeah, listen to that song if you want to hear about it.

00:18:11:03 – 00:18:39:12

Unknown

But yeah, all the drama about that. I mean, there’s certainly like misses and the marks that they make, you know, and there’s so much like merchandizing and you know, there’s things you could dissect from it. But like having having that space though, like it definitely means something to me as I mean, I’m I will relate. When I was younger and I went for gay days, like with a friend, we took a picture with Cinderella.

00:18:39:14 – 00:19:04:20

Unknown

And I was telling my friend last night, like, it’s such a world of difference that, like, we have these characters now that are dressed up in rainbow and we’re having fun and there’s like jokey and doing like, very clear coded like things where as when I went when I was younger, two unofficial gay days and I like went to take a picture with Cinderella.

00:19:04:22 – 00:19:34:23

Unknown

She literally cringed at this. So difference, Night and day difference. And and you are talking about and we’ve talked about this on the podcast when it comes to the, Disneyland community. I don’t know about Disney World. We have unofficial theme days, that have started to slowly become more official in this case, like actually taken on by the, organization.

00:19:35:01 – 00:19:59:03

Unknown

Because I know, like, our friend Tania goes on bats day, for, like, all the emo, goth and, like a metal community. And sometimes the characters will wear, like, dark clothing, but that one isn’t official yet. So as we start to have more voices, that kind of makes Disneyland want to do more things.

00:19:59:05 – 00:20:20:14

Unknown

Maybe for capitalism, but that’s fine. Yeah, sometimes. Yeah. You know, you get to, like, exploit their capitalism, I guess. I don’t know, it’s a very weird line. It’s a weird line. Yeah, yeah. But I’m glad you had a really great experience. And, you know, hopefully in the future that they make these after Dark events more, more inclusive.

00:20:20:14 – 00:20:42:23

Unknown

And also just like reserving that space, that public space, I think is what I’m hearing was most important. And recognizing that public space for your community, I think that that that was my biggest takeaway from that. And, you know, hopefully they continue to do it in the future because as we know, some After Dark events have been canceled and they haven’t been brought back.

00:20:43:04 – 00:21:11:11

Unknown

I hope you all get how many days are they doing? Right now? Is it was it just one or. It’s multiple, right. I think two is. I know they’re doing it tomorrow. Great. Good. Okay. Yeah. 18th and the 20th. Yes. And and something that we’ve also talked about on the podcast is if you’re doing any of the night events, the second day is usually a little different than the first day because they’ve learned something like organization wise.

00:21:11:13 – 00:21:31:05

Unknown

And so sometimes that makes it a little bit easier to navigate. Sometimes it adds its own little barrier to it. So, you can’t you can’t even compare the same event. I would love to get like, the participants from every single different event and then have like, this roundtable discussion of what worked, what didn’t work. Did you get to eat?

00:21:31:07 – 00:21:49:17

Unknown

Did you get to like, drink the thing you wanted to drink? Did you get to take a picture with that character? Because I want to know these these stories. But anyway, I digress. But yeah. Anything else? Ariel? Yeah. Was the food actually good or was it just slapped a rainbow? A lot of it seems to be like slap rainbow on it.

00:21:49:18 – 00:22:10:09

Unknown

We did not try. I really I think there was okay. There was a Rice Krispie that was kind of calling my name, and I was like, it just looks pretty. I know what that Rice Krispie taste like. I don’t need, yeah. Also that much sugar after dark. It is a lot. And, you know, it’s not like during the day when you’re burning calories.

00:22:10:09 – 00:22:27:15

Unknown

It’s you’re you’re consuming all of this and then you’re going to like, pass out, wherever you are at the end of the night, there was, I think instead of the gray stuff, they had the rainbow stuff from beauty and the beast. It’s delicious. Like, okay.

00:22:27:15 – 00:22:43:14

Unknown

And thinking about Disney’s role in advocacy and inclusion, what are both of y’all’s thoughts on how Disney can continue to be a positive force for inclusion and representation within the LGBTQ plus community? Because I know there is a lot of work to do still.

00:22:43:15 – 00:23:06:06

Unknown

But you know, keeping as we are trying to think of it in a positive light because, you know, we really we, we know that there’s work to be done, like I said. But what do you think? What do you think that you’re doing. Right. And what can they expand on that basically? I mean, I think positive queer characters in main roles.

00:23:06:08 – 00:23:33:04

Unknown

Absolutely. Absolutely. Yes. Yes. And not pitting them as sidekicks or not just being a B line story. Because these stories and deserve to be highlighted, right? Yeah. And, you know, not just doing the traditional, like coming out or having a place in trauma, you know, showing us in the light, succeeding and thriving. And that’s not our entire identity.

00:23:33:06 – 00:23:58:09

Unknown

But like, yeah, like highlighting and showing normalcy basically. Yeah. I do think, though, that an issue that Disney has been facing with their mainstream stuff is the fact that they’re trying to be like, yes, gay people are normal, so we won’t bring attention to it. They’re gay. Right? But you know, because it’s normal. It’s like, yeah, we’ll have like two seconds of them with a little pride flag in the background.

00:23:58:11 – 00:24:19:15

Unknown

Which I feel like Disney hasn’t earned the right to be there yet. Low key. Like we have to go through the, like, conversations about being queer before we can get to the point where it’s normal. And Disney is kind of like a homophobic parent right now. It’s like, yeah, I’m so glad that you’re like, you came out to me.

00:24:19:18 – 00:24:58:12

Unknown

Let’s hide it from the family that you know what I mean? Great point. Yeah. And so accurate. Yeah. Yes, yes. Yeah, I, I think when it comes to the inclusion, how did any of you see the, the Pixar short out. Yes. Oh yeah. Yeah. It came out in May 2020. So the way the pandemic and it features two prominent gay men and one of them is just coming out to his parent for like the first time.

00:24:58:14 – 00:25:22:17

Unknown

And the kiss and and it’s a Pixar short. So, you know, of course it’s Pixar of when it comes to like, I feel more diversity and inclusion. Pixar is doing it way more than the Disney, although the news has come out that there might roll that back, which will be very sad. However, I was really happy to see it was an entire short and he was scared, but there wasn’t a traumatic experience.

00:25:22:17 – 00:25:42:17

Unknown

Like, I think one of the things that I hear from a lot of my queer friends is like, can I have a gay character that doesn’t get murdered after they’ve fallen in love? Like, that’s what we see in mainstream. And like, you know, I had a lot of them say, if Disney puts more queer people in, they’re going to they’re going to be a parent that gets murdered because that’s like Disney, that model.

00:25:42:19 – 00:26:03:06

Unknown

So it’s like, is that in a line with Disney, or is it like just feeding this narrative of trauma within the community versus celebration? And so that the short is the only one that I can think of where it’s prominent? There’s main characters. It’s not, assumed they’re not in the background. There’s not a lot of conversation happening.

00:26:03:06 – 00:26:25:01

Unknown

I think, but we understand the essence of just, like, wanting to, be in a relationship, feeling a little bit of butterflies and then kind of sharing that experience with your parent, and it being okay. I think that was the other thing. There was no, rejection. There was, confusion from the parents of, like, what exactly are you hiding from me?

00:26:25:03 – 00:26:55:03

Unknown

And I thought it was a really beautiful short, but it’s the only one that comes to my mind where I’m not imprinting. Otherwise, it’s like Luca to me is it’s like queer representation of not only potentially bi or pan people, but even queer romance, right? That isn’t just monogamous or heteronormative in that sense. Yeah, like Luca is so amazing because the creator of Luca was like, I didn’t intend for this to be gay, but real, you know what I mean?

00:26:55:03 – 00:27:20:02

Unknown

Like, if that’s how you all see it, then that’s how you all see it. And I’m glad. But when I watched Luca, I was I don’t remember the names of the characters, but the target boy or the tall not gave away the taller gay boy. I was like, he’s gay. I yeah, I don’t know. Yeah. Luca, Alberto and Julia.

00:27:20:02 – 00:27:48:03

Unknown

Julia. Yeah. Okay. Yeah. Alberto. I thought Alberto was so queer. Just even by, I don’t know, I think, like, I just saw so much of myself and Alberto. I’ve had experiences like that as a kid, you know what I mean? Like having an identity that you have to keep hidden, and that you share with someone close to you and you’re like, OMG, we have the same identity.

00:27:48:03 – 00:28:15:17

Unknown

This is crazy. But then when it comes to expressing that in public, you know, there’s fear of rejection. Especially from, you know, a place of wanting to feel at home and being afraid that by losing, you know, that connection with these people that you’ve just met, you know, you’ll never have community again. Which is what I could tell was going through Lucas mind when he was like, ill get that.

00:28:15:18 – 00:28:45:00

Unknown

He wants to get away from me. So, yeah, I don’t know. It’s just it’s such a good, like, encapsulation of, like, an early queer experience that it’s crazy that it wasn’t meant to be that way. But it’s also amazing that, you know, like, identity is multifaceted and it’s so intersectional that, like, you can exist within, like, different identities and still be able to see yourself through the same story.

00:28:45:02 – 00:29:05:18

Unknown

And yeah, Bangor movie is just so good. I love that, I love Luca like it immediately became one of my favorite like Disney movies. And yeah, there was no way. I mean, I know, like all my friends at the time were just like, this movie has to be the gay like, there’s just no way that it’s not.

00:29:05:22 – 00:29:35:10

Unknown

But I also think it’s like kind of beautiful. That it’s not explicitly because it’s maybe but we, that we can be like hey look at this story. Look at this experience so that you can have some understanding. Yeah, yeah, yeah I think that’s really interesting that you note that because I have heard people say that, the Ace community has hoped that Elsa is ace because it doesn’t seem like she has a desire for a romance or a desire for sexual attraction.

00:29:35:12 – 00:29:56:12

Unknown

And then I’ve seen, the, lesbian community hope that she gets a woman partner or, a same sex partner because she could be lesbian. And if we if we pick a route, then that kind of excludes somebody else. But if we don’t pick her out, everyone can project on. But then we didn’t pick her out, which makes it look like excluding everybody.

00:29:56:14 – 00:30:28:12

Unknown

But she could also be lesbian and bisexual, you know what I mean? Like, these identities are intersectional. They’re not like, yeah, one or the other. And I don’t know, like, I think real, I think real, I think also in a way which I don’t know, maybe you should edit this out, but I think in a way, a lot of Disney characters are asexual, just because it’s not really possible for them to express themselves on film outside, just romantically.

00:30:28:14 – 00:30:50:04

Unknown

Yeah. So but then again, like, that’s not really proper representation for anyone who is asexual because there’s nuance in that. Yes. You know what I mean. You see, one of the characters that, we were talking about kind of being like, attributed as a queer coded character was the Meredith from brave and we were sort of like thinking about it.

00:30:50:04 – 00:31:25:04

Unknown

And essentially the entire kind of reason that she’s queer coded is that, oh, she’s this strong woman who, like, doesn’t have a romantic, character or lead that I’m like, wait a minute, is that really a reason for her to be, like, attributed as a lesbian? As simply like it seems? Yeah. A little sassy. Yeah, I’ve heard that about Moana, too, just because she is just so hyper focused on, you know, just saving her village and nothing else to her matters.

00:31:25:06 – 00:31:47:16

Unknown

But I’m. I felt the same way. I’m like, are we are we really looking at her multifaceted ness, or are we just attributing it to the way that she’s approaching her situation? I, I really love that, you know? Shalom. You were saying that people are so multifaceted, and when we’re looking at them in a story, so many people want to see them as just like one or the other.

00:31:47:18 – 00:32:18:01

Unknown

Whereas when you’re looking at them as a human being, you know that they exist in different ways at different times all the time, because it is it’s dynamic us, our existence is dynamic. And not to get super existential about it, but, you know, it’s it’s very hard to in capsule8 that in a film. But at the same time, I think with stories like Luca, because it the story itself was so rich and the message was told very clearly without explicit instruction.

00:32:18:03 – 00:32:48:02

Unknown

That’s the power of storytelling. And I think if we do more of that kind of storytelling, it isn’t a debate anymore. It’s just how are you impacted by the story and what made you feel the way you felt? Yeah. You know, and I think also even with characters that are like in heteronormative relationships, you know, characters can still be headcanon and different things like, I know, for the trans masculine community, Spider-Man is a big you know, there’s a lot of headcanon set.

00:32:48:02 – 00:33:21:11

Unknown

Peter Parker is trans fat, you know what I mean? Just because of his experience with, like, being bit or, you know, the effects of an external force and changing your body and, you know, some extenuating ways, and then you being seen as more masculine, you know, and being, I don’t know, just perceived as so many different things than you were before or, you know, people a lot of people have compared Peter Parker’s experience before getting bit to gender dysphoria.

00:33:21:13 – 00:33:50:14

Unknown

You know what I mean? And yeah, like even characters who have been written as straight men who have, relationships with women, only and things like that, they’re still, you know, there’s still room for queerness and, yeah. Because these things, you know, like, they’re fluid. Yes. There’s no, like, rigid wall or barrier for, well, for the way that these things can be,

00:33:51:01 – 00:34:23:19

Unknown

No, it makes me think of, one of the things that’s sort of mentioned in the book, and is that, you have all the time in the world to keep discovering yourself like there’s one moment maybe like who you are in this moment. That doesn’t mean like your future self is not. And when we’re talking about essentially trying to find representation, when there when was very limited, in challenging heteronormativity, two people of opposite sex may not be straight.

00:34:23:19 – 00:34:43:09

Unknown

They could both be by people. One of them could be, pan. One of them could be. So I think that is part of looking that intersectionality is if we just automatically assume that they’re both straight people, where’s that assumption coming from and where, where, why is that being normalized in our head about, who these individuals are?

00:34:43:10 – 00:34:59:21

Unknown

Because nobody’s going on film going. I am a straight man, right? I like that is just not happening. So we could say any one of these characters in straight presenting relationships may still be in a very clear relationship.

00:34:59:21 – 00:35:16:17

Unknown

and you can have wear encounters and still identify as straight you know what I mean. Like these labels are self imposed. You know they’re not like while there are communal definitions for these things you know they’re self-imposed labels and you define your identity for yourself.

00:35:16:17 – 00:35:39:06

Unknown

No one else defines it for you. You know what I mean? Not to say that like whatever, like conversion therapy, it’s real or anything. But, you know, you can identify as straight and have dated men in the past and just realize, like, that’s just not my thing. Or you can love dating men and still identify as straight, you know what I mean?

00:35:39:08 – 00:36:04:21

Unknown

Like, I don’t know, they’re self-imposed labels that it’s just like, yeah, you know, you’re making me thinking of like, Lee Shang Lee Shang in a Mulan, right? Because he really, he really enjoyed playing. He really loved Mulan. Like the if we said that, he has to say whether he is straight or bi or gay. That doesn’t show the fact that he was just attracted to this person who he loved all their being.

00:36:04:21 – 00:36:46:01

Unknown

Yeah, well, and I think like one of the things people don’t think about in reality with like, queer labels are being queer is in the same way that you grow and understand yourself throughout life. You know, like how many times, you know, throughout life do you go like, oh, you know, just discovering something about yourself, right? It’s the same, you know, I, I think it was five years ago, maybe a little bit more that I discovered that I was demi sexual and I had no idea, like, what that meant or, you know, anything about it until a friend had mentioned it to me and it literally set off light bulbs like, oh my gosh, like

00:36:46:01 – 00:37:11:06

Unknown

how this affected my youth, how this affected everything. So there’s so much that you can grow and change and understand about yourself that can affect what your label or you know, how you identify. That’s like, why are we allowed to change how we describe ourselves, you know? Yeah. Would you be willing to educate our audience in case they have never heard of the term demi sexual?

00:37:11:08 – 00:37:45:11

Unknown

Yeah. Basically, I don’t want to give a strict definition for everyone. Because there’s obviously, a, I would say an arc of how people, identify as Demi when you come to Demi because it’s way, you know, but for in general, it means, you have to have a romantic or like, a personal connection, in order to have any sort of intimate activity.

00:37:45:13 – 00:38:08:14

Unknown

I think, you know, on that note, let’s kind of move and pivot a little bit into your personal journeys. Jodie, this is a great way to kind of foray into that because, we know your bio mentions that you found your true self through diverse stories and travels. How are these experiences, if there’s one that kind of comes to your mind first, shape your writing and advocacy work?

00:38:08:14 – 00:38:32:19

Unknown

And, on that note, what advice would you give to young LGBTQ plus individuals who are struggling with that self acceptance? So as far as, discovering myself, I grew up in a, like, conservative suburb of Los Angeles, and I went to a high school that, as far as I knew, there were only two other openly gay people there.

00:38:32:21 – 00:39:09:22

Unknown

So it’s not very like misunderstood in a lot of ways. I didn’t even really have a relationship with those people. Like, I kind of knew who they were, but, I never got to sit down and have a conversation with someone else who was clearly probably mid-twenties, maybe. So when I started traveling, not so much that I met people within my community, but that I could see what it was like in different communities, that I could see people who are different within their communities or different from my own community.

00:39:10:00 – 00:39:34:13

Unknown

It just really opened up, juxtaposed with books, by the way, like, you know, seeing that same thing in books that it was okay to be different, like it was okay and beautiful to be different, really. Like, you know, when I would travel somewhere, I would see these different, like, cultures or traditions or, you know, you name it and just think they were really cool.

00:39:34:13 – 00:39:56:01

Unknown

And that was cool that something else was different. Like it was okay to be different and know. What is your favorite place that you visited? The top three. Maybe if you can’t narrow it down to one place, like, like ever in my life. Yeah. I mean, what’s coming? What’s coming to mind now? You can always change your mind.

00:39:56:01 – 00:40:24:21

Unknown

And this is not definitive. Oh, no rush, I mean, I love I love traveling so much. I really loved going to Turkey. It was so different and so beautiful. Like, it was one of the first places, but I, like, fell in love with the food, like, because I’m, I’m always, like, scared because I’m allergic to a bunch of different things.

00:40:24:21 – 00:40:56:00

Unknown

But for some reason, everything was just right there. But, like, everybody was really nice there, and I don’t know, everything, like, just the culture and. Yeah, I also really loved Scotland. Gorgeous, really kind people, really intriguing. Like how they sort of mix, like old world cut culture and things. And, probably Japan, I really just loved.

00:40:56:00 – 00:41:23:13

Unknown

Oh, no, maybe China, I don’t know. Yeah. I’ve been to 30 countries. Got that over 30 snaps. Yeah. That’s so, but like, like seeing the Great Wall was like one of the most incredible experiences and seeing how, people in China, like, lived. That was like, different than how we lived and getting to witness those customs. And again, like, there’s, so many ancient buildings.

00:41:23:13 – 00:42:15:03

Unknown

And this juxtaposes and, like an ancient culture, with the modern culture and I don’t know, guys like, you know, so, so my answer is going to be different. Okay. That’s okay. As far as, advice that I would give, I would say, honestly, really getting to know yourself, like if you can explore yourself, like outside the noise and, basically explore the ways that, you know, you are you journal, you know, go to support groups if you have to or find like, good supportive friends and just really, like, find out who you are.

00:42:15:05 – 00:42:45:04

Unknown

Like, I think that would be my first, like, piece of advice. And then like affirmations and affirming that like basically then, you know, making sure that, you know, that that’s valuable, that that’s something that’s unique and beautiful and a gift and that you have a completely different way of viewing the world and a completely beautiful way of viewing the world and contributing to the world, and like finding everything around that to affirm yourself every day.

00:42:45:04 – 00:43:19:17

Unknown

Because we we all have moments of doubt. We all have moments of like questioning our our perfection and things like that. You know that. Like, you just have to, like, build this bubble of affirming yourself around yourself, framing yourself around yourself. Yeah, yeah, yeah, yeah. Because in your book you have rainbow affirmations after each section, that are specifically designed for queer teens to be able to celebrate themselves and, are specifically targeted to affirming that part of your identity, as well as how it intersects with your honor, other identities.

00:43:19:19 – 00:43:45:08

Unknown

And the interesting thing about affirmations is, like we tend to see them as very surface level. And so when you read them in the book, they are so impactful. They’re so intimate and internal. It really challenge is this idea that you’re just just talking noise or like, like faking it til you make it. It’s, really deep inside look, and it aligns with this belief that you’re sharing where it’s like, get to know yourself.

00:43:45:08 – 00:44:07:04

Unknown

It is okay to get to know yourself. It is okay to explore more of you if you have an affirmation, for instance, that you read that says, I, I’m trying to think of like something very I mean, even if it’s just like I live, laugh, love. Yeah. If it’s if it’s something like, you know, I am sparkly, right?

00:44:07:04 – 00:44:46:22

Unknown

And you’re not a smart person or I don’t that’s not like a real strong affirmation, but, it’s not going to resonate with you. Right? So like, that’s part of, you know, why we did like the sections and how we did the book, you know, and having voices from teens that you can look at and see, I identify with that or I relate to that, because then you can look at the affirmations that really speak to you, because you have to believe at least a small part of that affirmation, you know, to, to make it really work, you know, to really, get into your brain and be like, okay, this is going to

00:44:46:22 – 00:45:20:01

Unknown

have power with me. Yes, yes. Research has shown that, we as humans innately feel discomforted by lying to ourselves. And, and we have a negative bias. So we tend to. Which is weird because usually the negativity is a lie to ourselves. So it’s like these two opposing forces. And so when we speak in affirmation, it’s a lot easier to connect to it if we’re projecting on to a future self, if we don’t feel it right now, or if we add a buffer to it that makes it feel right now.

00:45:20:03 – 00:45:50:19

Unknown

And the wonderful thing about the affirmations in the books is there’s a variety of them. So you can choose and, and you’ve given the reader’s permission to adapt them. They don’t have to just stick to the language that was given. And I find in therapy sessions, when we’re trying to create affirmations, it really needs to be individualistic and has to be felt somewhere that this could be right or maybe right, versus it being spoken into right now if I don’t feel it, because I will reject that with all of my soul.

00:45:50:23 – 00:46:08:02

Unknown

Right. And whenever in the classroom you do an about me, if you say, how do you feel right now? More than likely, the kids are going to be like, I’m tired, I’m sleepy, I’m hungry. But if you say, you know how, how do you want to feel in a week? Or how do you want to feel when you’re in the next grade level?

00:46:08:02 – 00:46:30:23

Unknown

So it’s like, oh, I want to feel smarter or I want to feel more stronger, or I want to get better at kickball or something. So, you know, I mean, it is all true. Whenever you’re thinking of yourself in that present moment, it usually is pretty negative. But if you are thinking about yourself in the future, more than likely it’ll be a positive outcome of, yeah, one day those timelines will intersect.

00:46:31:01 – 00:46:56:22

Unknown

As we’ve seen from Loki, who I hear is also a queer icon. So there you go. Yes, one of my favorite. Shalom. Let’s move on to you. Tell us how you became connected with Jodi. I know that as we have been talking, I don’t know if it’s obvious to our readers, but, Sholem is quite younger than most of us here on the podcast, so, they have a very special, an interest in, you know, everything.

00:46:56:22 – 00:47:19:09

Unknown

And so, I just want to say, as I’m hearing you talk, I have so much hope because you are so insightful. And so, you know, just the way that you’re articulating things. Kudos to you. Because I just saw a lot of my middle schoolers in eighth grade graduate on. And I’ve known these kids since they were like in second, first grade.

00:47:19:09 – 00:47:28:09

Unknown

And I’m like, are you going to be okay? I think you’re going to be okay. But I don’t know if you’re going to be okay. But, you know, I, I have loved your input so far. So thank you.

00:47:28:09 – 00:47:37:07

Unknown

But anyway, going back to the subject matter, how did you and Jodi get connected?

00:47:37:09 – 00:48:05:08

Unknown

Well, my mom is also an author. And they’re both good friends, and, my mom has been, like, super cool with me being queer. And she’s always, like, known. I’m a I’m the type of person I kind of just do things. So I’ll be like, mom, I’m joining a coalition. He’s like, okay, cool. Like mom, I’m at a protest right now.

00:48:05:10 – 00:48:40:01

Unknown

She’s like, oh, okay, cool. And that’s just kind of how I am. But because, my mom knew that Jodi and Eric were writing Queer Cheer. She was like, hey, maybe it would be good to connect to you guys because, like, I’ve done a lot of work, just within the queer community. As a queer person, a lot of my understanding of, like, my identity has come from, like, researching queer theory, reading Judith Butler and Audre Lorde and, you know, learning about queer history and just getting involved in those communities.

00:48:40:03 – 00:49:09:22

Unknown

And my mom thought it would be a great opportunity, and it really I loved, meeting Jodi for the first time and having conversations about my experience as a queer person. And yeah, I’m just so grateful for this opportunity. So thank you again to, I’ve read some of your stories so far. So the way that the book is sort of designed, there’s snippets from different, teens of a variety of ages talking about their experience.

00:49:10:00 – 00:49:23:08

Unknown

I haven’t finished the book. I’m still reading it. I have used some sections with my clients already. And when I mentioned that you’d be on the podcast, they are very excited to hear you. So, you you have some hidden fans

00:49:23:08 – 00:49:38:14

Unknown

Yeah, it’s so I mean, when we, set out to find all of our teams, we basically, you know, we went through some of the people that we knew and then some of the like calling out between social media, between, you know, our community.

00:49:38:16 – 00:50:15:12

Unknown

And we had like, this goal to, find everyone from, you know, as many different identities as many different cultures, you know, like just trying to get as wide of a net as we could so that we could include as many voices as we could. And I mean, going into what you were saying, like every one of my conversations with these teens was like, I was crying, but it’s like it was just they’re all like, so much hope for the future and so insightful and incredible and, I mean, we were blown away.

00:50:15:14 – 00:50:46:05

Unknown

Yeah. They’re so smart. They’re so compassionate. So like beautiful, beautiful people. Like, it was incredible being like, that’s my favorite part of all of this is, is having met. Yeah. And I mean, I don’t remember being that wise sounding when I was that age. I think I was still trying to figure out how to pair, like a pair of jeans with, like, a top that would be appropriate for some kind of interview at like Jamba Juice or something.

00:50:46:05 – 00:51:11:06

Unknown

Like that’s where my mind was like, not, you know, this all encompassing, you know, how do we how do we look at ourselves? How do we, you know, give ourselves love? How do we project that with the circles that we have? How do we create change in the world using the power that we have? I think, you know, because the world has changed in the last 20 years, or maybe even the last 15 to 20 years.

00:51:11:08 – 00:51:34:21

Unknown

The the resources are endless. And I think it takes a certain amount of, smartness is not a word. It takes a certain amount of intelligence to navigate all of that with your devices, with, you know, what you can access, the people you can access. And, you know, just juggling all of that, you know, you guys really have the skills that we couldn’t even have imagined.

00:51:34:21 – 00:51:58:15

Unknown

If we had that at our fingertips at our age. Well, thank you, but it really does mean a lot. And yeah, I do think a large part of just my the things that I know and the things that I’m passionate about is just having access, to like, history, you know what I mean? Especially queer media. I talk about this in the book.

00:51:58:17 – 00:52:23:08

Unknown

I do, but, one of my favorite movies is this movie called punk, which came out in, I think, like 2001, and it’s one of the only, like, queer black blockbuster films. It’s like a B-list movie, but it’s one of my favorite movies ever because it shows queer blackness in a way that I had never seen before on film.

00:52:23:10 – 00:52:47:21

Unknown

And other movies like The Watermelon Woman by Cheryl Zanier amazing movie, but it also was one of the first times I ever saw, like, a black lesbian at the center of a movie. And the movie is about her experience as a black lesbian and the experiences of other black lesbians. And like, I don’t know, going back to, like the topic of Disney, an autobiographical stories.

00:52:47:23 – 00:53:08:04

Unknown

You know, sometimes we need a movie just about being gay, you know what I mean? I’d love a Disney movie just about being gay because, like, my life, like I am a person, you know, I do exist, as you know, someone who I don’t know, I love making music. I’m trying to write like a screenplay right now. Like I love doing things like that.

00:53:08:09 – 00:53:29:23

Unknown

But I’m also gay, you know what I mean? And being gay impacts every facet of my life and will for the rest of my time being alive. You know what I mean? And so does being black, and so does being a man. And like, you know, you can’t really separate those specific parts of my identity from my view of the world because I’ve been that way since the beginning.

00:53:30:01 – 00:53:33:20

Unknown

So I don’t know. Yeah. Yeah.

00:53:33:20 – 00:53:57:06

Unknown

shout out to the organizations in SFB, Filipino youth organizations like Pica, doing a lot of great work right now and occupy and SFB, they just started you’re doing some great work like, yeah, you know, the those communities also taught me a lot about myself and the importance of solidarity, and allyship.

00:53:57:06 – 00:54:27:17

Unknown

Yes. And like going back to Multifaith that identities but like how important solidarity and, and allyship are, when it comes to interacting with people who are multifaceted. And so, yeah, thank you Filipinos. Well, and speaking of like, allyship and, being an advocate, how would you describe being an ally, an advocate for the queer community? Like what would you need to see, from us to know that you this is a safe space.

00:54:27:17 – 00:54:54:11

Unknown

So this is an intentional, safe space. Well, I recently Margaret Cho, she’s, Yeah. You guys know Margaret, so. Yeah, she recently came to my school, and I had the opportunity to speak with her briefly. And. Yeah, she’s. And I love Margaret Cho. I have seen Fire Island. Yeah, I’ve seen Fire Island seven times.

00:54:54:11 – 00:55:13:19

Unknown

That’s one of your movies. You think of Fire Island, whereas for me, she had a show on, like ABC where it was like a family comedy of all Asians. And I was just like, oh my gosh, just a bunch of Asians on TV. Like, that’s crazy to me. But yes, she played a pivotal role in Fire Island as well.

00:55:13:21 – 00:55:33:19

Unknown

Yeah. But we talked about, you know, just like when you see, upcoming artists and storytellers within the queer community, make sure that you give them attention and make sure that you spotlight them, even though even if they’re not, like, the biggest thing, you know what I mean? Like chaperon, like a chaperon. I think that’s how you see her name.

00:55:33:21 – 00:56:01:06

Unknown

But, she’s upcoming queer artist. Amazing music. She’s so cool. Right? If you see this, shout out, you know, hey, you know, I’d love to produce something for you if you’re interested. You know what I mean? But. Yeah, but she’s great. I love her, and spotlighting queer artists. You know, queer storytellers is so important.

00:56:01:06 – 00:56:19:12

Unknown

Especially if they’re indie. Especially if they’re, you know, just starting out. Because we all deserve the chance to and the opportunity to share our voices. And I think that is the best way to be an ally is just try to uplift as many voices as you can, just like Jody is doing her book. So yeah.

00:56:19:12 – 00:56:45:00

Unknown

to be honest, I think the first, first thing is to listen, you know, like, just having people that are willing to hear, to listen to, you know, instead of trying to step for and do like, like, can I sit down with the Disney Disney CEO and like, be like, okay, let me let me explain what this means.

00:56:45:00 – 00:57:09:01

Unknown

You know, like, having like there’s, there’s corporations, for instance, that during pride, they slap a rainbow on something and they sell it, you know, and that there’s corporations that like, they hire queer artists and they, they put out, you know what? What is ours, you know, and and they I mean, pretty much Michel, said amplify our voices.

00:57:09:01 – 00:57:37:12

Unknown

You know, they they instead of trying to speak for us, they listen and they are just out there essentially, so that people can hear our stories so they can understand. And, get a little like a little bit of comprehension and maybe also some of that fear, like find, you know, those stories maybe, like Luca, where we can find some intersection of relatability.

00:57:37:14 – 00:58:00:12

Unknown

Yeah. What I’m hearing is, you know, not just not just listening, but actively listening, like listening with the purpose. Because if you’re just listening and you’re hearing it, it goes in and the actions don’t match that, that’s not actually listening. Like, just kind of like how, we have multiple cultural representations that are wanting to be more seen in Disney.

00:58:00:14 – 00:58:27:11

Unknown

Platforms. The same thing with queer stories. If you’re going to tell a queer stories, have a queer person tell those stories, have a queer person write those stories, have a queer person put pen to the animation on these stories, because all of those things will shine through. And looping back to what we were talking about earlier, there’s so many things that are more powerful when unsaid and just shown, because people will feel that when they’re watching a Disney movie.

00:58:27:11 – 00:58:40:09

Unknown

And I think we can all agree that at any point in our time when we watch a Disney movie, and we felt very strongly about something, that’s when the storytelling is at its best, because we feel it. We’re not being told,

00:58:40:09 – 00:58:47:18

Unknown

Yeah. I think that’s like that embodiment of the phrase not about us without us and more than one in the room.

00:58:47:20 – 00:59:05:18

Unknown

Right. We don’t want someone to be the token representation of a community. So you need more than one in a room and you don’t want to tell a story that isn’t your story. Because when you are viewing a story from an outside perspective, unfortunately, you’re going to project a stereotype. You’re going to get nuance wrong.

00:59:05:19 – 00:59:08:02

Unknown

You’re going to missed so many things.

00:59:08:02 – 00:59:38:23

Unknown

There’s going to be so many ways in which the depth is lost. And so that’s why you have to have someone in the room. But it can’t be that one. Someone. It has to be more of them. And the person who’s leading and helming the project, we’ve talked about this before on the podcast, but it’s it can’t just be the people on the camera, the people working behind the scenes, the people animating, the people who are on set, the costume designers, all of these individuals are pivotal in the storytelling.

00:59:39:01 – 01:00:05:00

Unknown

And when you don’t have them in those multiple spaces, what we have is, a very flat, onerous, unwell, received project, that’s going to be more harmful than helpful. And that’s why Mulan, the live action movie, was not okay. I’m sorry, I’ll say it, but that’s why. Yes, bad. There weren’t enough Asian people behind the scenes writing the story.

01:00:05:02 – 01:00:22:23

Unknown

And yeah, you know, it just it didn’t do well. Yeah, it had the facade of being something that like you would see in Chinese cinema, but when you watched it, it was the highlights were all in the preview. And I’m like, what I yeah, yeah. Yes.

01:00:22:23 – 01:00:36:21

Unknown

that’s like when we were we haven’t talked about on the podcast because it was very disappointing. But Raya, the last Dragon, is about 18 different countries. You’re going to have that many diverse communities shoved into one movie.

01:00:36:21 – 01:00:57:22

Unknown

You’re not going to have the right representation. Like, and it was it was sad. It was sad to be like, this could have been a Filipino character, but also not all that to say, Jodie, can you tell us where to find your book? So for our listeners who are wanting to read it, I know we’ve talked a lot about it probably piqued a lot of folks interest in it.

01:00:57:22 – 01:01:37:21

Unknown

Where can we find it? Yeah, sure. So you can find it anywhere. In any major book retailer such as Amazon, Barnes Noble, your local indie bookstore, hopefully your library. We have a, like, a request. If you don’t find it at your library, please request it. Because one of the things that’s really important to us is that anyone who cannot afford this book, that they have the opportunity, the chance to get it any way that they can, but if you’re looking for a quick, easy reference, w w w we’re chair book.com.

01:01:37:23 – 01:01:56:16

Unknown

There’s lots of easy, quick buy links and reviews and all kinds of, cool resources as well. For any teens that are looking for parents or guardians between that are looking for, resources in just about anything in your life. Awesome. And shalom,

01:01:56:16 – 01:01:57:03

Unknown

Yeah.

01:01:57:03 – 01:02:28:14

Unknown

So I have a SoundCloud. I go by Voi Venus on SoundCloud. I make electronic music. Any of you listeners, if you are looking to make any indie video games or any film projects, I would love to score for you. I yeah, I love doing game scoring as well as film scoring. And also, I’m looking to finish a screenplay that I’m writing this summer, about three kids.

01:02:28:14 – 01:02:49:01

Unknown

So superpowers from space. And they’re an indie band together. It’s very Scott Pilgrim meets Steven Universe. Ask so yeah, again, boy violence on SoundCloud. I’m going to put my email on there in case any of you want to hit me up, but yeah. Yeah, that’s me

01:02:49:01 – 01:03:00:18

Unknown

All right. Okay, well, if you want to, DM us and let us know what you will be doing for this pride, go ahead at happiest Pod GT.

01:03:00:20 – 01:03:12:18

Unknown

You can find us both on IG and X. We want to thank our guests for joining us today. This was a wonderful conversation. And please support queer artists and queer work and let Disney know that

Media/Characters Mentioned
  • Ariel and Eric (The Little Mermaid)
  • Ursula
  • Elsa (Frozen)
  • Luca & Alberto
  • Merida (Brave)
  • Moana
  • Lee Shang (Mulan)
  • Peter Parker (Spider-Man)
  • Clarabelle & Donald (Pride Night looks)
  • Fire Island, Out (Pixar), Queer Cheer (book)
Topics/Themes Mentioned
  • Queer coding
  • Identity formation
  • Affirmations
  • Intersectionality
  • Disney villains
  • Chosen family
  • Representation vs tokenism
  • Allyship & advocacy
  • Pride events
  • Cultural storytelling
  • Diaspora & queerness
  • Disney’s capitalism/activism tightrope

🎤 Jodie Anders — Co-author of Queer Cheer, youth mentor, podcast host
👉 Learn more and access resources at: www.QueerCheerBook.com
🎤 Shalom (Boy Venus) — Queer student leader, activist, musician, electronic artist
🎧 Music by Shalom (Boy Venus): SoundCloud

Website: happy.geektherapy.com
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| Stef on X: @stefa_kneee | Ariel on Instagram: @airyell3000 |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
Website: www.geektherapy.org
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| GT Forum: forum.geektherapy.com |

Celebrating Juneteenth and Diversity in Disney

June 15, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/2e846f3b/a80d2415.mp3

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44: Ariel, Stef, and special guest Chance Calloway discuss Juneteenth, media representation, and Disney’s portrayal of Black characters. They highlight Juneteenth’s significance and embodiment of “we’re not free until we are all free.” The episode promotes authentic representations and diverse voices in future Disney projects and teaches audiences about The Transformation Trope, Projection Representation, and Black coded characters.

Summary

Summary of HPOE 44:

  • 00:00 Introduction: Meet Ariel, Stef, and Chance Calloway, and learn about their unique approaches to therapy, education, and creative arts.
  • 01:33 Juneteenth Significance: An in-depth look at Juneteenth, its history, and its recent recognition as a federal holiday. The hosts discuss its unique place among American holidays and its traditions.
  • 07:07 Media Representation: The importance of diverse representation in media, particularly in children’s films. The discussion includes the federal recognition of Juneteenth and calls for authentic portrayals of characters of color in Disney movies.
  • 10:18 Brandy Cinderella Movie: An exploration of the impact of the Brandy Cinderella movie on media representation and its continued relevance in promoting diversity.
  • 21:11 Black Panther: Reflecting on the success of Black Panther and its significance in showcasing Black excellence and representation both in front of and behind the camera.
  • 32:34 Princess Tiana: Critiquing Disney’s portrayal of Princess Tiana in The Princess and the Frog, and advocating for more genuine representations of protagonists of color.
  • 37:55 Black Coding in Disney Films: Discussing the concept of Black coding in Disney movies, the challenges in marketing diverse content, and the importance of amplifying diverse voices in future projects.
  • 43:36 Conclusion: Summarizing the episode’s key points on Juneteenth, media representation, and the portrayal of Black characters in Disney films. The hosts encourage listeners to engage with these critical topics.
Transcription

00:00:09,094 –> 00:00:11,894
Ariel Landrum: Hello, everyone. Welcome to the happiest pod on Earth.

00:00:11,894 –> 00:00:18,530
I’m Ariel, a licensed therapist who uses clients’ passions and fandoms to help them grow and heal from trauma and mental development.

00:00:18,690 –> 00:00:24,690
Stefanie Bautista: And I’m Stef. I’m an educator who uses her passions and fandoms to educate the kids that I work with.

00:00:24,690 –> 00:00:33,345
Chance Calloway: I’m Chance Calloway. I’m a producer, filmmaker, musician, writer, all around multi hyphenate. Creativity is my passion.

00:00:33,450 –> 00:00:36,410
Stefanie Bautista: And happiest pod is where we dissect Disney mediums with a

00:00:36,410 –> 00:00:41,710
Ariel Landrum: critical lens. Why? Because we are more than just Stef, and we expect more from the mediums we consume.

00:00:42,005 –> 00:00:44,825
So, see, so I have a guest today. Chance, what are we talking about?

00:00:45,204 –> 00:00:48,425
Chance Calloway: Today we’re talking about Juneteenth, and we’re talking about representation.

00:00:48,805 –> 00:00:56,720
Stefanie Bautista: Yeah. Yeah. Chance, as you all know, if you’ve been following us on our podcast and also have seen us at Comic Con or WonderCon,

00:00:56,860 –> 00:01:02,465
Chance is 1 of our very good friends, 1 of our most talented friends, like you said, multi hyphenate.

00:01:02,925 –> 00:01:10,500
And, you know, I feel even when this podcast was coming to its conception, we would organically have a lot of really good

00:01:10,500 –> 00:01:18,425
discussions about the way we consume media and the different things that we expect from it and also want to see from it in the future.

00:01:18,425 –> 00:01:26,080
So I hope that today’s discussion is gonna be very enlightening for those of you aren’t familiar with Juneteenth. So, Chance, would you be

00:01:26,080 –> 00:01:28,420
Ariel Landrum: able to explain what exactly is Juneteenth?

00:01:28,640 –> 00:01:33,845
It became recently a federal holiday, but just because it wasn’t a federal holiday, doesn’t mean that it wasn’t a holiday.

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Chance Calloway: Correct. Yes. Juneteenth, basically, is the embodiment of the term, we’re not free until we’re all free.

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So when, the Emancipation Proclamation was passed, some, black Americans were still enslaved.

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Some black Americans did not know that freedom had arrived.

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And on June 19th, that was the day that they did basically the final, like, enforcement, and made sure that the enslaved people were made free.

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And that’s when a lot of, people in the black community started celebrating it as a holiday.

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Ariel Landrum: I think it’s important to note because it’s hard for people to fathom not getting information immediately.

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Chance Calloway: Sure.

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Ariel Landrum: There’s an acknowledgment that we get media so quickly.

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We get news so quickly, especially, like, breaking news, reactions to it, that there isn’t this time to, like, digest and

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understand before you’ve moved on to the next thing.

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And I think that the fact that it became a holiday amongst the black community just shows, like, how important and informative it was.

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Chance Calloway: Absolutely. Suleens. Yeah. And I think, for a lot of people, there’s a a hitch that comes with thinking of American holidays,

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you know, and the American flag, things like that.

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We’ve seen you know, it’s been the media a lot because of the cover of Beyonce’s new album.

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A lot of, black Americans kind of don’t respect, like, holidays like the 4th July.

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So then when something like Juneteenth came along, that I can respect. That feels like a celebration.

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Ariel Landrum: And I think

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Stefanie Bautista: when it comes to holidays, there are diff there’s different layers of celebrating and even the word celebrating a holiday.

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Because, essentially, this is 1 of those holidays where it was a realization of something that hadn’t been realized, fully.

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When you’re talking about people celebrating the 4th July, they normally talk about barbecues and doing fun stuff and not,

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you know, the actual reason for the holiday.

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This is 1 of those holidays that kind of wakes us up to the different ways we celebrate and the different ways we honor certain

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people, especially when we’re talking about, honoring everyone equal.

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And, like, celebrating it with a purpose and not just celebrating to sell.

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Chance Calloway: And that that’s a really great point, Steph, because there’s a lot of holidays that, you know, have lost the meaning behind them for various reasons. Yeah.

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And people feel different ways depending on the holiday. But Yeah.

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Think about the majority of the holidays that we celebrate, it’s more because it’s a day off. Yeah. Right. Yeah.

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And there’s some aesthetic theme around it that we like.

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And we we celebrate Christmas or don’t even follow, like, the religion that Christmas is based on.

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So, like, holidays become other things that, you know, whereas Juneteenth is still very resonant for the reason that it exists.

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Stefanie Bautista: I’m coming from a standpoint where at school, that is your first foray into celebrating holidays and doing themed activities. Mhmm.

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And I think the way that I’ve been experiencing it in the school culture that I’m currently in, which is very diversity, equity,

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inclusion, and belonging based, we really take a deeper dive into what exactly are we celebrating or why exactly do we have that date.

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And if, you know, that means taking a little bit more time and not just doing the hand turkey or doing, you know, the snowman.

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I mean, that’s okay because we would rather have the kids have a bigger and full understanding of the holiday or the day off.

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Ariel Landrum: I know that there are some traditions that have come about for the black community in celebrating Juneteenth, including colors

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that you can wear and things that you could eat.

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Would you be able to share for audience what that is, or what you did?

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Chance Calloway: Sure. I mean, I I always celebrate many holidays just by nature of my bachelor. The

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Stefanie Bautista: Every day’s a holiday. Okay. You know,

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Chance Calloway: there are some Juneteenth cotillions, you know, which are which are very popular.

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A lot of people like to do the, the kinda Afrocentric colors of the red, green, and black.

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You know, some people have flags that are in those colors.

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I wanna get 1 myself, he got out my window.

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But, honestly, you know, when you talk about, you know, all your advice to the cookout, Juneteenth is a great time to have a cookout because it’s summertime.

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Cookouts are probably the most common ways to celebrate Juneteenth since it hasn’t always been a federal holiday, not everyone always got it off.

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So I don’t think a lot of families, you know, unless you lived in a community where it was celebrated, I don’t think it was something I knew about growing up. We never celebrated it.

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Stefanie Bautista: Interesting. I’m curious to know since it wasn’t a funeral holiday since recently, were there, like, adjacent weekends that

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you would take to honor during that week, or would you just, like, be more mindful? Yeah.

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Chance Calloway: It was more just being being mindful Okay. For sure. Yeah.

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Because, you know, it it was 1 of those things where if you’re trying to get together with the family, it was like, before

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the July is coming up, March is just something again.

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I think that’s another sign of why it is important for some things to get officially recognized. Yes.

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Because now that it’s federal holiday, people can plan around it, make time for it, make space.

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Stefanie Bautista: I love that.

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Ariel Landrum: My stepmom, how she celebrates Juneteenth is they go to church. Like, there’ll be church celebrations.

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And that, was, like, the only spaces where you would openly talk about, and it was to praise that you got the news, that you were delivered, that you were free. Both. Yes. Yeah.

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And it was it was interesting because now that it’s a federal holiday, it’s it has her reorganizing.

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You know, my grandbaby is out of school, like, has the day off, will be able to, like, do something with me.

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It was a talked about thing around the church, but wasn’t a talked about thing, like, in the if that makes sense.

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Stefanie Bautista: Yeah. Yeah. I think there’s even a bigger realization that because us working folks are people who are in that socioeconomic background of working all the time.

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If they don’t have a day off to do something, they will most likely not pay attention to it because everything is so work

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centered and everything, you know, pretty much goes off of what your schedule is to be able to make a living.

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And I think having Juneteenth off is so important because, like you said, all of these other thoughts and all of this other

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planning just comes because they you know, I have

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Ariel Landrum: a day off to myself, for my family, for people of my heritage.

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It’s been federally recognized, and something comes from recognition.

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And then looking at, like, recognition, this is a Disney pun.

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So I’m wondering for you when you think of, representation and black recognition, like, who comes up for you? Or what shows or TV?

00:08:06,435 –> 00:08:12,150
Chance Calloway: Brittany can be number 1. It’s always gonna be the only Cinderella that matters to me, which is the Brandy Cinderella.

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You know, also, you know, shout out to the late Whitney Houston, who’s the very godmother and the late Natalie Patel who was, you know, 1 of the stepsisters.

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That to me was, like, peak Disney. I mean, the world stopped.

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Evan was watching the wonderful world of Disney on ABC that night because, you know, Whitney Houston, Randy White, and Cinderella.

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That to me is the ultimate Disney representation still to this day.

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Stefanie Bautista: I love that. I know me and Chance have connected so many times, maybe countless times, over the impact of that particular

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Cinderella and how important it was to see diversity on, the wonderful world of Disney, which is something that everybody stopped to watch back then.

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Ariel Landrum: Fun. For us, the prince is Filipino.

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Stefanie Bautista: I was just gonna say that.

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Chance Calloway: Voice. Yeah. God, I Yeah.

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Ariel Landrum: I think, the interesting thing too is that that Cinderella is so loved. Brandy has been asked back.

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Stefanie Bautista: Yeah. It’s Yeah. She is reprising her role as Cinderella in Descendants, The Rise of Red, which I think at this point has not come out yet. It has not come out yet.

00:09:15,440 –> 00:09:21,519
But Descendants, if, some of you listeners don’t know, all of Disney Princesses basically are mummies, and they have kids,

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and, they are all together in this series, and it has been huge.

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Even when we went to Disney Channel Night Yeah.

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A lot of people dressed up as descendants characters. Yeah.

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Even though we we thought it was 90 centric.

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Did we see a Brandy Cinderella there?

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Ariel Landrum: We’re a see No. I saw a lot of Neil Thermopolis. Rinaldi from Genovia. Yeah.

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Chance Calloway: Yeah. As long as

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Stefanie Bautista: his desire. Which? By Whitney Houston. Yes. No.

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I was just reminded of that on my reels, and I was just like, ugh, yes. Yes. Fed my soul.

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Chance Calloway: Whitney used to get, like, a, a posthumous, Disney Legend Award.

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Stefanie Bautista: Whitney Houston, huge driving force in actually many Disney things that did not that

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Chance Calloway: she did girls that she did girls too. Yes. At least yeah.

00:10:06,360 –> 00:10:12,600
Stefanie Bautista: It’s really funny because the reel that I saw was her talking to Howie and Kevin from the Backstreet Boys because they were

00:10:12,600 –> 00:10:18,495
on a video for the song from Princess Diaries. The song was called Supergirl.

00:10:18,875 –> 00:10:23,435
Chance Calloway: There’s a really big video of, Eric Von Detten. Right? He’s in the Princess Diaries. Mhmm.

00:10:23,435 –> 00:10:36,704
Going up to Whitney Houston, like, to introduce himself, and Bobby Brown be like, I’m Bobby Brown. I’m Bobby Brown. It’s all quality. It’s so funny. Yeah. Ready? Cinderella definitely was huge for me.

00:10:36,704 –> 00:10:42,520
Interesting thing that we bring up the Apollo situation because as much as I adore him and I would not change anything by

00:10:42,520 –> 00:10:49,575
his performance of, you know, him being that film, Disney has not yet given us a black male glory. Yeah. Yeah.

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And that bothers me to this day.

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Ariel Landrum: Yes. Because Naveen is brown. Right. He’s a brown person. Yeah.

00:10:55,735 –> 00:10:59,850
Naveen from From a a made up place, so we can’t even From person the frog.

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Chance Calloway: Voiced by Brazilian

00:11:01,510 –> 00:11:02,350
Ariel Landrum: Yes. Yes.

00:11:02,790 –> 00:11:09,585
Chance Calloway: Even with the live action, Little Mermaid last year, that only, you know, was Prince Eric not black, which, again, I don’t have a problem with that.

00:11:09,585 –> 00:11:13,185
But then Chitin also was not black, played by a Spanish actor. Mhmm.

00:11:13,185 –> 00:11:17,630
So I I would love to see a Disney royal male, you know?

00:11:17,770 –> 00:11:22,605
Even Prince Eric didn’t have a black he had a black mom, but, like, he didn’t have it now. That’s, like Yep.

00:11:22,685 –> 00:11:27,185
You guys are doing everything you can to not put a black man in the crown. I’m on Disney.

00:11:27,245 –> 00:11:31,320
You know, Whoopi Goldberg, also was in, you know, Cinderella.

00:11:31,460 –> 00:11:36,260
So shout out to Whoopi Goldberg, but also her prince was Victor Garber, who was not black.

00:11:36,260 –> 00:11:42,815
Again, I didn’t no problem with with Victor Garber, but just, you know, as a kid as a kid, especially a gay black kid, yes,

00:11:42,815 –> 00:11:45,135
I wouldn’t be wearing purple and wearing a crown too.

00:11:45,135 –> 00:11:47,535
So, you know, it I started noticing.

00:11:47,535 –> 00:11:53,300
I was like, where’s where’s this these black, you know, prince or king? And Right. Yeah. Still waiting.

00:11:53,300 –> 00:11:56,520
Stefanie Bautista: I think the closest we get to that is Black Panther.

00:11:56,580 –> 00:11:59,225
That’s Closest we have to a black king Yeah.

00:11:59,305 –> 00:12:06,605
Who comes from lineage that is royal. However, that was a Marvel concept. Yeah. It wasn’t initially a Disney concept.

00:12:06,839 –> 00:12:14,140
Ariel Landrum: And what had already been established, right, in comics and lore versus, like, when we’re trying to make up a whole new character

00:12:14,360 –> 00:12:21,755
for for T’Challa, him living in Africa being African was essential to who he was.

00:12:21,755 –> 00:12:28,150
Like, we can’t change the the, phenotype of that character, and it may exactly.

00:12:28,290 –> 00:12:35,455
Chance Calloway: Right. And that was also I always forget that Marvel is now under the Disney umbrella, but, like, yeah. Black Panther. That was definitely an experience.

00:12:35,755 –> 00:12:43,430
Stefanie Bautista: So let me ask. I know we talk a lot about black representation and the different ways that it shows up in Disney movies.

00:12:43,430 –> 00:12:47,110
We talked about princess and the frog where essentially Tiana and Naveen.

00:12:47,110 –> 00:12:51,265
Tiana really turns into a frog for most of the movie.

00:12:51,404 –> 00:12:58,365
Now we have just experienced a little resurgence of the Lion King because it is celebrating its anniversary, and they just

00:12:58,365 –> 00:13:01,290
had a Hollywood Bowl performance that people are talking about.

00:13:02,070 –> 00:13:09,045
And when I think about Mufasa, who was voiced by James Earl Jones, that is a very powerful character to mute.

00:13:09,045 –> 00:13:16,050
However, it was masked by not seeing James Earl Jones, and he was Darth Vader, which you did not see his face.

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Ariel Landrum: And when he got unmasked Yeah. Jeff really was that James.

00:13:18,930 –> 00:13:21,170
Stefanie Bautista: Yeah. Definitely not James Earl Jones. Right.

00:13:21,170 –> 00:13:23,855
Do you think he could have been represented a little bit better?

00:13:23,935 –> 00:13:31,795
Chance Calloway: I think the the James Earl Jones thing is an interesting case because both James Earl Jones and Madge Sinclair played king and queen in Coming to America.

00:13:31,855 –> 00:13:32,355
Stefanie Bautista: Mhmm.

00:13:32,450 –> 00:13:37,730
Chance Calloway: So it almost kind of felt like shout out type of casting, and James j Jones has such an iconic voice.

00:13:37,730 –> 00:13:42,215
There are very few things about The Lion King that I would change. Mhmm. I wouldn’t film Mufasa. That’s enough.

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Ariel Landrum: That’s not a little pic that’s staging. Like, that

00:13:44,915 –> 00:13:47,975
Stefanie Bautista: is the that’s literally the plot 0,

00:13:48,195 –> 00:13:57,090
Chance Calloway: no. But, I feel like if Disney had done its due diligence and had more representation for people who essentially were not

00:13:57,090 –> 00:14:03,595
white, The Lion King wouldn’t feel so, you know, in that way, you know, because it’s like, okay. Period.

00:14:03,595 –> 00:14:08,495
It’s set in Africa a lot, not all, but a lot of, you know, black voice actors.

00:14:09,339 –> 00:14:12,800
But every character on screen is an animal.

00:14:13,100 –> 00:14:20,645
So enjoyable film and, of course, do that project projection representation, which is, you know, you do that a lot when you don’t have enough of it.

00:14:20,645 –> 00:14:22,485
But, yeah, I feel like Y King was great.

00:14:22,485 –> 00:14:26,560
Would have been great if they had followed that up a lot sooner with the Black Princess movie.

00:14:26,560 –> 00:14:35,505
Ariel Landrum: Yeah. Would you say the Broadway production kind of does what what should have been for that that because the production is very dive

00:14:36,144 –> 00:14:42,165
Chance Calloway: Yeah. Okay. That’s that’s a really great that’s a really great question. I have complicated feelings about that.

00:14:42,280 –> 00:14:51,075
Stefanie Bautista: Why not? I saw I’ve seen the Broadway performance on Broadway, actually, as a kid, and then I’ve seen iterations of it because they have it at Disney World.

00:14:51,155 –> 00:14:56,375
And aside from some of the dancers, it is a mainly it is an all black cast. Yeah. It’s beautifully done.

00:14:56,515 –> 00:15:02,570
Chance Calloway: But they and they they’ve employed so many black actors, you know, because of that production.

00:15:02,630 –> 00:15:09,385
Though interestingly, the first symbol was Jason Rae’s who was adopted, and you don’t know what his background was.

00:15:09,445 –> 00:15:12,505
So there’s no telling if he was actually, you know, a black actor.

00:15:12,645 –> 00:15:14,005
Stefanie Bautista: Is this the original Broadway film?

00:15:14,005 –> 00:15:16,581
Chance Calloway: The original Broadway film. Yeah. Maheep’s Jason Reinschaun ran away.

00:15:16,581 –> 00:15:18,967
I’m surprised that we’re talking about it at all.

00:15:18,967 –> 00:15:26,305
I I still feel like the Broadway show, the production, even though you have black actors, is still being told a story about animals. You know?

00:15:26,305 –> 00:15:30,465
So, like, again, I don’t begrudge the fact that it’s employing a lot of black actors.

00:15:30,465 –> 00:15:33,930
But for me, it’s, like, still not represent representation. You know why?

00:15:33,930 –> 00:15:36,970
Because the director, Julie Taymor, is not black.

00:15:36,970 –> 00:15:41,975
Songwriters, Tim Rice, Ellen Joc, they’re not black. Alipo Lim, of course, is black. Right?

00:15:41,975 –> 00:15:43,895
So so there is there is that touch there.

00:15:43,895 –> 00:15:47,949
But for me, you know, the strip writers were not black.

00:15:47,949 –> 00:15:50,050
So that’s the complicated part about representation.

00:15:50,430 –> 00:15:55,230
To have Matt Damon tell it, it only matters if you have representation in front of the camera, but that’s not true.

00:15:55,230 –> 00:15:55,694
Ariel Landrum: Yeah. Yeah.

00:15:56,014 –> 00:15:57,774
Chance Calloway: So that’s why I said it’s a complicated question.

00:15:57,774 –> 00:16:02,334
Do you think there’s a type of representation to be found in The Lion King?

00:16:02,334 –> 00:16:04,320
But I think there are better options now.

00:16:04,560 –> 00:16:04,800
Stefanie Bautista: I I

00:16:04,800 –> 00:16:10,100
Ariel Landrum: think you are bringing up a a crucial point because I think that’s what made Black Panther successful.

00:16:10,240 –> 00:16:10,640
Chance Calloway: Yes.

00:16:10,640 –> 00:16:15,365
Ariel Landrum: When both people behind and in front of the camera were telling the story of a black perspective.

00:16:15,585 –> 00:16:16,085
Chance Calloway: Yes.

00:16:16,145 –> 00:16:25,450
Ariel Landrum: Even though the character was created by, I believe, Stan Lee, who was AAA white man, it got taken on further by the black community, and they told the story.

00:16:25,510 –> 00:16:30,070
Correct me if I’m wrong, audience, but I I do believe I have my comic lore on point.

00:16:30,070 –> 00:16:32,070
Chance Calloway: It’s good. Maybe Stan Lee co created. But Yeah.

00:16:32,070 –> 00:16:36,214
Stefanie Bautista: Ariel, you are right. It was created or Black Panther was created by Stanley and Jack.

00:16:36,214 –> 00:16:37,915
Chance Calloway: And Jack Kirby. And Kirby.

00:16:37,975 –> 00:16:41,514
Ariel Landrum: Thank you. Thank you. Wait. I just wanted to mention Moon Girl.

00:16:41,700 –> 00:16:45,000
Chance Calloway: Moon Girl and Deviled Animus dinosaur. Yes. And Miles Morales.

00:16:45,140 –> 00:16:47,380
Ariel Landrum: Yes. Morales. Yeah. Yes. K. Yes.

00:16:47,380 –> 00:16:50,120
Stefanie Bautista: Yeah. Wonderful, wonderful characters. They Yes. Marvel.

00:16:50,435 –> 00:16:55,575
Ariel Landrum: Marvel. Marvel once again. Like, we don’t have a black Miles Morales in Disney yet.

00:16:55,715 –> 00:17:00,990
We have Donald Glover as the prowler, and he mentions that he has a nephew.

00:17:01,130 –> 00:17:07,870
And we have Jamie Foxx, and he mentions there must be a black Spider Man somewhere. Those have been the droplets we’ve

00:17:08,054 –> 00:17:10,215
Chance Calloway: Yes. Yep. The Moongirl Devil Dinosaur. Yeah.

00:17:10,215 –> 00:17:11,174
Stefanie Bautista: We’re getting very much

00:17:11,335 –> 00:17:12,155
Chance Calloway: great soundtrack.

00:17:12,294 –> 00:17:17,890
Ariel Landrum: And I think if you watch the, kids’ Marvel movies, there’s, like, Spider Man and Friends.

00:17:18,110 –> 00:17:21,470
Stefanie Bautista: Oh, yeah. And his amazing friends? Yeah. Yep. Miles Miles is in there. Yep.

00:17:21,470 –> 00:17:22,350
Ariel Landrum: Yeah. Okay?

00:17:22,350 –> 00:17:23,550
Chance Calloway: Yeah. Okay. See, I think

00:17:23,710 –> 00:17:24,030
Ariel Landrum: Cute.

00:17:24,030 –> 00:17:26,005
Stefanie Bautista: Very cute. But, yeah, all good mentions.

00:17:26,225 –> 00:17:27,524
Chance Calloway: Storm x men 97?

00:17:27,825 –> 00:17:28,678
Stefanie Bautista: Yes. We are

00:17:28,784 –> 00:17:32,385
Ariel Landrum: talking nonstop about x men. We’ve completely forgot about a star.

00:17:32,385 –> 00:17:37,279
Chance Calloway: For me, there’s still a complete delineation in my brain between Marvel and Disney.

00:17:37,419 –> 00:17:40,940
Stefanie Bautista: Yeah. You know? It’s fine because I think that’s just how our brains work.

00:17:40,940 –> 00:17:41,179
Chance Calloway: Yeah.

00:17:41,179 –> 00:17:44,554
Stefanie Bautista: And we can’t like, the conglomerate is conglomerating. Yeah. Right.

00:17:44,554 –> 00:17:49,675
And it shouldn’t be that way Yeah. Sometimes. But, yeah. Aurora, a queen, a queen. Yeah.

00:17:49,675 –> 00:17:51,775
But she is definitely a royal man.

00:17:52,075 –> 00:17:53,010
Chance Calloway: Level mute.

00:17:53,330 –> 00:17:54,690
Stefanie Bautista: Yes. Yeah. Yeah. That’s true.

00:17:54,690 –> 00:17:58,790
Ariel Landrum: And then we have, very powerful character in, Marvel.

00:17:59,010 –> 00:17:59,650
Chance Calloway: Nick Fury.

00:17:59,650 –> 00:18:02,870
Ariel Landrum: Yes. Nick Fury. Nick Fury, but he’s always had an eye patch.

00:18:03,075 –> 00:18:04,835
Chance Calloway: True. True. True. Yeah.

00:18:04,835 –> 00:18:07,155
Stefanie Bautista: But he’s the orchestrator though, so he’s the guy behind.

00:18:07,155 –> 00:18:09,875
Chance Calloway: He’s the guy that created yeah. Put the Avengers together.

00:18:09,875 –> 00:18:15,309
Ariel Landrum: And then we are gonna have is it Fast who’s, from Ms. Marvel? Photon? Yeah. Photon.

00:18:15,309 –> 00:18:17,630
Chance Calloway: Photon. Tiana Paris, amazing actress.

00:18:17,630 –> 00:18:18,270
Stefanie Bautista: Yes. Yeah.

00:18:18,270 –> 00:18:19,250
Chance Calloway: Amazing actress.

00:18:19,575 –> 00:18:21,355
Ariel Landrum: We we talked a little bit about Warrable.

00:18:21,414 –> 00:18:25,115
We talked about Lion King, even in the concept of, Broadway.

00:18:25,174 –> 00:18:29,799
And I know that there is a lot of viral stuff happening with the Hollywood Bowl situation.

00:18:29,940 –> 00:18:32,840
I’m not touching that, because I don’t think it’s appropriate.

00:18:33,380 –> 00:18:35,960
I’m actually gonna honor the fact that Jason Weaver

00:18:36,605 –> 00:18:42,445
Stefanie Bautista: sang, and I thought that was beautiful because, I know Chance knows a little probably a little bit more about the story, but

00:18:42,445 –> 00:18:47,940
it was very interesting how they approached his family in compensating him for the Lion King. Right?

00:18:48,000 –> 00:18:50,419
Because he was this voice of Simba.

00:18:51,200 –> 00:19:00,915
The recording of I just can’t wait to be king was so big that, obviously, Disney was gonna pay a lot of money to him, but in 1 of 2 ways.

00:19:01,055 –> 00:19:04,755
And 1 of it was through royalties, and 1 of it was through a lump sum.

00:19:04,840 –> 00:19:09,820
Chance Calloway: I I watched the, interview with him, like, last year. Yeah. Yeah. I remember him talking about it.

00:19:09,880 –> 00:19:12,645
I remember the baseline being he’s taken care.

00:19:12,805 –> 00:19:16,425
Stefanie Bautista: Long story short, I know you guys can probably, like, look this up on Wikipedia.

00:19:16,805 –> 00:19:21,945
Mom was savvy enough to say, we are not gonna take the lump sum. I want to take the royalties.

00:19:22,289 –> 00:19:28,450
And he has made so much more through the royalties rather than the lump sum because at the time, of course, you know, a big

00:19:28,450 –> 00:19:31,625
chunk of money is gonna look very appealing. Yes.

00:19:31,625 –> 00:19:33,965
But mom thought forward and was like, no.

00:19:34,024 –> 00:19:39,085
We are gonna get paid for the rest of eternity because this song is gonna live forever.

00:19:39,409 –> 00:19:41,730
And, yeah, he’s been duly compensated for that.

00:19:41,730 –> 00:19:48,149
And I think that’s, you know, 1 of the really nice moments, but at the same time, mom had to be savvy enough to think that far ahead.

00:19:48,335 –> 00:19:50,495
And, you know, way to go mama bear for doing that.

00:19:50,495 –> 00:19:57,110
Chance Calloway: Oh, and for the Disney fans, I mean, Jason Bieber probably on screen is best known as the older brother and smart guy. Yep. You know?

00:19:57,190 –> 00:19:59,910
So and that that was a decision all the time when I was a kid.

00:19:59,910 –> 00:20:04,890
Stefanie Bautista: All the time. Yeah. Fun fact, I actually took my SATs in the same room as Taj Mahri

00:20:06,465 –> 00:20:06,965
Ariel Landrum: Randall.

00:20:07,184 –> 00:20:13,445
Stefanie Bautista: And it was, like, a joke between me and a friend of mine who were taking the SATs was, like, I bet the smart guy is gonna pass.

00:20:13,870 –> 00:20:19,550
Chance Calloway: I have such an artistic crush, and I have to be specific about that because I also normally have crushes.

00:20:19,550 –> 00:20:21,725
But I have such an artistic crush on Taj Morrie.

00:20:21,725 –> 00:20:25,164
He’s 1 of our most underrated comedian. He is so funny.

00:20:25,164 –> 00:20:26,705
The way he can spin a line.

00:20:26,765 –> 00:20:33,190
He’s also gonna be a tap dancer, a a wonderful singer. I adore Taj Mahry. Adore, adore, adore, adore, adore, adore.

00:20:33,330 –> 00:20:35,330
So I can’t believe that you were in a room with them.

00:20:35,330 –> 00:20:40,955
Ariel Landrum: That’s TV. Talking about representation, we have sort of touched on it.

00:20:41,275 –> 00:20:45,195
We looked it up, and the term seems to be called a transformation trope.

00:20:45,195 –> 00:20:47,915
So would you be willing to explain to the audience what exactly that

00:20:48,075 –> 00:20:55,820
Chance Calloway: A transformation trope, while it has a lot of, I guess, sub tropes, essentially, it is when a protagonist is turned into some

00:20:55,820 –> 00:21:03,095
other type of creature, which is particularly common in certain Disney animated films where the protagonists usually I think

00:21:03,095 –> 00:21:09,880
maybe all are protagonists of color who are then turned into an animal for the main duration of the film.

00:21:10,340 –> 00:21:15,085
So we saw that probably most notably in, The Princess and the Frog.

00:21:15,705 –> 00:21:19,725
So Brother Bear, what’s the what, Emperor’s new Groot, Cousteau.

00:21:20,345 –> 00:21:27,170
Sol may be angry in the fact that it felt like a subversion at first because at first, he wasn’t, you know, an animal, but

00:21:27,170 –> 00:21:29,650
then he put him in animal, and that’s when I got mad.

00:21:29,650 –> 00:21:39,865
Seems to happen disproportionately at least to, protagonist of color, almost as if they are not allowed to carry the majority of the movie looking like themself.

00:21:40,085 –> 00:21:45,880
Ariel Landrum: We are looking up, like, just the history, the transformation trope, and it was started off in the horror genre.

00:21:46,580 –> 00:21:49,800
You know, this monster needing to transform into a human.

00:21:49,985 –> 00:21:58,120
And we see that with, like, Beauty and the Beast, but we’re always painted the idea of empathy towards the beat. Right?

00:21:58,120 –> 00:22:01,020
This is a curse that it shouldn’t have happened.

00:22:01,720 –> 00:22:08,845
When we’re following these narratives, like, with Tiana, yes, she’s really fighting to not be a frog and trying to find ways,

00:22:08,905 –> 00:22:14,160
but the empathy we have towards her plight isn’t the fact that she turned into a frog.

00:22:14,320 –> 00:22:18,100
It’s the fact that she’s not able to open up her restaurant.

00:22:18,560 –> 00:22:24,335
Chance Calloway: Yeah. I don’t think there was ever any concern plot wise that, like, Tiana’s gonna stay up for all.

00:22:24,335 –> 00:22:27,855
Like, that never seems to be Yeah. Her jiving concern. You know?

00:22:27,855 –> 00:22:29,210
So I think I think you’re right about that.

00:22:29,210 –> 00:22:34,489
Ariel Landrum: Yeah. Because there was a, with Beauty and the Beast, like, it was like the roses running her. Right? She accepted being a frog.

00:22:34,489 –> 00:22:38,923
Like, the end of it was she was just gonna live in the bean in the in the bayou in the

00:22:38,923 –> 00:22:44,115
Chance Calloway: bayou. The most disrespectful thing that they did with Tiana was have Randy Newman write that soundtrack. Yeah.

00:22:46,335 –> 00:22:52,190
This feels on 2 levels. 1, Randy Newman was definitely like a Pixar kind of guy, you know.

00:22:52,250 –> 00:22:57,130
Whenever you would get a Disney princess film, you had on Make It of Stefanie Schwartz.

00:22:57,130 –> 00:23:02,965
There was a specific sound that you wanted, and they hyped up Princess and the Frog as we just turned to 2 d animation Yeah.

00:23:03,125 –> 00:23:07,380
A return to, like, you know, the Musicals. Yes. The musical aspect of it.

00:23:07,540 –> 00:23:11,060
Then it being Randy Newman, it hit your ear completely differently

00:23:11,220 –> 00:23:11,620
Ariel Landrum: Yeah.

00:23:11,700 –> 00:23:15,780
Chance Calloway: Than the other Disney Princess songs. Even Enchanted, which I think came out the year before Yeah.

00:23:15,940 –> 00:23:20,825
Had a very old school kind of feel while also feeling new and fresh.

00:23:21,525 –> 00:23:29,429
And I just feel like like Almost There is 1 of the most, mundane I watch songs that Disney is ever in my opinion.

00:23:29,429 –> 00:23:36,745
Stefanie Bautista: I mean, we love Randy Newman for other things, but I think Chance does have a point where if you’re evoking emotion, especially

00:23:36,745 –> 00:23:39,105
from a princess who is wanting something Yeah.

00:23:39,305 –> 00:23:45,240
There has to be, you know and the playing field has already been set because of the princesses that came before.

00:23:45,240 –> 00:23:45,720
Chance Calloway: Yes.

00:23:45,720 –> 00:23:53,245
Stefanie Bautista: And I think, you know, as as much as maybe during the time that maybe he was just available or because of the success of Pixar,

00:23:53,385 –> 00:23:59,970
Toy Story, and all, you know, the like, who knows what the decision making could have been, but I think emotion wise, I I

00:23:59,970 –> 00:24:03,490
would have to agree with Chance because almost there’s a cute song. Yeah.

00:24:03,490 –> 00:24:09,525
I like it, but is it on the level of, you know, what’s another part of your world Yeah.

00:24:09,725 –> 00:24:13,105
With a big crescendo with, you know, a voice to match?

00:24:13,245 –> 00:24:15,905
I don’t think that that’s 1 of the songs that I immediately

00:24:15,980 –> 00:24:18,059
Chance Calloway: see. As we know, Anika Noni Rose could sing it.

00:24:18,059 –> 00:24:18,799
Stefanie Bautista: Yeah. Absolutely.

00:24:18,860 –> 00:24:23,580
Chance Calloway: You know? Yeah. So I will say though, Friends on the Other Side is a top tier villain song.

00:24:23,580 –> 00:24:24,299
Stefanie Bautista: Oh, yeah.

00:24:24,299 –> 00:24:27,865
Chance Calloway: So Yeah. Maybe I should take back everything I said about Randy Newman.

00:24:28,885 –> 00:24:30,165
Ariel Landrum: Or maybe he can only write villains.

00:24:30,165 –> 00:24:32,025
Chance Calloway: Or maybe he can only write villains. Yeah.

00:24:32,405 –> 00:24:37,670
Ariel Landrum: Now I’m not a black woman, and, you aren’t a black woman, but maybe you could talk a little bit about this.

00:24:37,730 –> 00:24:46,465
My friends who are black women have said their problem with Tiana is that, she had a really big dream, but here was our first

00:24:46,465 –> 00:24:49,410
black princess, and she has to work.

00:24:49,490 –> 00:24:49,810
Chance Calloway: Yeah.

00:24:49,810 –> 00:24:53,270
Ariel Landrum: And the only way she can be successful is if she works.

00:24:53,650 –> 00:24:59,110
And that that, continues to feed this trope that black women don’t get to have her ask her time off.

00:24:59,475 –> 00:25:07,250
Chance Calloway: Yes. So many, if not all of the previous Disney princesses, specifically the ones that are legitimately, like, marrying into

00:25:07,250 –> 00:25:10,450
royalty or whatever, their finale is a wedding. Yeah.

00:25:10,450 –> 00:25:14,630
And Tiana is is me and my prince are now running this rest.

00:25:15,465 –> 00:25:22,370
And while, yes, they just spent an hour and a half telling us that this was her dream, it’s kinda like, she can’t just be a princess. Mhmm. You know?

00:25:22,370 –> 00:25:23,650
She has to make a broke prince.

00:25:23,650 –> 00:25:24,789
Ariel Landrum: Yes. A broke prince.

00:25:25,010 –> 00:25:29,010
Chance Calloway: Yeah. And, again, that’s what happens when you have limited representation. Yeah.

00:25:29,010 –> 00:25:37,015
If there were multiple black Disney princesses, we wouldn’t be so nitpicky about about 1 specific 1 because there would be

00:25:37,015 –> 00:25:40,215
other, storylines, other personalities, those kind of things.

00:25:40,215 –> 00:25:44,549
But right now, even I think right now, there’s still just Tiana. We’re talking about animation wise.

00:25:44,549 –> 00:25:49,965
We still got we’ve got multiple white princesses since Tiana, and we still only have Tiana.

00:25:50,265 –> 00:25:57,840
Ariel Landrum: Yeah. Unless you are decide to bring in, like, Maribel and you have Shuri, like, there are no other n. Correct us if we’re wrong.

00:25:57,840 –> 00:26:03,200
Now there will be a Ariel Junior animated series. Oh.

00:26:03,200 –> 00:26:06,725
And, it’s, I guess, you’d say, like, baby toddler Ariel.

00:26:06,725 –> 00:26:10,645
And, it’s coming on Disney plus, and that is, like, digital animation.

00:26:10,645 –> 00:26:12,790
So it’s like animation, but also looks 3 d.

00:26:12,950 –> 00:26:18,550
And she is a black Ariel, but I’m unsure if she is supposed to be younger version of live action Ariel

00:26:18,790 –> 00:26:19,030
Chance Calloway: Right.

00:26:19,110 –> 00:26:21,850
Ariel Landrum: Or just happens to be. Yeah. Right. But hasn’t come out yet.

00:26:21,985 –> 00:26:24,705
Stefanie Bautista: But then also still that’s not a completely original

00:26:25,185 –> 00:26:25,385
Chance Calloway: Right.

00:26:25,585 –> 00:26:27,685
Ariel Landrum: Area. And is not a movie.

00:26:27,745 –> 00:26:28,945
Stefanie Bautista: Yeah. And not a movie.

00:26:28,945 –> 00:26:37,510
Chance Calloway: Yeah. And, you know, Disney execs, if you guys are listening to this podcast, I would highly suggest maybe adapting Mufaro’s Beautiful Daughters by John Steptoe.

00:26:38,050 –> 00:26:46,335
Beautiful story, very popular with whole generation thanks to reading Rainbow, you know, and and and ripe for adaptation. Right for adaptation.

00:26:46,555 –> 00:26:54,040
There, Mufara’s Beautiful Daughters is about, a man who lives in a village, and the, the, the king is looking for a wife.

00:26:54,500 –> 00:27:00,285
And so he’s got his 2 daughters who he loves equally, but, of course, 1 is just so mean and so nice. Cool.

00:27:00,745 –> 00:27:02,425
So she sets out on her own.

00:27:02,665 –> 00:27:04,285
The sisters are supposed to go together.

00:27:04,425 –> 00:27:10,600
She sets out on her own, to go, meet the king because she’s sure that she’s gonna be, you know, the next queen.

00:27:10,600 –> 00:27:14,280
Then, Bufaro’s other daughter sets off when she was supposed to later.

00:27:14,280 –> 00:27:17,765
And they basically have 2 very different, trips.

00:27:17,904 –> 00:27:21,345
They encounter the same, people and obstacles Uh-huh.

00:27:21,424 –> 00:27:26,230
But their personalities change how, you know, how easy their trips are.

00:27:26,230 –> 00:27:27,750
And it has such a wonderful ending.

00:27:27,750 –> 00:27:32,395
It’s a great story, and I’ve been wondering why it hasn’t been adapted before.

00:27:32,395 –> 00:27:35,595
But I I think it would be an amazing Disney animated cartoon.

00:27:35,595 –> 00:27:42,320
The Rider of the Last Dragon, when that film came out, it was kind of like a relief because now Mulan no longer had to carry the burdens

00:27:43,020 –> 00:27:43,179
Stefanie Bautista: of

00:27:43,179 –> 00:27:48,080
Chance Calloway: being, you know, like, only Princess. And it’s kinda like, yeah, we just need we need more of that.

00:27:48,299 –> 00:27:57,155
Stefanie Bautista: I’m wanting to see a little bit more 3 d animated first, like, part of Disney because, Frozen, Moana, they’re all in that kind of realm.

00:27:57,215 –> 00:28:00,760
I wonder if they’re gonna go that way with A Black Princess.

00:28:00,820 –> 00:28:03,060
I think that would this is the time. I mean Yeah.

00:28:03,220 –> 00:28:07,140
We’ve done many things now that are not animated, but 3 d animated.

00:28:07,140 –> 00:28:10,235
And I think, you know, this would be the perfect time to do something for them.

00:28:10,235 –> 00:28:16,955
Chance Calloway: Yes. Also, I mean, again, shout out to Nika Noni Rose who voiced Princess Tiana when they were adapting all the princesses

00:28:16,955 –> 00:28:19,630
for their scenes in, record number 2 Yep.

00:28:19,750 –> 00:28:25,350
Anika spoke with the animators about how to make sure that they didn’t whitewash Tiana.

00:28:25,350 –> 00:28:33,164
Because the initial images remember there was a whole controversy that Tiana just looked a lot a light lighter skin. Her nose was smaller. And so Anika Hair.

00:28:33,164 –> 00:28:35,360
And her hair was a different texture. Yes.

00:28:35,440 –> 00:28:37,720
And so Anika, like, worked with them to make sure that Yeah.

00:28:37,840 –> 00:28:42,640
You know, Tiana maintained the same blackness that she had in her own film. Yeah.

00:28:42,640 –> 00:28:48,865
And I think that’s admirable, and that’s not something that probably would have been possible even, like, 2 decades ago. Yeah. Definitely.

00:28:49,005 –> 00:28:52,820
Ariel Landrum: And and Stef and I have talked about in, like, the evolution of the Disney princess.

00:28:52,820 –> 00:28:56,280
Like, Anika made sure that Tiana was left handed like her.

00:28:56,340 –> 00:28:59,765
Like, that was an intentional thing that she had a discussion with.

00:28:59,845 –> 00:29:05,685
And I think by then, we’d seen, like, the power of princesses, so there was this more desire to insert.

00:29:05,685 –> 00:29:10,590
But I think prior to that, not many people had ideas about their character.

00:29:10,810 –> 00:29:13,050
Stefanie Bautista: Yeah. To personalize them. Yeah. Yeah. Yeah.

00:29:13,050 –> 00:29:18,935
Well, speaking of Tiana, I know that at the Disney Parks, we’re gonna have 2 new rides, new as in refurbished.

00:29:19,395 –> 00:29:24,855
We’re doing away with the old and ushering in the new because Tiana’s Bayou Adventure, which was previously Splash Mountain,

00:29:25,160 –> 00:29:30,140
is set to open this month in Disney World, and I think very soon at Disneyland.

00:29:30,520 –> 00:29:35,055
And it’s funny because I’ve seen a lot of reels that basically take us to the whole ride. Yeah.

00:29:35,055 –> 00:29:38,415
I know by now many people have been on splashbound, so we know kind of how it ends. Right?

00:29:38,415 –> 00:29:40,275
You go down and then you the splash.

00:29:41,055 –> 00:29:48,630
But, I think it’s very interesting that they’re pretty much giving us a whole run through of what the ride looks like. Yeah.

00:29:48,630 –> 00:29:54,575
And I think, you know, on a positive note, it’s showing the kind of progression of all of the animatronics and how beautiful

00:29:54,715 –> 00:29:58,865
they are now because you have other Disney parks doing the Frozen ride Yeah.

00:29:59,115 –> 00:30:03,910
Over at, Tokyo, and there’s the Tangled ride at Tokyo Disney too.

00:30:04,210 –> 00:30:08,950
All of the animatronics are much more lifelike, and they are, you know, very

00:30:17,230 –> 00:30:24,195
like, kind of preserve the mystery, and the magic of being on a ride and seeing these things. I don’t know. What do you all think?

00:30:24,355 –> 00:30:33,970
Ariel Landrum: Yeah. I have seen the behind the scenes even when they were just showing the animatronics and not on the rides. And it they were very impressive. They look lifelike. There’s more movement.

00:30:34,270 –> 00:30:42,765
And I think it’s going to be, at least at Disneyland, now a shock comparison of, like, why is this ride have such realistic animatronic Yeah. And others.

00:30:42,765 –> 00:30:47,745
Stefanie Bautista: And then you see Jakey old Captain Sparrow, and he’s just like, where are you looking, sir?

00:30:48,850 –> 00:30:53,570
Ariel Landrum: However, I do love Mama Odie, and I love that, the yes.

00:30:53,570 –> 00:30:54,710
Stefanie Bautista: Yes. The voice.

00:30:54,850 –> 00:30:58,149
Ariel Landrum: The voice, like, on the ride. That that is her.

00:30:58,365 –> 00:31:04,865
And I know that I’ll, what I’ve heard from the the disabled community is that they appreciated the reels and the walkthroughs

00:31:05,165 –> 00:31:11,950
so that they would be able to prepare themselves and not be as scared or, like, have their children, specifically autistic children, like, get used to it.

00:31:11,950 –> 00:31:15,870
So when they go on the ride the first time, they’ll be more willing to. Oh, I see. Yeah.

00:31:15,870 –> 00:31:22,865
So so that’s where I saw the the the goodness, the you don’t get a surprise, and it is if you are a Disney fan, it is hard

00:31:22,865 –> 00:31:26,660
to then all of a sudden try and, like, mute, like, Tiana.

00:31:26,660 –> 00:31:31,540
Tiana’s by like, there are so many things that you would have to mute to not see that Stef. It’s just not gonna happen.

00:31:31,540 –> 00:31:36,225
Again, like we said in the beginning, you get so much news, like, right mhmm.

00:31:36,365 –> 00:31:42,285
Chance Calloway: Right. That’s true. That’s true. I mean, I think the benefit of me, like, not being on Twitter and having a very limited social

00:31:42,285 –> 00:31:46,159
media presence is I’ve only seen 1 of those videos of the blinds face.

00:31:46,159 –> 00:31:51,015
Stefanie Bautista: But see, that’s how much it’s been out there because you think and you only see them. You’re not on anything. Yeah.

00:31:51,015 –> 00:31:55,575
Chance Calloway: Yeah. So I’ve seen I’ve seen the really majestic looking animatronics, but I don’t know what the ride is like.

00:31:55,575 –> 00:31:57,434
But at this point, I would be surprised.

00:31:57,750 –> 00:32:03,750
But I part of me also thinks that there’s, Disney might intentionally want to put more out there so that people understand,

00:32:03,750 –> 00:32:07,475
look, we did, you know, we did this with care and with love.

00:32:07,774 –> 00:32:14,560
That way you don’t have to worry about getting on the ride and being, like, this is offensive, and I’m locked in. And I can’t get out.

00:32:14,640 –> 00:32:15,940
Stefanie Bautista: Which was the case before.

00:32:16,000 –> 00:32:19,620
Ariel Landrum: What are your feelings about the fact that Tiana, the choice I replaced?

00:32:20,720 –> 00:32:23,255
Chance Calloway: No. I mean, I’m glad that Tiana’s getting a ride.

00:32:23,415 –> 00:32:25,415
You know, I I didn’t love that film.

00:32:25,415 –> 00:32:28,375
So at first, it’s kinda like, how does that kind of incorporate that? I remember, oh, yeah.

00:32:28,375 –> 00:32:30,810
They’re like on the rafts and all that kind of stuff. I guess that works.

00:32:31,050 –> 00:32:35,790
I had like, many people, I had my own thoughts of, like, what could take the place in Flash Mountain.

00:32:35,850 –> 00:32:36,350
Ariel Landrum: Like?

00:32:36,890 –> 00:32:37,790
Chance Calloway: I don’t remember.

00:32:39,215 –> 00:32:42,274
Stefanie Bautista: This is an old thought. Yeah. It was a very serious thought.

00:32:42,335 –> 00:32:45,934
Chance Calloway: But, yeah, I, I’m not mad about Tiana getting here right. Yeah.

00:32:45,934 –> 00:32:51,720
Stefanie Bautista: But I also thought that being in New Orleans Square, I did not see anything that represents New Orleans aside from the architecture.

00:32:51,780 –> 00:32:55,000
Tiana has such historical, like, the life roots.

00:32:55,220 –> 00:33:00,355
It was I feel like, a match made in Disney heaven to put her there.

00:33:01,455 –> 00:33:05,700
And, you know, the the food has such a big part of it because that’s literally her business.

00:33:05,840 –> 00:33:10,400
Ariel Landrum: Chance you may not know is that Tiana actually walks around and Yeah. Greets every guest.

00:33:10,400 –> 00:33:13,265
Like, she is at the restaurant, and then a band will play.

00:33:13,345 –> 00:33:19,425
And then she seems to be, like, every 15, 30 minutes that she comes out in her restaurant dress that yeah.

00:33:19,425 –> 00:33:21,205
And, like, comes up and hugs people.

00:33:21,320 –> 00:33:26,600
So we talked about how that’s very accessible for those who may not be able to go on the, big boat.

00:33:26,600 –> 00:33:35,015
Stefanie Bautista: Oh, the river valley. I have had the privilege to be on a Disney cruise, and she, on many, ships now has a restaurant inside the cruise.

00:33:35,075 –> 00:33:40,159
When you are on a Disney cruise, you get to go to the 3 different restaurants every single day if you do, like, a 3 day cruise.

00:33:40,700 –> 00:33:49,595
I had Tiana’s place as my last 1, which was so great because she sings and it’s like a big party, and it’s it’s so beautiful

00:33:49,595 –> 00:33:54,955
because they on Disney Cruise, there’s, like, this thing where they try to get everybody on the boat feel like they’re family

00:33:54,955 –> 00:33:57,490
even though you it’s like you’re staying at a hotel with everybody else.

00:33:57,490 –> 00:33:58,290
Chance Calloway: Yeah. I like that.

00:33:58,290 –> 00:34:04,775
Stefanie Bautista: But they have a sense of community there, and I think it was great that I get I got to have Tiana as the last 1 because she,

00:34:04,775 –> 00:34:08,615
like, went out with a bang and it was beautiful and all the kids loved it.

00:34:08,615 –> 00:34:12,155
That was the first time I saw that representation. It was on a Disney cruise.

00:34:12,180 –> 00:34:14,660
Oh, and not many people get to go on Disney cruises. No.

00:34:15,140 –> 00:34:20,280
It’s not very accessible to people, so I think now having it at the parks makes her a lot more accessible.

00:34:20,695 –> 00:34:23,355
Ariel Landrum: And I I think specifically talking about Tiana.

00:34:23,415 –> 00:34:26,455
Again, Steph and I mentioned this in the evolution of the Disney princess.

00:34:26,455 –> 00:34:28,700
Our critiques, my dad was in the

00:34:35,339 –> 00:34:40,605
reasons for wanting to open up the restaurant was because her dad fed many people, and he had died in the war.

00:34:40,605 –> 00:34:43,985
And we know this because we see a picture of him in uniform, and he got a purple heart.

00:34:44,125 –> 00:34:50,140
Problem is the era that that happened, he would not have been recognized or received a purple heart because he is a black.

00:34:50,140 –> 00:34:54,140
Additionally, Tiana and Naveen wouldn’t have gotten married because it was Jim Crow laws.

00:34:54,140 –> 00:34:59,845
They wouldn’t allow 2 different people of 2 different races to marry each other even if he’s not American.

00:35:00,144 –> 00:35:05,380
So there are a lot of critiques about how that movie forgets the actual experience.

00:35:06,320 –> 00:35:12,160
Chance Calloway: Right. There’s there’s something about it being a literal fairy tale, and then them trying to still set it in the very real

00:35:12,160 –> 00:35:17,174
recent history of America as opposed to making up a country or, you know, an unnamed country.

00:35:17,315 –> 00:35:21,815
So, yeah, there’s so much more, to critique because of that choice.

00:35:22,360 –> 00:35:29,400
That wouldn’t be the case if they say had adopt adapted Farrah’s Beautiful Daughters or something like that instead. But, yeah.

00:35:29,400 –> 00:35:31,724
It’s it’s that idea of kind of like, okay.

00:35:31,724 –> 00:35:34,765
So this is set in America and, you know, okay. Her best friend is white.

00:35:34,765 –> 00:35:37,645
And I guess that’s possible, especially in New Orleans at that time.

00:35:37,645 –> 00:35:43,210
But then he starts to notice those other things, and it kinda takes you out of the magic of the story.

00:35:43,210 –> 00:35:48,855
Ariel Landrum: Well, even when she is serving up her haute beignets to her best friend’s dad, she wouldn’t be, because he wouldn’t be in

00:35:48,855 –> 00:35:53,734
a restaurant that was being served and the food being cooked by black people,

00:35:53,734 –> 00:35:55,170
Stefanie Bautista: or she would’ve been on the same floor.

00:35:55,170 –> 00:35:55,650
Ariel Landrum: She wouldn’t be She’s

00:35:55,650 –> 00:35:57,650
Chance Calloway: pretty straightforward. There there was some kind of distinction.

00:35:57,650 –> 00:35:59,490
Stefanie Bautista: Yeah. There’d be some sort of segregation there.

00:35:59,490 –> 00:36:04,950
Chance Calloway: Yeah. And those were kind of things, of course, you don’t wanna necessarily have to deal with in the fairy tale movie that’s aimed for children.

00:36:05,365 –> 00:36:11,925
But those were the kind of developmental decisions that I think, because remember when they first announced it, Tiana’s name was Maddie. Yeah.

00:36:11,925 –> 00:36:15,960
They meant they had the word schemermaid Yeah. In there. And it was like, okay.

00:36:15,960 –> 00:36:18,120
Her name is Maddie, and she’s and she’s a maid.

00:36:18,120 –> 00:36:23,055
And so they, you know, they changed all those kind of things, but, clearly, they put a blood back hook a little.

00:36:23,454 –> 00:36:27,934
Stefanie Bautista: Right. And that just goes to show the repercussions that still need to be made Right.

00:36:28,015 –> 00:36:31,560
And the conversations that still need to be had, especially with children.

00:36:31,620 –> 00:36:37,140
Because if you are reaching back further and further into history as kids are growing up now, it’s so much more important

00:36:37,140 –> 00:36:47,130
to clarify that history in the correct But that doesn’t mean we can’t move forward from it and remember that it happened back

00:36:47,369 –> 00:36:51,710
but that doesn’t mean we can’t move forward from it and remember that it happened back then.

00:36:51,849 –> 00:36:59,414
Chance Calloway: Yes. I did wanna also give a shout out to some of the other, black actresses who embody, like, black princesses in different mediums.

00:36:59,714 –> 00:37:02,934
Pre summer gets overlooked a lot because, you know, Aphra Atlantis.

00:37:03,990 –> 00:37:06,070
Also, Toni Braxton played Belle on Broadway.

00:37:06,070 –> 00:37:08,650
He was the 1st black Broadway princess on Broadway.

00:37:08,710 –> 00:37:14,174
Heather Hely, he was in LA on Broadway, but also Aida who is is the Disney princess on Broadway. Love

00:37:14,174 –> 00:37:14,994
Stefanie Bautista: that production.

00:37:15,214 –> 00:37:18,494
Chance Calloway: Yes. IIII wanted to give a shout out to those ladies as well.

00:37:18,494 –> 00:37:24,300
Stefanie Bautista: I also wanted to mention some of my favorite black characters are the muses from Hercules. Yes.

00:37:24,300 –> 00:37:30,315
They are, like, iconic in my memory because they gave so much life to that movie. Yeah. Yeah.

00:37:30,315 –> 00:37:34,495
I think it was such a great decision to make the soundtrack essentially gospel.

00:37:34,555 –> 00:37:40,830
Me and Chas have talked about this, but, thankfully, on drives, and it was very funny that they decided to take that route

00:37:40,830 –> 00:37:43,550
in a movie that was about Greek mythology Yeah.

00:37:43,630 –> 00:37:49,145
Which kind of would never have that spot sober, but yet here we have Hercules with a, you know, a gospel sounding soundtrack.

00:37:49,145 –> 00:37:51,545
But he’s from a whole different other culture.

00:37:51,545 –> 00:37:59,800
Chance Calloway: Onto the muses, Lillias White specifically was the head muse, and most of the other muses were very iconic Broadway stars like LaShauns, Roz Ryan.

00:37:59,860 –> 00:38:02,105
But, yeah, those voices cannot be duplicated.

00:38:02,245 –> 00:38:09,510
And if they ever do a live action, I don’t know what’s and I hope they’re calling Amber Riley. Who cares for Swain? Hercules? Doesn’t matter.

00:38:09,510 –> 00:38:13,690
Some people might care about Swain McGraw. Everyone’s gonna care about The muse. The muse.

00:38:13,750 –> 00:38:18,225
Stefanie Bautista: Yeah. Yeah. Give us a ABC special. Yeah. Exacts. Yeah.

00:38:18,365 –> 00:38:20,445
Give us 1 of those live things that you do.

00:38:20,445 –> 00:38:30,400
I just thought about Wish, which is a newer movie. The lead is black. Yes. Ariana Gonzalez. Let me forget her.

00:38:31,660 –> 00:38:35,425
Chance Calloway: 0MG0, no. So Well, you know why? You know why?

00:38:35,425 –> 00:38:39,745
Because the whole reception for the film has been so muted. Right. I even haven’t seen it yet.

00:38:39,745 –> 00:38:41,505
Because I I currently don’t have, like, Disney plus.

00:38:41,505 –> 00:38:45,010
So, like, I I was gonna go see theaters, and then I didn’t. And Yeah. I was on streaming.

00:38:45,010 –> 00:38:46,850
I don’t have that particular streaming service.

00:38:46,850 –> 00:38:48,530
So I might I might, like, rent it tonight and watch it.

00:38:48,530 –> 00:38:48,850
Ariel Landrum: So And

00:38:48,850 –> 00:38:55,485
Stefanie Bautista: to be honest, I mean, I was very reluctant to see it because I didn’t there was no pull for me to watch it aside from, you

00:38:55,485 –> 00:38:57,505
know, it was a celebration of Disney 100.

00:38:58,260 –> 00:39:01,700
And I saw it because my niece’s nephews wanted to watch it at the time.

00:39:01,700 –> 00:39:06,235
It’s a very beautiful story, very diverse task. Ariana Duvel does a great job.

00:39:06,235 –> 00:39:08,495
There are some bangers on that soundtrack.

00:39:08,955 –> 00:39:16,730
But I think it does get overshadowed with the whole just advertising and just the whole thing around Disney 100.

00:39:16,789 –> 00:39:22,555
I feel like that overshadowed a lot of the decision making, because there are hidden gems in there, essentially hidden Mickey’s

00:39:22,555 –> 00:39:24,575
that you can find all throughout the movie.

00:39:24,875 –> 00:39:30,415
But I feel like it was kind of, like, a Frankenstein of all the things that Disney has done in the last 100.

00:39:30,714 –> 00:39:35,780
But here’s an opportunity to have, female black lead. Let’s do it.

00:39:35,840 –> 00:39:43,395
It kind of almost seems a little too convenient, but at the same time, as we’re talking about how it’s never the right time, you just do it.

00:39:43,535 –> 00:39:45,615
I I love the way they animated her.

00:39:45,855 –> 00:39:45,935
Chance Calloway: I

00:39:45,935 –> 00:39:47,155
Stefanie Bautista: think she was beautiful.

00:39:47,490 –> 00:39:53,010
Ariel Landrum: So that that sort of gives us 3, but only one’s going to be crown only 1 was crowned at Disney.

00:39:53,010 –> 00:39:54,289
Chance Calloway: Right. I was gonna say it.

00:39:54,289 –> 00:40:00,975
Ariel Landrum: You think Yes. Kita. You added Kita in the lineup. That’s 3. Yep. But, they only crown Yeah.

00:40:01,095 –> 00:40:05,494
Success as we know, like, covertly when their film makes a certain amount of money.

00:40:05,494 –> 00:40:11,670
Chance Calloway: Right. Right. Right. Yeah. Which is unfortunate because I really do feel like they stumbled with the marketing for for Wish.

00:40:11,670 –> 00:40:14,869
And, apparently, like, the actual film was enough to overcome that. Yeah.

00:40:14,869 –> 00:40:16,405
Because I’m I’m sitting here like, yeah.

00:40:16,405 –> 00:40:18,245
I can’t believe that that completely skipped my mind.

00:40:18,245 –> 00:40:25,500
And that also says something because we had a whole conversation about representation, this specific sort, and the most recent 1 didn’t even register.

00:40:25,640 –> 00:40:32,755
Stefanie Bautista: Right. I feel like missed opportunity for Disney to be able to highlight something in a really good way because of capitalism. Yes. Potentially. Yeah.

00:40:32,755 –> 00:40:34,215
You know, for lack of better word.

00:40:34,275 –> 00:40:38,055
Chance Calloway: Also, question. Was there, a black royal in Wish anywhere?

00:40:38,329 –> 00:40:41,450
Stefanie Bautista: I don’t know. The 2 royals, they were not. Okay.

00:40:41,450 –> 00:40:44,490
They were darker tone skin, but they were not.

00:40:44,490 –> 00:40:45,290
Chance Calloway: Okay. Yeah.

00:40:45,290 –> 00:40:46,170
Stefanie Bautista: I know that. For sure.

00:40:46,170 –> 00:40:49,095
Ariel Landrum: Yeah. This is just something to note to the audience.

00:40:49,095 –> 00:40:55,434
When you are a person of color, you can pretty much delineate when someone is dark brown versus a black.

00:40:55,790 –> 00:40:56,910
Chance Calloway: Right. Like, not the

00:40:57,070 –> 00:41:04,510
Ariel Landrum: If you are somebody who is not a person of color or has never lived, in or more white passing, you might not be able to tell

00:41:04,510 –> 00:41:07,095
that diff but we can certainly see it pretty quickly.

00:41:07,095 –> 00:41:12,375
Like, even though Kida has, like, skin, she’s she’s black. Right. She just lived underground. Right.

00:41:12,375 –> 00:41:17,720
Chance Calloway: Unfortunately, like, in the film that while a a cult classic, it didn’t do you know, it didn’t bang up the box office.

00:41:17,720 –> 00:41:21,135
So a lot of people don’t even talk about it when they talk about the Disney canon.

00:41:21,215 –> 00:41:24,655
Ariel Landrum: Yeah. Because, my favorite character on there was was Doc.

00:41:24,655 –> 00:41:27,955
He’s ready to chop everybody’s legs off. He saw through both.

00:41:28,015 –> 00:41:34,960
Now something else we wanted to talk about before we get to our close was, the last episode you were on was a villains episode,

00:41:34,960 –> 00:41:38,705
and you specifically talked about, characters that were queer coded.

00:41:38,785 –> 00:41:42,305
Are there any characters that you think are black coded, and what exactly does that?

00:41:42,305 –> 00:41:48,300
Chance Calloway: Yes. Well, I mean, a black coded character basically would be a character that isn’t identifiably black within the context

00:41:48,300 –> 00:41:53,020
of the story that’s being told, but you know he’s black or you know she’s black.

00:41:53,020 –> 00:41:54,880
You know, it’s kind of 1 of those things.

00:41:55,335 –> 00:42:08,210
And I think probably outside, of course, the universe of The Lion King, our lion is 1 of the most Oh. Quoted characters. Probably the Filipinos 1 and 2. But Yeah. He was voiced by Tabitha Gamble. So it is.

00:42:08,210 –> 00:42:11,010
You know, a black person is like, okay. Powh Lyne’s 1 of us.

00:42:11,010 –> 00:42:13,315
I know some people think that all the goofs are black coded.

00:42:13,315 –> 00:42:16,475
Stefanie Bautista: I was just gonna say, I feel like it’s a general consumption Yeah.

00:42:16,595 –> 00:42:19,315
That, you know, all of the goofs are Yeah. People of color.

00:42:19,315 –> 00:42:25,030
Chance Calloway: Yeah. I mean, Pete also was originally called Black Pete, so there’s something there to look into there. Really?

00:42:25,170 –> 00:42:27,190
Stefanie Bautista: That sounds like a rapper’s day in TV.

00:42:27,250 –> 00:42:29,010
Chance Calloway: Yeah. Black Black Pete. Yeah. Yeah.

00:42:29,170 –> 00:42:30,595
Ariel Landrum: Number 1. That’s a like like

00:42:30,914 –> 00:42:34,595
Chance Calloway: Black Pete except for that hotness for your ears. Yeah.

00:42:34,595 –> 00:42:37,015
The cowline probably would be my number 1.

00:42:37,474 –> 00:42:38,615
Ariel Landrum: Yeah. Even the hair.

00:42:38,674 –> 00:42:44,900
Chance Calloway: Yeah. Because even even though, you know, Simba is an Emperor Prince and Jason Weaver sang for his voice, it was still Jonathan

00:42:44,900 –> 00:42:49,065
Taylor Thomas whose voice is in everyone’s ear. Yeah. So, yeah.

00:42:49,065 –> 00:42:53,325
I I put Caroline as my number 1 Yeah. Black Kobe character. Yeah.

00:42:53,630 –> 00:42:55,309
Do you guys think of of anyone who would

00:42:55,630 –> 00:42:58,690
Stefanie Bautista: I mean, I was gonna think Max. The same Yeah. The Goofy movie.

00:42:58,829 –> 00:43:00,029
Chance Calloway: Max is definitely black pudding.

00:43:00,190 –> 00:43:03,105
Ariel Landrum: Powerline and yes. Well, but not goofy for some reason.

00:43:03,105 –> 00:43:12,530
Chance Calloway: Yeah. Not well, I think it’s goofy existed before that era, before we had a family, and he was definitely a suburban white white person back in the day. Yeah. And the original, like, goofy cartoons.

00:43:13,070 –> 00:43:16,290
Ariel Landrum: So I thought of my the black coded character, Mushu.

00:43:17,005 –> 00:43:17,505
Chance Calloway: Mushu.

00:43:18,365 –> 00:43:23,165
Ariel Landrum: That like that? Yep. Not only because the voice actor, but the way that Mushu is written.

00:43:23,165 –> 00:43:23,485
Chance Calloway: Yeah.

00:43:23,485 –> 00:43:26,040
Ariel Landrum: The way that he talks to the elders. Oh, for sure.

00:43:26,040 –> 00:43:30,040
Stefanie Bautista: I mean, Eddie Murphy, I a very unique voice. Yeah.

00:43:30,120 –> 00:43:36,815
I think Mushu is so interesting because as, you know, somebody who identifies with the Asian culture, with Mulan I mean, I’m

00:43:36,815 –> 00:43:40,195
not East Asian, but Mulan was our first Asian Disney princess.

00:43:40,790 –> 00:43:46,970
The war and everything that she was going through was so solemn that they I feel like they threw in for comedic relief.

00:43:47,030 –> 00:43:47,430
Chance Calloway: Yeah.

00:43:47,430 –> 00:43:51,285
Stefanie Bautista: And, you know, what does that say about that particular decision?

00:43:51,665 –> 00:44:00,549
Chance Calloway: Yeah. I feel like I feel like, I mean, it’s mostly gonna be animals at this point because half the cast of Oliver and company, I think, are black coded. Right. Yeah. Yep.

00:44:00,609 –> 00:44:03,809
Ariel Landrum: Yeah. With the exception of the 1 that was voiced by was it?

00:44:03,809 –> 00:44:09,055
Stefanie Bautista: It’s not. Teacher. Yeah. Cheryl Lee Ralph was in Oliver and company. She was Rita.

00:44:09,115 –> 00:44:13,695
Ariel Landrum: Yes. Rita. That’s when I was like the 1 was like the love interest. Rita. Yeah.

00:44:13,755 –> 00:44:19,190
Chance Calloway: Yeah. I know this. Oh my gosh. Is Rita’s song Streets of Gold? Yeah. Yeah. Yeah. Yeah.

00:44:19,190 –> 00:44:22,470
Stefanie Bautista: Yeah. So Cheech was Banzai in The Lion King. Banzai?

00:44:22,710 –> 00:44:23,430
Chance Calloway: Like the big movie.

00:44:23,430 –> 00:44:24,330
Stefanie Bautista: 1 of the hyenas.

00:44:24,465 –> 00:44:24,785
Chance Calloway: Yeah.

00:44:24,785 –> 00:44:27,525
Stefanie Bautista: Yeah. So then Banzai? Yeah. I thought it was just Eddie.

00:44:27,665 –> 00:44:28,945
Chance Calloway: No. Ed Ed was the dumb 1.

00:44:28,945 –> 00:44:30,545
Stefanie Bautista: Yeah. Ed was the dumb 1. And then

00:44:30,545 –> 00:44:31,925
Ariel Landrum: and then Whoopi Goldberg?

00:44:31,985 –> 00:44:32,865
Chance Calloway: Yeah. It was Shenzi.

00:44:32,865 –> 00:44:34,690
Stefanie Bautista: Shenzi, and then Banzai was the other.

00:44:34,850 –> 00:44:38,930
And he was also Ramon in Cars, which I know him from because I watch Cars all the time. Oh, yeah.

00:44:38,930 –> 00:44:39,970
Ariel Landrum: Yeah. Yeah. He is Ramon. Yeah.

00:44:39,970 –> 00:44:42,255
Stefanie Bautista: And it’s Jennifer Lewis. With 1 is.

00:44:42,654 –> 00:44:43,134
Chance Calloway: Yeah. Yeah.

00:44:43,134 –> 00:44:43,954
Stefanie Bautista: So yeah.

00:44:44,015 –> 00:44:45,615
Ariel Landrum: There you go. Black coated car.

00:44:45,615 –> 00:44:45,855
Chance Calloway: Yeah.

00:44:45,855 –> 00:44:48,095
Stefanie Bautista: That’s coated car. That’s right. That’s right.

00:44:48,095 –> 00:44:50,434
Chance Calloway: That’s absolutely right. Well, we can definitely bicoated.

00:44:50,734 –> 00:44:54,530
Ariel Landrum: Yeah. Yeah. It’s just Running a business again on the

00:44:54,530 –> 00:44:55,570
Chance Calloway: black. Yeah.

00:44:55,570 –> 00:44:57,730
Ariel Landrum: Black coated women running a business.

00:44:57,730 –> 00:45:03,825
Stefanie Bautista: I feel like for cars, which is cars are inanimate objects. They’re not animals. Right.

00:45:03,964 –> 00:45:07,105
But car culture exists in different ways in different culture.

00:45:07,405 –> 00:45:12,430
So by choosing Cheech as Ramon, that’s Latino car culture. Yeah. By choosing hydraulic.

00:45:12,730 –> 00:45:15,130
Hydraulics, and he had the pinstripes on his car. Yeah.

00:45:15,130 –> 00:45:19,055
And then by choosing Jennifer Lewis as Flo, she was a beautiful Cadillac

00:45:19,135 –> 00:45:19,255
Chance Calloway: Yeah.

00:45:19,375 –> 00:45:21,935
Stefanie Bautista: Which is also part of black culture too.

00:45:21,935 –> 00:45:22,415
Chance Calloway: Oh, absolutely.

00:45:22,415 –> 00:45:26,150
Stefanie Bautista: So little of appropriation, but also a little bit of representation Yeah.

00:45:26,230 –> 00:45:27,589
Which can exist in the same place.

00:45:27,589 –> 00:45:31,930
Chance Calloway: It’s funny because, you know, I’m thinking, Song of the South is full of, like, the characters.

00:45:32,230 –> 00:45:34,575
Ariel Landrum: But for the wrong reason. 000. No. No. No.

00:45:34,575 –> 00:45:36,535
Chance Calloway: Like the crows in Dublin? It’s the crows. Yeah.

00:45:36,535 –> 00:45:37,215
Ariel Landrum: I doubt it.

00:45:37,215 –> 00:45:42,410
Chance Calloway: Yeah. No. Which my dad says him and his friends thought it was funny. They weren’t offended by that all.

00:45:42,410 –> 00:45:44,350
They thought they thought the girls were funny.

00:45:44,410 –> 00:45:46,110
So it’s 1 of those weird things.

00:45:46,330 –> 00:45:50,750
Stefanie Bautista: I have heard on black Twitter and other things that Robin Hood is black.

00:45:51,005 –> 00:45:51,724
Chance Calloway: Oh, yeah. Yeah.

00:45:51,724 –> 00:45:54,305
Ariel Landrum: Yeah. Yeah. Yeah. Yeah. Yeah.

00:45:55,085 –> 00:45:58,760
Chance Calloway: Blue. Blue. Oh, yeah. Blue. Yeah. Blue is black. And pink bluey.

00:45:58,900 –> 00:45:59,460
Ariel Landrum: Okay. Okay.

00:45:59,460 –> 00:45:59,620
Stefanie Bautista: It’s a

00:45:59,620 –> 00:46:00,820
Chance Calloway: little of it’s but it’s true.

00:46:00,820 –> 00:46:01,380
Stefanie Bautista: But it’s true.

00:46:01,380 –> 00:46:07,744
Ariel Landrum: Okay. See, as you start to think about it, you’ll start to realize so many things are black coated, but never just hot.

00:46:07,744 –> 00:46:08,225
Chance Calloway: Right.

00:46:08,225 –> 00:46:13,525
Stefanie Bautista: Yeah. It’s so funny. The jumbo book is so funny to me because it is set in in in India.

00:46:13,665 –> 00:46:15,329
Ariel Landrum: There’s no Bollywood beef. No.

00:46:15,329 –> 00:46:21,490
Stefanie Bautista: Not at all. The only Indian person you see is Mowgli, essentially, and everyone else around him is, like, I feel another

00:46:21,809 –> 00:46:22,009
Chance Calloway: Yeah.

00:46:22,210 –> 00:46:23,265
Stefanie Bautista: Another type of person.

00:46:23,345 –> 00:46:29,345
Ariel Landrum: Well, and if talking about representation of people of color, Mowgli didn’t get to be Indian because he didn’t know he was Indian.

00:46:29,345 –> 00:46:31,720
He was raised by and, yeah, he got to be animal.

00:46:31,800 –> 00:46:34,700
So he got to be the the pet human throughout the Yeah.

00:46:34,760 –> 00:46:36,060
Chance Calloway: Culturally. Culturally.

00:46:36,280 –> 00:46:40,085
Stefanie Bautista: No. Yeah. Only in the beginning and at the end when he sees a little girl.

00:46:40,244 –> 00:46:42,325
Chance Calloway: Yeah. He sings 1 of the best songs in the movie.

00:46:42,325 –> 00:46:45,625
Ariel Landrum: Yes. Yeah. For, like, few seconds. Yeah. So gorgeous.

00:46:45,845 –> 00:46:49,410
Chance Calloway: Yeah. That’s my most first place song in that soundtrack. Yeah. It’s a banger.

00:46:49,490 –> 00:46:52,609
Stefanie Bautista: It’s it is a banger. Absolutely. But Yeah. Because I think

00:46:52,690 –> 00:46:56,609
Chance Calloway: did they want, they wanted Louis Armstrong to voice King Louie, I wanna say. Yeah.

00:46:56,609 –> 00:46:59,855
Then, Lou Louis Prima did it instead because Louis Armstrong.

00:47:00,234 –> 00:47:05,454
I think I think Louis Armstrong was like, I don’t I’m not gonna play monkey. Really? Yeah. That’s what it the conversation was.

00:47:05,515 –> 00:47:12,810
Ariel Landrum: Yeah. Yeah. I would say the genie was black coated, and then the genie was Will Smith.

00:47:13,109 –> 00:47:16,069
And Will Smith was black in the movie, except for when he was a genie.

00:47:16,069 –> 00:47:17,130
Chance Calloway: And he was blue.

00:47:17,335 –> 00:47:23,355
Ariel Landrum: So is that that’s you know, though it’s not an animal, it’s still again, does it get to be their person Right. The whole movie?

00:47:23,495 –> 00:47:25,195
Stefanie Bautista: We’re thinking Robin Williams.

00:47:25,710 –> 00:47:29,410
Ariel Landrum: Well yeah. No. So the gene I think the genie Robin Williams was black coded.

00:47:29,549 –> 00:47:32,930
Chance Calloway: That’s interesting. I feel like the gene was Robin Williams coded.

00:47:33,069 –> 00:47:34,109
Ariel Landrum: Yeah. Well, yes.

00:47:34,109 –> 00:47:41,695
Chance Calloway: You know? Yeah. Yeah. Fair. I I do see that that that I never internalized it that way, but I do think there’s a lot of problematic things.

00:47:41,695 –> 00:47:49,269
I’m I hated that Will Smith was passing the role simply because slave master dynamics Gross. Really felt gross to me. And I, you know,

00:47:49,269 –> 00:47:50,395
Ariel Landrum: definitely Yes.

00:47:50,635 –> 00:47:58,395
Chance Calloway: Really hated that. So maybe even if the animated version was black coded, I I would have rejected that with every ounce of my page.

00:47:58,395 –> 00:48:00,849
Stefanie Bautista: Yeah. But no. They did a Prestige production

00:48:01,069 –> 00:48:01,190
Chance Calloway: Yes.

00:48:01,309 –> 00:48:03,710
Stefanie Bautista: For a very, very long time at California Adventure.

00:48:03,710 –> 00:48:07,995
And as far as I can remember, every single 1 of those genies was played by Blackhawk?

00:48:08,075 –> 00:48:08,395
Chance Calloway: Yeah.

00:48:08,395 –> 00:48:11,595
Ariel Landrum: Yes. And same with on Broadway yeah. On Broadway too.

00:48:11,595 –> 00:48:14,735
Chance Calloway: Yeah. Eagle Heart got the, the Tony for it. Yeah. Yeah.

00:48:14,795 –> 00:48:16,930
I still think it makes it’s icky to me.

00:48:16,930 –> 00:48:20,530
I would say that magic carpet was black coated, but I think I I don’t think it’s, like, a thing.

00:48:20,530 –> 00:48:21,490
I I think I might just say it.

00:48:21,490 –> 00:48:22,630
Stefanie Bautista: Is it because he’s sassy?

00:48:22,690 –> 00:48:23,089
Chance Calloway: Yes.

00:48:23,089 –> 00:48:28,335
Ariel Landrum: Yeah. Even in Guardians of the Galaxy. Yeah. Gamora. Gamora. Black black coated.

00:48:28,555 –> 00:48:33,535
Stefanie Bautista: Yeah. Black coated. Yes. Because I see your face. Yeah. We cannot deny that.

00:48:33,835 –> 00:48:38,860
Ariel Landrum: But again, you have to stop there and think about it because they’re they’re not main characters or promoted.

00:48:38,860 –> 00:48:40,940
Like, I didn’t even know Moon Girl came out.

00:48:40,940 –> 00:48:43,840
Like, that that would be would just showed up on by Disney plus.

00:48:44,095 –> 00:48:51,530
Although, I have, like, known about like, I knew when WandaVision was coming out, that was so heavily promoted and low key.

00:48:51,770 –> 00:48:58,730
Chance Calloway: Yeah. Even though I didn’t see Frozen, the Frozen songs were at escape. Yeah. Wish heard nothing. Yeah.

00:48:58,730 –> 00:49:04,154
And and part of me also wonders if it hap because the strike was happening at the same time. Yeah.

00:49:04,154 –> 00:49:07,194
So, you know, Ariana couldn’t go out and promote it and all those kind of things.

00:49:07,194 –> 00:49:11,210
So I felt there was a lot of different reasons why the reception was muted.

00:49:11,210 –> 00:49:17,195
But, yeah, there’s a distinct difference, I think, in how Wish was received versus their other animated films recently.

00:49:17,355 –> 00:49:24,155
Stefanie Bautista: And also the recent years, we did have to deal with the pandemic and the thought of a lot of these productions or the release,

00:49:24,155 –> 00:49:28,559
like, for Soul and for Turning Red, they were straight to streaming.

00:49:28,619 –> 00:49:33,900
They were not in the theaters because no 1 could go to the and then after that, when everything started coming back, we had

00:49:33,900 –> 00:49:37,135
a huge exponential, like, jump to all of this content.

00:49:37,515 –> 00:49:40,235
And now it’s hard to kind of, like, keep track of it all.

00:49:40,235 –> 00:49:46,850
So so many different factors that kind of dictate the way that we consume things and the way that we hear about things

00:49:46,930 –> 00:49:47,049
Chance Calloway: Yeah.

00:49:47,170 –> 00:49:50,955
Stefanie Bautista: And the level of what’s popular, what’s not, what the kids are talking about, not.

00:49:50,955 –> 00:49:54,155
And then also, how connecting you out with social media more not.

00:49:54,155 –> 00:49:57,775
Ariel Landrum: Going back to full circle about, like, how news used to take so long.

00:49:58,010 –> 00:50:04,810
It also means that if news doesn’t circulate, it doesn’t circulate now, which means that it’s part of your ethical duty.

00:50:04,810 –> 00:50:11,244
If you do want to promote voices and, encourage representation, you go back and look at the things that you

00:50:11,244 –> 00:50:16,170
Stefanie Bautista: might have missed. Yeah. Because, unfortunately, we’re not all gonna sit down and watch Cinderella on the wonderful world

00:50:16,170 –> 00:50:19,369
of Disney anymore on a Sunday evening. Right. Those times are gone.

00:50:19,369 –> 00:50:21,609
Chance Calloway: Yeah. The way we consume media is very different now. Mhmm.

00:50:21,609 –> 00:50:25,235
And, you know, like, if you’re you’re lucky, you watch something, and then it’s great.

00:50:25,235 –> 00:50:29,095
And then you tell your friends, and then they also watch it. But Yeah. That’s not always the case.

00:50:29,235 –> 00:50:34,550
Stefanie Bautista: But I think it’s very interesting, the ride we have taken Yes. And and this realization.

00:50:34,770 –> 00:50:38,115
Because listeners and we are thinking of these things in real time.

00:50:38,195 –> 00:50:38,755
Chance Calloway: Yes. Right.

00:50:38,755 –> 00:50:41,955
Stefanie Bautista: Yeah. So it’s coming to our memories as we’re remembering all of this.

00:50:41,955 –> 00:50:46,375
And I think that goes to show that they have always existed, but never highlight.

00:50:46,609 –> 00:50:53,170
And I feel like that’s really what the root of what we’re talking about is when honoring a holiday like Juneteenth, is that

00:50:53,170 –> 00:50:57,055
we need to basically have these voices rise up more Yeah.

00:50:57,135 –> 00:51:02,835
And highlight them more because they’re important voices, they are impactful, and they have shaped the way that we consume

00:51:02,895 –> 00:51:05,369
Disney medium and a lot of other things.

00:51:05,369 –> 00:51:11,549
And that just goes to show the talent and the sheer, attention that we need to give to these boys. Yeah.

00:51:11,845 –> 00:51:16,725
Chance Calloway: Disney needs to release the soundtrack to the Brandy of Whitney Houston Cinderella.

00:51:16,725 –> 00:51:17,365
Stefanie Bautista: Yeah. Absolutely.

00:51:17,365 –> 00:51:20,025
Chance Calloway: Originally, it wasn’t released because, Brandy’s

00:51:21,250 –> 00:51:22,050
Stefanie Bautista: pictures Yes.

00:51:22,050 –> 00:51:32,175
Chance Calloway: They didn’t wanna ruin, you know, her audience because of Moesha and her upcoming never say never. That’s now decades in the past. Yeah. Let’s get that on streaming. Let’s do that.

00:51:32,175 –> 00:51:33,055
Ariel Landrum: She she’s back.

00:51:33,055 –> 00:51:34,974
Chance Calloway: And she’s back. It’s not a perfect time.

00:51:34,974 –> 00:51:37,454
And and the and the movie now is on Disney plus. Absolutely.

00:51:37,454 –> 00:51:41,720
You could even get it for a very long time. So I say, yeah, release that.

00:51:41,860 –> 00:51:51,025
And then next time you give us a Disney princess that that is that is black, let’s have a black creative team. There’s some amazing black songwriters. You know?

00:51:51,025 –> 00:51:56,005
Let’s let’s give them the reigns for our next, you know, Disney Animation even besides princess. You know?

00:51:56,070 –> 00:52:01,370
If you’re giving me, like, some black characters or protagonists, let’s get some black people behind it.

00:52:01,830 –> 00:52:04,915
Even even old school, you know, guys like Stevie Wonder.

00:52:04,995 –> 00:52:08,455
Can you imagine a Stevie Wonder Disney soundtrack? Yeah. That would be amazing.

00:52:08,595 –> 00:52:11,315
Ariel Landrum: 90 fries. He’s saying, the Mulan 1. Right?

00:52:11,315 –> 00:52:13,075
Stefanie Bautista: He did Trudy Howard with 90 degrees.

00:52:13,075 –> 00:52:14,900
Ariel Landrum: Yes. The tree heart was Yeah.

00:52:15,460 –> 00:52:15,619
Chance Calloway: Yeah.

00:52:15,619 –> 00:52:17,140
Stefanie Bautista: Yeah. Yep. Yeah. Fun. Yep.

00:52:17,140 –> 00:52:19,740
Chance Calloway: They just they were on the same label at the time. 90 degrees Same.

00:52:19,880 –> 00:52:24,075
Because I only I learned that when we watched that, This is Pop. Yes.

00:52:24,315 –> 00:52:28,555
Stefanie Bautista: The just the collaborations are endless. Yeah. We have so much talent. Yeah.

00:52:28,555 –> 00:52:35,140
And we can’t wait to see, because, I mean, as we see the steady rise of representation, I feel like it can only go up.

00:52:35,140 –> 00:52:38,040
So all high hopes, all positive vibes.

00:52:38,740 –> 00:52:40,520
But this was such a great conversation.

00:52:40,819 –> 00:52:44,875
Thank you, Chance, for, you know, diving deep into our memories as always.

00:52:45,415 –> 00:52:51,990
And where can we find you and your work so our listeners can find you wherever you’re doing, what you’re doing now.

00:52:51,990 –> 00:52:53,990
And if you wanna shout that out, this is your time.

00:52:53,990 –> 00:52:59,345
Chance Calloway: Yes. Probably the easiest way to access me is through my website, chancecalloway.com. Yes.

00:52:59,345 –> 00:52:59,421
And if you are celebrating Juneteenth, DM

00:52:59,421 –> 00:53:04,845
Ariel Landrum: us and let us know what you’re going to do, where you’re going to be, you’re going to celebrate. You will find us on

00:53:07,460 –> 00:53:09,880
both IG and X @happiestpodgt.

00:53:11,619 –> 00:53:14,200
Stefanie Bautista: Alright. Thank you, everyone. We’ll see you next time.

Media/Characters Mentioned
  • Brandy Cinderella movie
  • Black Panther
  • Princess Tiana
  • The Princess and the Frog
  • The Lion King
  • Simba
  • Kida
  • Wish
  • Asha
  • Ariana DeBose
  • Jennifer Lewis
  • Flo
  • Oliver And Company
  • Rita
  • Beauty and the Beast
  • Ralph Breaks the Internet
  • The Goofy Movie
  • Powerline
  • Mulan
  • Mushu
  • Hercules
  • The Muses
  • Coming to America
  • Aida
  • Hercules (Broadway)
  • Moon Girl and Devil Dinosaur
  • Miles Morales
  • Nick Fury
  • Photon
  • Raya and the Last Dragon
  • Frozen
  • Moana
  • Cars
  • Ramon
  • Flo
  • Song of the South
Topics/Themes Mentioned
  • Juneteenth
  • Media representation
  • Disney’s portrayal of Black characters
  • Diverse representation in media
  • Federal recognition
  • Black coded characters
  • Promoting diverse voices
  • Projection representation
  • The Transformation Trope
  • Jim Crow Laws

Website: happy.geektherapy.com
| Instagram: @HappiestPodGT | X: @HappiestPodGT | Facebook: @HappiestPodGT |
| Stef on X: @stefa_kneee | Ariel on Instagram: @airyell3000 |
| Chance on Instagram: @crscalloway | Pretty Dudes on Instagram: @prettydudesweb|
| Website: https://www.chancecalloway.com/ |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
Website: www.geektherapy.org
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| GT X: @GeekTherapy | GT Discord: geektherapy.com/discord |
| GT Forum: forum.geektherapy.com |

Dynamic Disabilities: From Accommodations to Accessibility

June 11, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/c1c82fe5/ddfdcae2.mp3

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43: Ariel, Stef, and return guest Maria delve into the intricacies of hosting a play therapy conference at Disneyland, focusing on accommodations for dynamic disabilities. They discuss the unique challenges and rewards of planning such an event in a magical setting. They emphasize the importance of inclusivity, accommodations, and the evolving nature of disability services at Disney. They also explore the distinctions between ask culture and guess culture, the impact of ableist assumptions, and practical strategies for integrating play-based interventions for disabled children and adults.

Register for the “Play Therapy: Disney Bound” taking place at Disneyland and the Disneyland Hotel from March 10th-15th, 2025 here:

https://www.anewhopetc.org/playatdisneyland

Register for the “The Supportive Innovations for Therapeutic Heroes Conference (S.I.T.H.)” taking place at Las Cruces Convention Center, New Mexico from September 26th-28th, 2024 here:

https://www.anewhopetc.org/sith

Summary

Summary of HPOE 43:

  • Introduction and Terminology (0:00): Ariel, Stef, and Maria introduce Episode 43 and define the key terms of ableism, DEIB, and dynamic disabilities to prepare listeners for the discussion.
  • Meet the Hosts & Guest (1:26): Ariel, Stef, and Maria introduce themselves and discuss their professional backgrounds.
  • Maria’s Inspiration and Conference Challenges (2:53): Maria shares her inspiration for choosing Disneyland as the venue for her play therapy conference. She discusses the unique challenges and rewards of planning an event in a magical setting.
  • Ask Culture vs. Guess Culture (10:01)” The conversation shifts to the importance of asking questions in personal and professional contexts. The trio explores the concepts of ask culture and guess culture and their impacts on event planning.
  • Dynamic Disabilities and Accommodations (16:58): Maria explains the concept of dynamic disabilities and their fluctuating nature. The group discusses the importance of accommodations and the evolving policies of Disney’s Disability Access Service (DAS).
  • Disney’s DAS Program and Challenges (21:21): The discussion delves into recent changes to Disney’s DAS program, including the new pre-registration process and the impact of these changes on visitors with disabilities.
  • Play-Based Interventions (41:03): The hosts discuss play-based interventions for individuals with disabilities, highlighting the importance of creating inclusive play environments catering to children and adults.
  • Hosting at Disneyland: Tips and Reflections (47:49): Maria shares practical advice on hosting events at Disneyland, emphasizing early planning and clear communication. She reflects on the success of her play therapy conference and announces details for the next event.
  • Closing Thoughts and Future Plans (51:59): The episode concludes with reflections on the discussed topics, the importance of continuing advocacy for disability rights, and excitement for future events and conferences.
Transcription

00:00 – 00:02
Is episode 43 of happiest pot on earth.

00:02 – 00:09
On this episode, we are going to be using some, very specific terminology that we would like to define for you ahead of time

00:09 – 00:13
so when you listen you can feel more prepared. The first term is ableism.

00:13 – 00:22
Ableism is the discrimination of and social prejudice against people with disabilities based on the belief that typical abilities are superior.

00:23 – 00:29
At its heart, ableism is rooted in the assumption that disabled people require fixing and defines people by their disability.

00:30 – 00:38
The second term is diversity. Diversity simply means the differences between people, and equity is about securing everyone’s

00:38 – 00:40
access to the same opportunities and resources.

00:41 – 00:47
Inclusion, which is another term that we use, creates a welcoming and respectful environment, and belonging is the feeling

00:47 – 00:50
of being accepted and part of a community.

00:50 – 00:58
Another term is dynamic disability. A dynamic disability is a condition or impairment that can change in severity and impact over time.

00:59 – 01:05
This can include periods of remission or exasperation or symptoms that fluctuate throughout the day.

01:05 – 01:12
People with dynamic disabilities may experience good days, bad days that are unpredictable, which can make it difficult to

01:12 – 01:14
manage their symptoms and plan for the future.

01:26 – 01:29
Hello, everyone. Welcome to the happiest pod on Earth. I’m Steph.

01:29 – 01:35
I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them.

01:35 – 01:42
And I’m Ariel, a licensed therapist who uses clients’ passions and fandoms to help them grow and heal from trauma and mental illness.

01:42 – 01:49
I’m Maria. I’m a marriage and family therapist and a registered play therapist who pulls from pop culture to normalized mental health and therapy.

01:49 – 01:53
And here at Happiest Pod, we dissect Disney mediums with a critical lens. Why?

01:53 – 01:56
Because we are more than just fans and we expect more from the mediums we consume.

01:57 – 01:58
So everybody, what are we talking about today?

01:59 – 02:08
Well, we have a very special guest on our podcast today, an old friend, I guess you can say, because we have had her on our podcast before.

02:08 – 02:15
We have Maria who is, a wonderful person, human being, and very talented in what she does.

02:15 – 02:22
I am in awe of everything, that she has accomplished, and, I had so much fun the last time I saw her because the last time

02:22 – 02:26
I we saw her was at the parks. So Yeah. Yeah.

02:26 – 02:33
Yeah. Thank you guys so much for having me back, and thanks for coming and playing with me at Disney.

02:33 – 02:35
I mean, there’s no there’s no better work day than

02:35 – 02:36
a day at Disney.

02:36 – 02:39
You really have to pull our hair to, like, go there.

02:39 – 02:44
We’re just like, I don’t know about this one. That’s such a big ask. Oh, good. Ask.

02:44 – 02:46
I had to leave work. Oh my goodness.

02:46 – 02:53
So, Maria, I’m curious. What inspired you to choose Disneyland as the venue of your play therapy conference?

02:53 – 03:00
And were there any unique challenges and rewards that you encountered in having the magical place be the location

03:00 – 03:11
of your conference? Sure. I mean, when we think about play, and the 3 of us being, Disney adults, fan adults, I mean, there’s

03:11 – 03:15
really not a better place than the parks to go and play. Right?

03:16 – 03:24
And so really the the idea behind the conference was how do I integrate play back into the learning? I’m old.

03:24 – 03:30
I used to attend conferences when they were fun. That stopped happening.

03:30 – 03:37
You know, and prior to the pandemic, and then since we’ve been back trying to do, like, learning in person again, I learn

03:37 – 03:40
best when I am fully, like, in it.

03:40 – 03:45
And nothing nothing completely captures my attention than anything Disney touches.

03:46 – 03:49
So, it was just it was a wild dream. It really was.

03:49 – 03:53
It was just kind of a, I wonder if this had ever happened.

03:54 – 03:55
And I was just like, well, what’s the

03:55 – 03:58
worst that’s gonna happen? Right? Like, we’re gonna put it out there.

03:58 – 04:02
Like, the worst day of this is still like a good day at Disney.

04:02 – 04:11
I mean, that’s a pretty safe that’s a pretty safe low bar for me to try it out with. Absolutely. Yeah. And so, like, it’s interesting.

04:11 – 04:14
So, I mean, I’ve done event planning before.

04:14 – 04:16
I do host a conference here in my hometown.

04:16 – 04:22
You you do kind of get to know the ins and outs of event hosting, and then there’s Disney. And then

04:22 – 04:31
there is Disney. Okay, so did they have challenges that they threw your way that you hadn’t experienced in your current experience of event hosting?

04:32 – 04:35
Not, not as many as I had anticipated, right?

04:35 – 04:42
I kind of went in thinking I’m a small, small little minnow fish in a very big pond. Right?

04:42 – 04:49
People who think about Disney events think, you know, big, huge corporation events. I am not that.

04:50 – 04:56
So I I think I went in with the anticipation that I was going to be kind of like, that’s cute.

04:56 – 04:59
He would like to do this, but like, maybe not.

05:00 – 05:02
And that wasn’t the case at all, right?

05:02 – 05:08
They were just, my event was just as important at, like, as, like, the next event coming in.

05:08 – 05:11
That was probably 10 times the size of our event.

05:12 – 05:20
I did not feel, yeah, I did not feel like we were patronized, we were not, you know, set aside, and they, I mean, it’s Disney.

05:21 – 05:26
I I had such a surreal experience of, like, rolling up to the hotel and taking my bags out.

05:26 – 05:35
I’m gonna go check-in, and I’m actually met at front door of someone who knows who I am and, like, walks me to my room, take

05:35 – 05:40
has my bags carried to my room for me, gone through, and, like, here’s a personal number.

05:40 – 05:47
If you need anything, you text this number, and we will respond to you. I was like, oh. Oh my goodness. Oh, okay. Okay.

05:47 – 05:49
Like, you know there’s just 30 of us. Right?

05:49 – 05:51
Like, this is not like a big, big thing.

05:52 – 05:54
You must have me confused or something.

05:54 – 05:55
I know. I know.

05:55 – 05:59
It’s serious. Like, talk about imposter syndrome. I’m sitting here. Me?

05:59 – 06:00
Is it for

06:00 – 06:10
me? Okay. So, no. I I think I think if anything, Disney was a venue that really surpassed my expectations, even even if it was Disney.

06:11 – 06:17
And they really did, unlike some of my local venues, they really did care about my, my event.

06:17 – 06:21
And the number did not seem to matter to them at all.

06:21 – 06:24
Every event there is important and special.

06:24 – 06:27
I love that. That’s like, that’s Disney magic right there. Right?

06:28 – 06:35
And I mean, I remember staying at the Grand Californian and being chosen as like family of the day.

06:35 – 06:36
I did not have kids at that point.

06:37 – 06:42
It was like me and my husband, and they chose us because we were staying there and it was our anniversary.

06:42 – 06:44
And I was like, are you sure?

06:44 – 06:48
It was the imposter syndrome thinking, are you do you have the right people?

06:48 – 06:53
Because we scrimped and saved to get these rooms because they were a pretty penny.

06:53 – 07:01
But yet you are giving me an autograph picture of Mickey and Minnie and, like, you, personalize, you know, all of our items inside the hotel room.

07:01 – 07:10
I think that’s just those little details that make honestly, make it worth it going and choosing them as a venue or choosing

07:10 – 07:17
them as a place to celebrate something, which, in this case, not much a celebration, but more of a learning experience, which

07:17 – 07:20
I think is very unique to use that as a venue.

07:20 – 07:26
I am, I guess you can say experience in doing event planning as well since I do it a lot for my school sites.

07:27 – 07:34
And I totally understand the just the struggle of finding a venue that will work with you and will have things prepared for you.

07:35 – 07:43
From the little time that I was there, at the play therapy conference, you had amazing servers who were just as charming as

07:43 – 07:51
the cast members in the parks, if not more, because, you know, they were interacting with you and making sure you had everything while you were hosting.

07:51 – 07:54
It was so charming and, you know, pixie dust everywhere.

07:54 – 07:59
If I could, you know, make a tangible, analogy to that.

07:59 – 08:07
But, on that note, for listeners who might be interested in hosting their own events at Disneyland, do you have any key do’s or don’ts?

08:07 – 08:09
Did you encounter anything that you were like, okay.

08:09 – 08:19
Maybe I don’t go this route, especially since you did more of a hybrid hotel plus downtown Disney plus park experience because

08:19 – 08:23
those are very big logistical things to juggle.

08:23 – 08:27
So, you know, if you can kind of just give our listeners some tips on that.

08:27 – 08:33
Yeah. Absolutely. Start early. Start early. Yes.

08:33 – 08:41
I mean, the the contracting process, right, like, there’s a process, and Disney has so many options for you to, like, choose. Right?

08:41 – 08:46
So going in blind for the first time, I didn’t know what all my options were. Rain.

08:46 – 08:52
You’re like, I want to do an event, and I have about this many people, and we’re gonna need hotel rooms, and I want park tickets. And I was like, cool.

08:52 – 08:58
Would you also like and it’s like, you know, Ladens’ genie is like rolling out the transcript of possible wishes.

08:58 – 09:00
I was like, would you also like any of these options?

09:01 – 09:08
So our last one, definitely felt very rushed at the end trying to get everything.

09:09 – 09:15
I have my new contract already signed now for next year. So start early, and ask ask.

09:16 – 09:22
My, my favorite thing was in meeting with Deb who was my connection for contracting, you know, she’s like, well tell me what

09:22 – 09:27
you would like, and then my, I would answer her back and go, what else should I be asking for?

09:28 – 09:30
What else are their options for me?

09:30 – 09:31
Beautiful question.

09:32 – 09:35
Yeah. Because they’re gonna tell you. Right?

09:35 – 09:37
This is this is what they do day in and day out.

09:37 – 09:45
So don’t limit yourself to what you think is possible because it’s Disney. Right? They’re gonna it’s it’s the TARDIS. It’s bigger on the inside.

09:45 – 09:49
As soon as you open the door, you have so many more options.

09:50 – 09:57
Yeah. Yeah. Yeah. That’s really interesting because recently there’s been this this trend or this theme in some of my sessions

09:57 – 10:01
where we talk about the difference between ask culture and guest culture.

10:01 – 10:03
Have you heard of this? Oh, interesting. No.

10:04 – 10:05
I agree.

10:05 – 10:05
Now that you say it.

10:05 – 10:06
You’ve there you go.

10:06 – 10:08
I mean, it it’s it’s making sense.

10:09 – 10:16
Yeah. Yeah. So, some people who have been raised in guest culture, and usually the demographics of individuals raised in this

10:16 – 10:21
culture are people in collectivist cultures or lower socioeconomic status Mhmm.

10:21 – 10:26
Or had, households where, we had to guess emotions.

10:26 – 10:31
So what that does is that means that we guess the answer.

10:31 – 10:36
So I won’t ask my friend to take me to the airport if I don’t think that they’ll say yes.

10:37 – 10:43
Or I won’t, ask my parents if I can spend the night at someone’s house if I think they’re in a bad mood.

10:43 – 10:44
That’s the one.

10:45 – 10:45
Okay.

10:46 – 10:56
And people who have been raised in ask culture, they don’t even socialize to believe that, someone will say no, then it’s not a burden to even ask. Mhmm.

10:56 – 11:03
And that, when they’re saying yes, it’s because that they they genuinely have thought about it.

11:03 – 11:05
You don’t have to think about it for them.

11:05 – 11:06
Okay, interesting.

11:06 – 11:13
And so I could see myself as someone who was raised in guest culture because I was, you know, in a lower socioeconomic status

11:13 – 11:21
with just 1 parent household to 1 income household and, you know, living in a collectivist culture, like, ‘Okay, I believe Disney will say yes to this.

11:21 – 11:25
So I will only ask this and nothing more.

11:25 – 11:32
And here you are giving us a question that someone who’s in guest culture could use. What should I be asking? Right?

11:32 – 11:35
Because, I mean, the assumption is that they’ll answer that question.

11:35 – 11:38
But it isn’t a big ask of an ask.

11:39 – 11:49
Yeah. Exactly. Exactly what. And that, you know, I I would say I probably did not, I did not come from a guest culture background.

11:49 – 11:58
And only owning my privilege and owning that I am a white cishetero presenting female, that a lot of assumptions are made. Right?

11:58 – 12:03
And so I’m still very new at this part of my professional career.

12:04 – 12:13
I don’t know these answers, even though I can say, you know, I’ve planned, you know, 15 local events in my lifetime. Disney’s another level.

12:13 – 12:16
And each time I do something, right, we learn.

12:16 – 12:23
And one of the things I quickly learned was they know more than you know, and they don’t know what I don’t know.

12:24 – 12:24
Right.

12:24 – 12:30
So just ask them. Just ask them. Like, what should I be asking? What should I know about?

12:30 – 12:32
What are the options that maybe I have not considered?

12:33 – 12:41
And that’s true for event planning, that’s true for almost any experience when you go in novously and kind of renew. Right?

12:41 – 12:47
Whether that’s, being invited to write an article, whether that’s being invited to come to a podcast. Right?

12:47 – 12:50
Like, what, what should I be asking?

12:50 – 12:53
What don’t I know that you think maybe I should know?

12:53 – 12:54
What, what do I need to know?

12:54 – 12:56
What, what have I not been informed about?

12:56 – 13:03
I think that is a wonderful way to step into curiosity and says that you don’t have to know.

13:03 – 13:06
And I think that even keys back to like that imposter syndrome.

13:06 – 13:13
Like we feel like, again, we should know that guessing, I probably should already be at this level to even be allowed.

13:13 – 13:21
Yeah. Absolutely. Yeah. Like who, what audacity did I have to think that I could pull off an event planning at Disney?

13:23 – 13:30
Right, I was like no, like and like what’s the worst that’s gonna happen? Right?

13:30 – 13:35
If we don’t ask, I’m gonna miss out, and the people coming are gonna miss out.

13:35 – 13:39
The worst that’s gonna happen is they’re gonna tell me, oh Maria, that’s that’s too far.

13:39 – 13:41
No, that’s not that’s not a possibility.

13:41 – 13:42
So it’s too close to the sun.

13:42 – 13:48
Right? Yeah. Absolutely. And contracting with them again for this next one, I already had.

13:48 – 13:52
So here’s my next question, like, list of questions now that I’ve done it once. Right?

13:53 – 13:58
I was wondering if these things are possible, and and some of them are like, yeah. Absolutely.

13:58 – 14:01
And others were like, oh, we’ve never had that question asked before.

14:02 – 14:07
Let me go look into it and maybe it’s a no, but maybe it’s a yes.

14:07 – 14:15
Yeah. Why not ask? I think as you were both were talking, when we’re thinking of Disneyland and Play, we always talk about

14:15 – 14:17
how we’re going back to our childhood, right?

14:17 – 14:23
And when I’m thinking about younger kids versus older kids in, like, middle school, when you’re in a class full of younger

14:23 – 14:29
kids, you’re constantly getting questions, rapid fire questions because they won’t stop. They’re curious about everything.

14:30 – 14:36
But if you realize as you get into upper education, the questions lessen because everyone’s too shy, or they’re just trying

14:36 – 14:38
to guess, or they already have their presumptions.

14:38 – 14:46
And so I think it’s very interesting that we’re kind of going back into play and thinking of play and thinking like a child and saying, hey.

14:46 – 14:54
If I were a 6 year old wanting to play at the parks, and they have one goal is to do play at the parks with their friends,

14:54 – 14:59
they would ask the questions necessary in order to make that happen. Where can I play?

14:59 – 15:01
I mean, even not even what would I wear?

15:01 – 15:03
I don’t think a 6 year old would ask what would I wear?

15:03 – 15:05
I’m just gonna wear whatever I want to wear. But

15:05 – 15:09
But I think like, like, when I see 6 year olds, can I touch that?

15:09 – 15:12
And it’s like, as an adult, it’s like, no, don’t even ask. But it’s

15:12 – 15:13
like, maybe.

15:15 – 15:19
Yeah. Can I climb that? Or my body is asking you because I’m already doing it.

15:19 – 15:23
So are you gonna tell me no, or you’re just gonna let me do this?

15:23 – 15:25
So, yeah, I think it’s really interesting.

15:25 – 15:31
You know, as we get older, we ask less questions because we are so much more presumptuous as to what the answer is.

15:31 – 15:37
But in reality, we can ask the more complex questions to get a more direct answer.

15:38 – 15:42
So it’s kind of just doing that little switch, and it’ll benefit us.

15:42 – 15:47
I mean, look at what fruitful things came from the play therapy conference.

15:47 – 15:53
I mean, everybody I met was just having the time of their lives, and it was so great. I loved it.

15:53 – 16:01
I think going back to like, why we don’t ask the questions, I think there also is this, like, I’m supposed to already know, Right?

16:01 – 16:06
Like, if I reach out to Disney to host an event there, I should already somehow magically know

16:06 – 16:06
Yeah.

16:07 – 16:11
All the ins and outs and pieces. And how to right?

16:11 – 16:17
And, like, how to read how to read a 68 page contract and know what I am signing my life way to.

16:17 – 16:23
And so being able to be very vulnerable and open and being like, this is a giant leap for me.

16:24 – 16:27
Can we kind of talk through these things?

16:27 – 16:35
Here are the questions I have, but also, like, what am I not asking that maybe, like, the other players who’ve done this before have asked and was helpful?

16:35 – 16:46
With the and shifting just a little bit, you have on the new form, and you did in the original form for people who are signing up, request for accommodations.

16:47 – 16:50
And I know that you’re doing a presentation in Virginia on dynamic disabilities.

16:50 – 16:58
So I was wondering if you could talk about accommodations, disabilities, and what that was like for with Disney, like for the conference. Sure. Yeah.

16:58 – 17:01
Yeah, absolutely. I’m happy you talked about this.

17:01 – 17:08
I will share my definition and kind of use of the term dynamic disabilities, and we can kind of go from there.

17:08 – 17:20
So I use the term dynamic disabilities really to be an umbrella term of, health issues, mental health, physical health issues that are often invisible.

17:20 – 17:26
So there’s not like a visible outward sign. The dynamic piece comes from it. It fluctuates.

17:26 – 17:33
The impact, the intensity, my ability to function fluctuates without cause or without notice.

17:33 – 17:42
When it comes to a dynamic disability, I think, there’s a lot of management and there are, like, some days that are good and some days that are bad.

17:42 – 17:47
And, it is not a consistent experience.

17:47 – 17:55
And for those who have never had a disability or been disabled, sometimes the way that media presents a disability is it’s fixed.

17:56 – 17:59
It’s like one way of experiencing every single day.

18:00 – 18:03
And they don’t see a spectrum of experiences.

18:04 – 18:13
And so I think the other component with the dynamic is that, the individual themselves may not be able to predict, like, if

18:13 – 18:19
it’s, quote, unquote, a good day or a bad day, what accommodations I might need, today versus tomorrow.

18:19 – 18:29
Something else that the audience, could be aware of is, when it comes to disabilities, some people will use person first language. Some people use identity first language.

18:29 – 18:35
And so person first would be someone with a disability, because we’re putting them in front of the sentence.

18:36 – 18:41
Although some of the community has identified their disability as an identity and Mhmm.

18:41 – 18:48
Would prefer to be identified as disabled or, or by their actual disability.

18:48 – 18:55
Now, that as clinicians and I think even Stef as educators, we let the person tell us, like, which they prefer to use. Mhmm.

18:56 – 19:03
Yeah. And I think using the word dynamic is more in tune with how we live day to day, whether or not you are dealing with a disability.

19:03 – 19:05
Because not every single day is the same.

19:06 – 19:11
Not every single day we’re, waking up the same way, approaching things the same way as before.

19:11 – 19:13
We can try to get close to that.

19:13 – 19:22
But as dynamic people who are unlearning, learning things, constantly, it’s I feel more in tune to what real life is as opposed

19:22 – 19:27
to like what Ariel says, what what is projected to us through, you know, pop culture and how they portray disabilities.

19:28 – 19:33
Yeah. Absolutely. Or just the expectation that if you can do it once, you can do it every day here on out. Right?

19:33 – 19:40
And it’s like, well, that’s not real life. We’re not still art. Yeah.

19:40 – 19:44
You know, I could have could have had a rough day the day before, a bad night’s sleep the night before. Right?

19:44 – 19:48
Like, in general, I think we all live dynamic lives, and

19:48 – 19:49
it is just a nice way to

19:49 – 19:58
kind of view that. With dynamic disabilities, you know, it’s, it is becoming, at least for me, it’s becoming a real focus

19:58 – 20:04
of presenting, talking about, educating people about, I live with my own.

20:05 – 20:11
I work with wonderful professionals who are working with their own, and we are trying to navigate the systems, the best we

20:11 – 20:18
can while while while looking fine, even on some of our worst days.

20:19 – 20:19
Yeah.

20:20 – 20:28
So, yeah, so I it’s very intentional that my registration form has, you know, do you have any of these accommodations? Yes.

20:28 – 20:34
Participants could easily reach out to the Disneyland Hotel themselves and say, here, here’s what I need. Here are the accommodations. What are my options?

20:35 – 20:41
And part of my hostess persona says, I also want to know. Right?

20:41 – 20:48
Because if you made those accommodations on on the side and I’m not looped in, then I can’t also be on the lookout and and

20:48 – 20:52
making my own accommodations for you, and just being prepared.

20:53 – 21:01
Yeah. For for those things. And that’s the communication piece that is, you know, hyper focused on when you are hosting because

21:01 – 21:06
you are constantly communicating with every single person, making sure they’re okay, and that’s a really big undertaking.

21:07 – 21:14
But speaking of constants and people wanting to view a certain way or having parameters that are set, I know recently, there

21:14 – 21:21
has been changes to the Disney’s disability Access Services at Disneyland. It’s a very sticky situation.

21:21 – 21:28
I think, you know, speaking for myself and looking at it as a person that doesn’t need these accommodations, And for the folks,

21:28 – 21:37
who use acronyms, this is the DOS system that, folks with disabilities use to access the parks and enjoy their day in a way that suits them.

21:38 – 21:41
And I guess it’s a question for both, you know, Maria and Ariel as clinicians.

21:42 – 21:46
How do you think these changes have impacted visitors, have been impacting visitors?

21:47 – 21:56
And, just seeing how it is already a big undertaking to be at a very busy theme park with a lot of moving parts.

21:57 – 22:01
How do you think it affects them and even future conference attendees for you, Maria?

22:01 – 22:03
I love that. Ariel, do you wanna

22:03 – 22:07
go? No. You go ahead first. You’re our guest. Be our guest.

22:09 – 22:13
I think I think that it’s I think it’s going to continue to move. Right?

22:13 – 22:20
Like, I don’t have a full understanding that this is where it’s going to land and be permanently, you know, the new system and the new restrictions.

22:21 – 22:27
I also think it’s a really big undertaking for an organization like Disney to have to, like, navigate all of this. Right?

22:28 – 22:39
Because they do really make efforts to to put comfort and people access first, and sometimes, they have to draw a line in

22:39 – 22:44
the sand and that that then it means an exclusionary criteria. Right?

22:44 – 22:52
But if you do not have these things, do do not show up in this way, then these accommodations are not easily accessible or even available to you any longer.

22:52 – 22:59
So my own, I am definitely watching, trying to keep a pulse, trying to really understand, like, what these new limitations

23:00 – 23:08
are going to translate for, and also trying to look at it from my own perspective of, like, that that may even I I am not

23:08 – 23:18
I did not participate in the DOS, services before, but I was being kind of told, like, you should kind of consider this with your with your own physical stuff.

23:18 – 23:21
Like, this might be really, really beneficial to you.

23:21 – 23:27
And so to just start like that process and for it to then immediately change and like, oh, I don’t think I know, I don’t think

23:27 – 23:33
I qualify any longer based on these new limitations, and restrictions, and requirements.

23:35 – 23:43
So right now, I’m still in the learning, learning the new dance, so to speak, and then being able to get an understanding

23:43 – 23:49
so that I can then translate it to people who are coming and who might have questions about what the new restrictions and limitations are.

23:50 – 23:55
Yeah. I think you point out something very important. This is changing. It is evolving.

23:55 – 24:04
So, even by the release of probably this episode, there may be new updates but what we do know is that Disney did release,

24:04 – 24:08
well, first that it the new, criteria started in May.

24:09 – 24:17
And that Disney released a list of, like, diagnoses that they, I guess, felt were more that needed more of the accommodation of the DOS program.

24:17 – 24:21
And, those diagnoses were ADHD, anxiety and autism.

24:21 – 24:30
So the community had already, been on the alert because, of the fact that it was like these and these only.

24:30 – 24:34
Then they they specifically said developmental or cognitive disabilities.

24:35 – 24:40
And that then would exclude individuals who need accommodations that are physical.

24:41 – 24:48
And then as things started rolling out, it was the fact that there was a pre registration process, and you have to do it 30 days before your visit.

24:48 – 24:54
They are no longer allowing, I think, in June for people to go into the city hall

24:54 – 24:55
to have the conversation. Okay.

24:56 – 25:03
So, that means that you have to have a plan to attend, later.

25:03 – 25:09
And if you are somebody who’s a magic key holder that could go anytime, you would have had to already have this set up.

25:09 – 25:12
The the praises are that it has extended

25:12 – 25:14
the amount of of having

25:14 – 25:17
it. Instead of 60 days, it’s 120 days. Right?

25:17 – 25:25
Once you if you are approved, the and that, there is more scrutiny happening because what the result of this was backlash

25:26 – 25:34
to influencers saying like, Hey, if you don’t want to pay for Genie plus and you want to skip the line, here’s the things you need to say. And

25:34 – 25:35
the hacks, essentially.

25:36 – 25:44
The hacks as it was presented, which meant that it adversely affected people who needed accommodation because of a disability.

25:44 – 25:52
Other things that have been, like, criticisms are the fact that, they are encouraging more people to use, like, someone to

25:52 – 25:54
hold a spot in line and you leave and return. Mhmm.

25:55 – 25:59
And if you are somebody who’s a wheelchair user, your spot in line might not be reversible.

25:59 – 26:05
You might not be able to back your wheelchair through or like with people standing there, right?

26:05 – 26:10
So there needs to be a space for your chair to go backwards or or whip around.

26:10 – 26:17
So that would need to be wide enough space as well as move through lines of people. Yeah.

26:17 – 26:26
And, other criticisms like people have already been sharing their stories where if they’re taking medication, for specifically

26:26 – 26:32
those who are experiencing cancer, if they’re taking medication that causes, like, a diuretic and they need to use the bathroom

26:32 – 26:42
repeatedly, having to leave their spot in line and find the bathroom maybe further away than if they had not had to be in the queue.

26:42 – 26:52
So where it pertains to me, because I have been using the DOS program, is that mine ended on, May 4th. Interesting.

26:53 – 26:55
Why would you have to end it on a day that

26:55 – 26:56
mattered to me? But okay, thanks.

26:56 – 27:07
And I have tried at least 5 times to get into the virtual queue to do my interview. The ads has cut out. It has the call has dropped.

27:07 – 27:10
I’ve never seen anyone on the video. Never.

27:10 – 27:15
All the calls are being transferred, I think, to, Florida representatives at Walt Disney World.

27:15 – 27:17
So, like, Disneyland doesn’t have their own.

27:17 – 27:26
And when they had changed the accommodations at Universal Studios, they had asked that you, like, upload documentation.

27:26 – 27:33
And so I did add my doctor upload documentation that requested my accommodations, and their system was clunky, and there’s,

27:33 – 27:34
like, a number you’re supposed to get.

27:34 – 27:37
It took a couple months, but, you know, now it’s good.

27:37 – 27:40
Disney will not take any doctor’s notes.

27:40 – 27:45
They will not take any, and it’s already hard to get a doctor note, but they won’t take any of that. It’s in the interview.

27:46 – 27:52
And the way that they ask the questions, they will they will say things like, well, if you get hot, you should get an ice

27:52 – 27:54
pack or you should get a cooling rag.

27:54 – 27:59
If you, need to use the bathroom repeatedly, you should just leave the line and come back.

27:59 – 28:02
Tell the person at the front that, you know, you’re leaving to do that.

28:02 – 28:04
And they’re trying to create a ticket system,

28:05 – 28:05
but

28:05 – 28:12
that hasn’t been fully implemented. So now hearing this and knowing dynamic disabilities, are you seeing where the clunkiness Yeah.

28:13 – 28:16
When Disney was the gold standard for accommodations? Yeah.

28:16 – 28:22
Yeah. Yeah. What a what a significant difference. Right?

28:22 – 28:26
I mean, you were sharing all that, and I was like, have they been to a park recently?

28:26 – 28:33
And, like, also, like, what ableist thinking are you harboring right there?

28:34 – 28:42
Right? 1, you know, I my experience in the parks, I’ve been with other people, my family, my spouse at least. Right? Like at least one other person.

28:42 – 28:48
The system that they’re encouraging would require you to you would always have to be with someone if you were to like because

28:48 – 28:54
strangers are lovely at times, but we’ve all seen those videos of, you know, Disney gone wrong. Mhmm.

28:54 – 28:55
The person, the stranger behind me

28:55 – 29:07
is not gonna stand there and hold my spot in line so that I can step out, take my insulin shot, and do what I need to do to, like, be able to come back. Like, that’s just not gonna happen. It’s not gonna happen.

29:07 – 29:16
And you’re basing this one other non medical professional is going to interview me and make the decision based on their own

29:16 – 29:23
personal opinion of my condition, whether or not I qualify for accommodation.

29:24 – 29:27
And the what, communities are saying, try again.

29:27 – 29:32
They’re like, the first person says no, try again, because the next person might say yes.

29:32 – 29:34
And that shows you lack of consistency with criteria.

29:35 – 29:35
Right?

29:36 – 29:37
Yeah. Yeah. Absolutely.

29:37 – 29:38
As I was hearing

29:38 – 29:40
all this, I’m like, who what are

29:40 – 29:43
the qualifications to be somebody who’s taking these calls?

29:44 – 29:46
Is it somebody who has experienced these?

29:46 – 29:53
Do they have some sort of licensing or had to have they had any sort of, experience in dealing with that?

29:53 – 29:58
And if it’s a Florida representative, the parks over there are massive. They’re huge.

29:59 – 30:06
And, you know, I get that Disneyland is compact here, but Disney world, if you’re thinking of the different parks, there’s

30:06 – 30:09
so many other elements that are working against you.

30:09 – 30:17
Literally weather elements that could really, you know, stop a person with disabilities from enjoying the parks in the way that they want to.

30:17 – 30:24
So I think it this is just kind of, you know, when we’re talking about hospitality and the just the juxtaposition of how we

30:24 – 30:29
were talking about it earlier to now, the consistency isn’t there. And, you know,

30:29 – 30:30
we need to we

30:30 – 30:32
need to know and do better.

30:32 – 30:41
Yeah. I I think, one of the, things that we’ve seen online, specifically people with epilepsy and people with POTS, have been denied.

30:41 – 30:45
And they have complained that there is no way that they could do the return to Lyme.

30:45 – 30:52
And and again, the the individuals with POTS, they they can’t stay on for, long periods of time.

30:53 – 30:56
And so the statement was when you could use a wheelchair.

30:56 – 31:03
But again, if you need to use the bathroom, can your wheelchair go backwards in the queue? And, the queue moves.

31:03 – 31:07
So by the time you come back, you have new people in the queue are going, Why are you cutting us?

31:07 – 31:08
Why are you walking through?

31:08 – 31:12
Why why are you rolling through in in this wheelchair? Like, what what is this?

31:12 – 31:16
Because I certainly know that, people get so angry when you have a

31:16 – 31:23
line holder. Gosh. Do they ever? Even So I mean, our first experience taking the kids, they were littles. Right?

31:23 – 31:26
And so, like, one parent would Stef, the other parent would, like, run to the bathroom and come back.

31:26 – 31:30
Even then, right, you’d get, like, looks. I’m like, look. They are little.

31:30 – 31:31
They’re, like, 4 and 6 at that time.

31:31 – 31:34
Like, we are not we are not doing that.

31:35 – 31:44
And those of us with disabilities, like, we all carry our own, like, shame and awareness that everyone is talking about us. Everyone is making comments about this.

31:44 – 31:51
I go to the park with everything that I could possibly bring in with me to make sure I’m as least disruptive to everybody

31:51 – 31:57
else around me and can have my day in the best way that I can for myself.

31:57 – 32:07
And how utterly disgusting is it that the response is, we’ll bring an ice pack. I’m Oh, yeah. Sorry. We have our cooling racks. We have our fans. We have our drinks.

32:07 – 32:13
We we we do all the things to make sure that not only I’ll speak for myself.

32:13 – 32:15
It’s not just for so that I can have the best day possible.

32:15 – 32:22
It really is so that I minimize my impact on everybody else around me, which is a weight I should not be carrying in the first place.

32:22 – 32:35
But I do, and then to even then say, well I still need some accommodation. And to be like, well no. You can have a wheelchair. It’s not that’s not a solution. That’s not a solution.

32:35 – 32:42
No. I I really, I think you’re highlighting, like, that lived experience because I know for myself, first, it took a while

32:42 – 32:47
to even admit that I needed accommodations because I said I can bring all of these things. Right?

32:47 – 32:51
I can have my neck fit on. I can, bring extra medication. I can bring my EpiPen.

32:51 – 32:53
Like, I can I can do all that? I can do all that.

32:53 – 32:59
When it got to the point to admit that I needed accommodations, It was again, like, that imposture center.

33:00 – 33:02
Maybe I don’t or maybe other people need them more.

33:02 – 33:06
That that feeling of inconveniencing the able-bodied world.

33:07 – 33:07
Right.

33:08 – 33:13
And, and I know even for, for you Stef, because we’re talking about dynamic disabilities, pregnancy.

33:13 – 33:21
My goodness. Yeah. And, you know, it was funny because I did many things in my second pregnancy because my first pregnancy,

33:21 – 33:25
half of it was during the pandemic. So did nothing. I stayed at my house.

33:26 – 33:27
I didn’t have to experience these things.

33:27 – 33:34
But my second pregnancy being after the pandemic, I’m like, let me do it all. I need to be out there.

33:34 – 33:39
But my body was like, you are not the same as you were before the world shut down.

33:39 – 33:46
And even navigating I know this isn’t a park, but, when we went to Comic Con while I was 6 months pregnant Oh, sure.

33:46 – 33:53
I didn’t even think of accommodations for myself because I was like, I am just carrying a baby.

33:54 – 33:58
But that’s not how it should be viewed. I am carrying a baby.

33:58 – 34:12
I am literally growing a life inside of me, and I cannot do the things that other able-bodied people can do because I am literally not myself. I my body is exhausted. And

34:19 – 34:26
I should have And I should have accommodations so that I can do that comfortably without harming my body.

34:26 – 34:29
You know, thankfully, I was in a position where I didn’t have a high risk pregnancy.

34:30 – 34:37
But for other women who have high risk pregnancies, I don’t think they should be stopped from doing what they want to do comfortably

34:38 – 34:42
just because they are, you know, gonna be a mother.

34:42 – 34:51
And, you know, there has been so many stigmas with pregnant women and what they shouldn’t do, what they can’t do, all of these things.

34:51 – 35:01
And that totally plays into their mental well-being as their hormones are changing, as their brains are, you know, preparing

35:01 – 35:03
for this as they’re growing a life inside of them.

35:04 – 35:08
So I don’t recall being in Florida.

35:08 – 35:17
Actually, I was early on in my pregnancy, and there were some accommodations, and I had traveled with my parents who have disabilities.

35:17 – 35:22
You know, my mom gets tired really fast and, you know, she can’t be walking for a long time.

35:22 – 35:28
And my father has, he has had a kidney transplant. So he has He’s got

35:28 – 35:29
a million.

35:29 – 35:33
Yeah. He has, like, so many inside of him. He’s had many transplants.

35:33 – 35:41
And so, yeah, we were able to use a wheelchair for the both of them, but then it became an access issue where we were like,

35:41 – 35:52
do we pay for a more expensive wheelchair for all 4 days at the parks, or do we use a manual wheelchair where one of us would have to push?

35:53 – 36:03
And by one of us is my husband who is taking care of our toddler, me who is pregnant, or my mom who is not very strong in

36:03 – 36:06
her age to push my father in the wheelchair.

36:06 – 36:16
So now it becomes a social economic thing To where now the family has to decide, do I have dinner at Be Our Guest, or do I

36:16 – 36:19
use that money to pay for a wheelchair?

36:19 – 36:24
And, you know, those are really difficult decisions for families to make. It’s just Yeah.

36:25 – 36:26
Just to have a good day at the park.

36:26 – 36:34
Absolutely. I mean, it’s an expense and it’s such a plan heavy experience anyway. Right?

36:34 – 36:40
And then, yeah, do you try to play the wheelchair lottery and, like, be super early to be, like, the first one in to get one

36:40 – 36:44
that’s provided in the parks that you still have to pay for? Mhmm.

36:44 – 36:50
Or do you search for outside ones that can then be brought to you and pay for, you know, slightly more, but have your own

36:50 – 36:59
like, it’s, life is difficult enough for able-bodied individuals, let alone when those of us that, have disabilities of any

36:59 – 37:05
type, visible or invisible, to then just be like, well, you can just Yeah. Get a wheelchair.

37:05 – 37:08
You can just bring some ice packs.

37:08 – 37:16
You can just, you know, have someone else save your spot in line. Yeah. Yeah. That’s not real life. And if you jump through

37:16 – 37:23
if you jump through all of those hoops anyway, you still get to a ride like Peter Pan’s flight and say, we don’t use that accommodation here.

37:24 – 37:32
You have to use the regular line because this is an attraction that is excluded from those accommodations because it’s so popular.

37:32 – 37:37
So even if you do all of those things, you still have those restrictions.

37:37 – 37:37
And Mhmm.

37:37 – 37:40
You know, what if that was your favorite ride?

37:40 – 37:42
And what if that’s something that you absolutely wanted to do?

37:42 – 37:48
And now you have that sense of I’m not good enough to be on this ride. You know?

37:48 – 37:56
Your mind immediately goes to that because, as you said, folks with dealing, having to deal with these things are hyper aware already.

37:56 – 37:59
And so how can they not go to there?

37:59 – 38:00
Right. And I think when

38:00 – 38:08
it comes to, individuals who are non disabled, who haven’t experienced a disability, Why it’s important to continue to be

38:08 – 38:16
an advocate for disability rights, is because a lot of the disabled communities identified that technically we’re all pre disabled.

38:16 – 38:24
We are living so long now that at some point, we will develop a disability, like being hard of hearing, a disability of low

38:24 – 38:27
vision, a disability with walking and arthritis.

38:28 – 38:36
So the more that we fight for accommodations now and advocacy, the more we’re setting up our future success as well.

38:36 – 38:43
I think we’ve already identified the various ways in which the system, as it stands right now, is flawed.

38:43 – 38:46
And although, again, it’s like you said, a meno. We’re a little meno.

38:47 – 38:56
I hope that others can hear this podcast and see, like, why the accommodations the way they were may have been flawed, but we’re still a lot better. Mhmm.

38:56 – 39:05
Even with that 30 day rule, I it makes me think of Stef when we had, Comic Con and we had a panel and one of our panelists broke their leg. Did you?

39:05 – 39:10
And we had to scramble to get them a, ramp to be able to go on the stage. Yeah.

39:10 – 39:17
You know, hopefully, between now and your trip, you don’t develop something where you might wanna request those accommodations

39:18 – 39:20
because you should have been injured 30 days ago.

39:20 – 39:24
You should have known. You should have known you were going to break your leg.

39:24 – 39:29
Or like 1 Comic Con, I broke my wrist the day of Comic Con.

39:30 – 39:34
I had an accident on a bird scooter and the rest was history.

39:35 – 39:37
It was my arm, so I could still walk.

39:38 – 39:45
But even Ariel that day was like, you need to get it to Staple Press because you literally got hurt on the way to Comic Con.

39:45 – 39:49
And, yeah, that’s just something that I did not even think about.

39:50 – 39:55
I think going full circle in what we’re talking about earlier, why not ask? Just ask.

39:55 – 39:56
Just ask.

39:56 – 39:59
Because what is the worst that could happen? You know? Mhmm. You’ll get denied.

40:00 – 40:03
And in the case of the DOS system, keep asking. Yes.

40:03 – 40:09
If you are somebody who is, you know, affected by these policy changes, keep asking.

40:09 – 40:15
Let them know that what is happening is not, it’s just not flexible for everyone.

40:16 – 40:20
It’s not equitable for everyone because now everything is so nuanced.

40:20 – 40:28
We are having dynamic disabilities, dynamic, you know, experiences, and that if they want to continue to be the hospitality

40:28 – 40:35
gold standard, that, you know, every voice that leads needs to be heard and even though it is such a big undertaking.

40:35 – 40:43
I mean, that’s not to say that there are not people who are willing to work for, you know, equity in this space. Absolutely.

40:44 – 40:48
Absolutely. I mean, we’re very used to jumping through the hoops put in front of us. Mhmm.

40:48 – 40:54
As long as we know that there are hoops to be jumped through and that there’s a possible, like, relief on the other side.

40:55 – 40:56
Yeah. Yeah. Yeah. Yeah.

40:56 – 41:03
Now, I know, you were on an episode with us originally, episode 35, unlocking the healing powers of play.

41:03 – 41:06
And your conference at Disney was a play conference.

41:06 – 41:13
In having this conversation around disabilities and accommodations, what are some play based interventions for children and

41:13 – 41:23
adults with disabilities or accommodations to shift and change your mindset so that you can have play based interventions that are more dynamic? I love that.

41:23 – 41:29
I would go so far as I don’t know that there are specific interventions, but people in our professions to start adapting,

41:29 – 41:34
which is just kind of the this ableist lens, right?

41:34 – 41:38
So in play therapy, well in play in general, right?

41:38 – 41:43
When we talk about playing with kids, whether you’re a babysitter, whether you’re a teacher, whether you’re whether you’re

41:43 – 41:54
a play therapist, the idea I’ve I’ve heard clinicians tell this to parents that come in, like, get on the floor and play with your kids. Guess what? No. No.

41:55 – 42:01
And so being able to just adopt this lens of it’s okay to not play on the floor.

42:02 – 42:08
Play that’s on a table, play that is movement based, play that it looks different is still valuable.

42:08 – 42:14
There’s no difference in the value of play based on how you’re playing. Mhmm.

42:15 – 42:22
And we can set those accommodations for ourselves as practitioners, as educators, as the professional in the room, and we

42:22 – 42:29
can make those accommodations for the parents and the children that come into our rooms. 8, because I think there is this

42:29 – 42:39
idea that if you’re not able to get down on the floor and plan, and you’re not doing your job, and that is such an ableist viewpoint. Right?

42:39 – 42:46
Because, I mean, I could get down, but I’m gonna do some significant trauma to my client if they have to see me, like, flail

42:46 – 42:51
around on the floor because I cannot get back up. That is more damaging than helpful.

42:53 – 42:56
And it’s just diminishing my value as a practitioner.

42:57 – 43:05
If I can’t do it your way, then it’s not valued. We’re not doing that. It is 2024. We’re not doing that anymore. Right?

43:05 – 43:15
And so being able to look at play, families, kids in a lens of what accommodations do you need? Mhmm.

43:15 – 43:20
And and what can I provide to you knowing that, like, our space is limited, our funding is limited?

43:20 – 43:24
But like sometimes it’s just permission to not get on the floor.

43:24 – 43:29
Just permission to be able to say, I would much rather like, can I stand while we talk?

43:29 – 43:37
Because that’s much more comfortable than than sitting in this chair. Right? I was talking earlier today.

43:37 – 43:42
I think we’re making great strides in terms of accommodating children. Right?

43:42 – 43:45
There’s lots of fidgets now and hard candies and, like, body socks. Right?

43:45 – 43:50
Like, we’re making accommodations for kids with sensory needs and neurodiverse needs.

43:51 – 43:56
That needs to be extended to adults and professionals as well. Right?

43:57 – 44:02
I know in our conference, even at Disney, there were times where, you know, you’d see people stand up and, like, move to the

44:02 – 44:09
back of the room to, like, have some movement in their day and, like, you know, stretch the bodies however they needed to. Right? And just like permission giving. Right?

44:09 – 44:14
Like, do what you need to to take care of yourself. Right? It’s it’s so, so important.

44:15 – 44:22
It goes back to, like, you know, even Ariel, what what you’re saying is, like, it takes us a long time to even be honest about what we need ourselves.

44:22 – 44:23
Yes.

44:23 – 44:29
Right? And so even just opening the door of, like, this is my typical room setup, but if it would be more helpful for you

44:29 – 44:36
or more comfortable for you, you know, I have this other seating option, or we could go outside and walk around, or we could stand.

44:36 – 44:43
It was just kind of opening the door because often we’re not honest with ourselves about what we need or what would be helpful, right?

44:43 – 44:48
We’re, we’re so used to like gridding it and just getting through, not being a burden to anybody else.

44:49 – 44:56
So putting on that lens and then just opening the door of, like, you know, I have giant fluorescent lights on, but I can also

44:56 – 44:57
turn them off and turn on lamps.

44:58 – 45:02
And I’ll have that set up and have a kid come in and say, why is it so dark in here?

45:02 – 45:04
I can turn on the bright lights, right?

45:04 – 45:10
Like, kids kids have much less shame of asking for what they need and what they want than themselves do.

45:11 – 45:13
Along the way, it is beaten out of us.

45:13 – 45:19
And so part of this is just an invitation to, like, you know, if there is something that I can do within my space to make

45:19 – 45:23
this an easier situation and a better learning experience for you, please let me know.

45:23 – 45:25
And if it’s in my power, I’m gonna I’m gonna do that.

45:26 – 45:30
And extending that that grace and kindness to ourselves as professionals.

45:31 – 45:35
You know, if I’m presenting all day, I don’t wanna stand for 8 hours.

45:35 – 45:38
My body, if I do that, and I could do that. Right?

45:38 – 45:43
Like, I could push myself to do that thing for you, and then I’m gonna spend 2 days in recovery. Mhmm.

45:43 – 45:44
And I

45:44 – 45:46
don’t think I wanna do that. Yeah. Right?

45:46 – 45:48
So can I can I sit down for part of it?

45:48 – 45:51
Can we do a movement based activity for part of it?

45:52 – 45:55
Can I lay down on the ground, put my feet up on the wall for a little bit?

45:55 – 46:01
Because then tomorrow, I’m gonna be a better version of myself than if I had not done these things for me.

46:01 – 46:10
And that doesn’t it should not deduct from my personal and professional, like, value. Yes. Yes.

46:10 – 46:14
I think something else we talked about ask and guess culture.

46:14 – 46:16
But then there’s like, like, that next step when

46:16 – 46:19
you think of diversity, equity, inclusion, and belonging.

46:19 – 46:24
That belonging part is that you don’t even have to guess or ask. I gave you the permission, right?

46:24 – 46:27
Because you’re because that’s what you did Stefanie at the conference.

46:27 – 46:31
I remember every day started with, hey, you know, learn how is best for you.

46:31 – 46:41
If you need to sit on the floor, if you want to be closer to the plug ins, if you want to get up and move, Do not feel afraid to do those things. It will not distract the presenters.

46:42 – 46:46
We want you to be able to digest the material the best way that you can.

46:46 – 46:51
And I can see someone guess culture they may not ask because they think they can’t guess the answer.

46:52 – 46:56
And someone with ask culture may not have even known to ask. Sure. Yeah. Sure.

46:56 – 46:58
I mean, I can speak for myself.

46:58 – 47:05
Like I went decades dealing with what I know now, happening for myself, not asking, right?

47:05 – 47:09
And some of that was the assumption that like, well, everyone else is dealing with this too.

47:09 – 47:12
So if they don’t need it, I shouldn’t need it, right?

47:14 – 47:16
Versus I don’t know what to ask for.

47:16 – 47:17
I don’t I don’t know what’s possible.

47:17 – 47:19
I don’t want to be told no.

47:19 – 47:20
I don’t want to be seen as a burden.

47:21 – 47:26
And so, yeah, just being able to be like, hey, take care of yourself. No. Truly, truly take care of yourself. Right?

47:27 – 47:29
This is not an empty kind of invitation.

47:30 – 47:37
And then it does help too to, like, have a couple people who did use those things, right, did accommodate themselves. It was not disruptive.

47:38 – 47:40
And sometimes it’s like, oh, you see 1?

47:40 – 47:45
It kinda gives natural permission for you to do it if you also need it.

47:45 – 47:52
Yeah. Yeah. And I think having, like, agreements at the beginning of sessions like these, I know that before, like, I have

47:52 – 47:59
a training session with my staff or even when, you know, you’re introducing yourself to a new classroom, just having those

47:59 – 48:02
group agreements to say, hey, it’s okay to do these things.

48:03 – 48:08
It’s okay to do whatever you need to do so you can show up in your best way.

48:08 – 48:14
And that makes me show up in my best way so we can do learning at the most highest level is so important.

48:14 – 48:22
And it creates that community that, you know, allows people to, you know, be their best selves in order to learn.

48:23 – 48:29
And sometimes, you know, we’re so in the mode of let’s just get this done or let’s just go through it because there was so

48:29 – 48:38
much planning that had to go through it that we’ve even forget to stop as facilitators to say, hey, let’s do these group agreements so that we can just pause.

48:38 – 48:46
And before we do all of this fun stuff, we can do the fun stuff and keep it fun as opposed to just gridding through it.

48:47 – 48:52
And Steph, I’m curious for you because you provide accommodations in the classroom. What are learning accommodations?

48:53 – 48:57
What do those look like for the children that you’re working with?

48:57 – 49:01
Yeah. I mean, it can it can look like so many different things.

49:01 – 49:10
And I think now as educators having so many tools at their fingertips, it’s not just finding a really fun video to show.

49:10 – 49:14
It’s not just getting the kids up and doing, you know, a movement break.

49:14 – 49:18
It could be like, you know, we’re gonna have stations to where some of these kids can get to play with tech.

49:18 – 49:22
We can have another station where some kids are getting to play with something sensory.

49:22 – 49:28
We can have another station where, you know, you have a creative thing where they’re just, like, literally in a box with kinetic sand.

49:29 – 49:36
I think it’s really knowing who you’re serving and who you are accommodating for. That’s the biggest thing.

49:36 – 49:43
Because, you know, there is a little bit of preplanning to make sure that you have the right tools to be able to let these

49:43 – 49:45
kids learn as best as they can.

49:45 – 49:53
And that can look like so many different things from 6 year olds, even now 4 year olds who are coming in in early TK, all

49:53 – 49:58
the way to, middle school to where they’re now learning in such dynamic ways.

49:58 – 50:06
And you need to kind of catch up to the ways that they are processing information outside of the classroom. It’s a lot.

50:07 – 50:08
And it’s a big undertaking for a

50:12 – 50:20
rise of educators who are kind of my age in that middle of the analog and the digital world to where we can actually bridge

50:20 – 50:23
those gaps into how kids are learning now.

50:23 – 50:32
I have a lot of hope for it, but that’s not to say that, you know, it it’s it’s gonna take a lot of group work in order to make it happen.

50:33 – 50:41
But I’m thankful that I work at a school that does put DEIB at the front of, you know, our learning and that, I know so many

50:41 – 50:49
educators that I work with who are vulnerable and are willing to be students themselves in order to better themselves in the classroom.

50:49 – 50:53
It’s a big undertaking, but, you know, there’s a lot of people who are dedicated to the work.

50:54 – 50:58
Well, I think that goes back to just opening the door and asking, right?

50:58 – 51:05
Whether it’s on a conference registration, whether it’s on, you know, 1st day info to parents about you as a teacher, like,

51:05 – 51:10
what accommodations might your student need, or you need. Right?

51:10 – 51:14
Whether that’s accommodation asking, for intake for new clients. Right?

51:14 – 51:19
Like what kind of accommodations might be helpful for you to get the most out of our time together?

51:20 – 51:27
Because if we don’t ask, we don’t open that door, it’s a lot harder for them to have to like do that first step.

51:27 – 51:33
Yeah. Absolutely. Well, these were all such amazing topics, I think, that we have brought up.

51:33 – 51:40
And as we do here in Happiest Pod, we are always asking questions and we are not afraid now to ask those questions.

51:40 – 51:42
I’m not gonna be afraid to ask questions now.

51:42 – 51:49
But, a light ending on a lighter note, before we wrap up, can you tell us, Marie, a little bit about what we can expect from

51:49 – 51:59
your upcoming play therapy in 2025, anything you’re excited about, and any advice or info for those listeners who are interested in attending.

51:59 – 52:02
Sure. Yeah. So, yeah, we’re back at it.

52:02 – 52:06
I had originally said, like, oh, maybe I’ll do this again in 2 years.

52:06 – 52:08
Like, date the, like, the last day, I was like, there’s no way.

52:08 – 52:16
There’s no way I can wait 2 years to do this again. 1, this was just was way, way too much of what I needed. 2, the relationships

52:16 – 52:21
and the connections that I saw, and we continue to have a very active WhatsApp group.

52:21 – 52:28
Those relationships are so important that I did not wanna I did not wanna delay that, any further. And so, yeah.

52:28 – 52:33
So we’re gonna do, where it’s a little hints from the first go around. Right?

52:33 – 52:35
Like, we improve each time we get to do it.

52:35 – 52:41
So it’s gonna be we’re gonna be March, 10th through 15th at Disneyland Hotel.

52:42 – 52:47
It will be 6 nights, because I wanna give a full 3 days in the park.

52:47 – 52:54
But it’ll be that integration again between days of learning, and then integrative days in the park.

52:54 – 53:00
And this year, we’ll actually have meet up times in the park to do integrated learning inside of the park.

53:01 – 53:04
So we’re very, very excited about that.

53:04 – 53:08
I’m definitely still nailing down presentations and speakers and topics.

53:08 – 53:19
And I also wanna kinda put out because there we did have, wonderful individuals who are not play therapists and have no interest in being a play therapist. Come. This this is geared towards play.

53:19 – 53:22
This does not just for play therapists.

53:22 – 53:29
So if you are a professional in the realm and would like to learn about how play impacts learning and mental health, you are

53:29 – 53:34
very welcome to join us, for this experience at Disneyland. Yeah.

53:34 – 53:41
It was I mean, you guys got to partake in some of it, but it was just it was so much more than I could have hoped it to be.

53:41 – 53:46
And it really did kinda take on a life of its own. So I’m very excited.

53:46 – 53:48
We we we are keeping it very small, though.

53:48 – 53:56
So if you are interested, do not delay in in signing up because we are only taking 50 people, because that intimacy was really, really important.

53:57 – 54:00
And it allows me to really truly be accommodating to those that are coming.

54:01 – 54:07
It’s it’s easier for me to do that with a smaller group and so that I can kind of ensure everyone is having the time that

54:07 – 54:10
I would hope for them to have. Yeah.

54:10 – 54:18
If you wanna come and experience learning, in a very different way, or you’re just a Disney adult that wants to take a professional

54:18 – 54:24
conference and, bring your family to have a vacation. Come with us. Come with us.

54:24 – 54:30
And, I’m curious if you can give us any sort of sneak peek because, the conference that you had this year, some things that

54:30 – 54:33
stuck out for me, one WAG heavy.

54:33 – 54:39
I don’t know if that’s a Maria thing or that was just part of the Disney magic or if that’s a play conference thing.

54:39 – 54:42
But every day there were stickers and there were bracelets.

54:42 – 54:46
The pixie dust was on every table regularly during the conference.

54:47 – 54:56
And then, 2, there was, like, a semi virtual booth component where, one of your sponsors, we got to watch them working in

54:56 – 55:01
their studio to create small ceramic figurines for, your sand tray.

55:01 – 55:09
And, they had some pieces that you could buy, but, for, watching them in the studio and having them just, like, sort of, like,

55:09 – 55:12
beam in and answer questions, I thought that was really interesting.

55:12 – 55:18
So are those are there other things that you could just let our listeners know to expect? Yeah. Yeah.

55:18 – 55:21
The swag is all me. I love the swag.

55:21 – 55:22
I love

55:22 – 55:30
the swag. Swag. And, you know, coming right off of like, you know, the combination of of Taylor Swift and Disney, right? So we have friendship bracelets.

55:30 – 55:34
We had lots of Disney and mental health themed kind of stickers.

55:34 – 55:44
Part of that is for me when I go to events, that I’m not hosting, I I always add a bit of element of play for myself because that is how I stay engaged. Right?

55:44 – 55:51
So if I go to a conference, so we were up in Albuquerque, which is not far from me in my state. Conference wasn’t great.

55:52 – 55:59
So I immediately set out to find an escape room to take my team, and we did an escape room one afternoon because I was like, I needed I needed something.

55:59 – 56:01
But it’s also a memento for me, right?

56:01 – 56:09
So like what I have my friendship bracelets hanging here and it’s like, Oh, remember when we were spreading pixie dust across like the parks? Like that was so fun.

56:09 – 56:12
So so the spike is neat and it will definitely be there.

56:12 – 56:14
And I have even more time now, so who knows?

56:15 – 56:21
Who knows the level of sweat that will happen? We’ve got, like, villain shirts, ideas. Like, we’ve got a whole thing.

56:21 – 56:22
Okay.

56:22 – 56:26
And then, yeah, our talk about pivoting and making accommodations.

56:26 – 56:35
We, the the women who own Mama Isles Minis, one of them became ill and was not allowed to travel to come for the conference as planned.

56:36 – 56:42
And so we we pivoted and made the accommodations, and they’re like, we we will hang out on Zoom all day, and people could

56:42 – 56:45
stop by, ask questions, see us working.

56:45 – 56:47
They got to talk with the group for a little bit.

56:48 – 56:58
So, yeah, that’s yes, and and I have even more time to, like, figure out good connections to bring in. And that’s really what it is. Right?

56:58 – 57:05
It’s those good connections, those good really I’m very, very lucky and privileged with the connections that I’ve had.

57:06 – 57:09
I’ve gotten to meet some really incredible individuals.

57:10 – 57:16
And so sometimes when I’m doing these events, it’s like, who do I know that I think the rest of you guys should know?

57:16 – 57:19
And and and just inviting them to come to the table, right?

57:20 – 57:22
Using my privileges like, well, I’m the host.

57:22 – 57:25
So I get to say, you can have a seat at this table.

57:26 – 57:28
Yeah. Using that power for good.

57:29 – 57:29
Absolutely.

57:32 – 57:35
That could be a whole another conversation with you too. Right?

57:35 – 57:42
But being able to, like, oh, I I get to hold the door open and let those important voices come to the table.

57:42 – 57:47
And sometimes that means, you know, we had planned for them to be there in person, and that didn’t work out.

57:47 – 57:50
How do we still make sure that their voices are are heard?

57:50 – 57:57
You know, and with technology the way it is right now, it’s kind of it’s kind of easier to do. Yeah. Yeah.

57:57 – 58:05
And that totally comes out. You can see the passion in what the PLAY therapy conference, like, kind of materialized in.

58:05 – 58:11
And it really did, I feel, touch every single person who attended, whether it was for a short amount of time or a long amount of time. Mhmm.

58:13 – 58:17
As not a clinician, I got so much from the session that I attended.

58:17 – 58:24
Because as you know on this podcast, me and Ariel, because we have different professions, we have a lot of similarities in what we do.

58:24 – 58:30
If you are somebody who serves other people, is a steward for, you know, helping other people get through life.

58:30 – 58:39
You are qualified to be able to come to this play therapy conference and play and fulfill yourself so that you, your bucket

58:39 – 58:47
is filled if I can throw, an education term so your bucket is filled so you can fill other people’s buckets as much as humanly possible.

58:48 – 58:53
Yeah. So if you are interested, the conference will be from March 10th to 15th, 2025.

58:54 – 59:01
You can register now at onewhope tc.org, forward slash play at disneyland.

59:01 – 59:09
So, again, that is anewhopetc.org forward slash play at disneyland. You can get registered.

59:09 – 59:13
You can, look at the frequently asked questions section.

59:13 – 59:22
And for those who are interested and want to follow for more news, you can go ahead and follow, the Instagram at a new hope

59:22 – 59:31
TC, and they will, regularly be updating, regarding the conference as well as other events that I know, you are hosting, Maria,

59:31 – 59:33
including the SIP conference that is coming up.

59:33 – 59:41
Yeah. Yeah. Yeah. And, yeah. And things like the Geek Summit, which Ariel, you were all part of and we hope to to do again. So, yeah.

59:41 – 59:46
If you have any interest in how we blend mental health and pop culture, we would love for

59:46 – 59:46
you guys to take

59:46 – 59:47
a look at us.

59:47 – 59:49
So go ahead and send us those questions.

59:50 – 59:57
If you have any at happiestpodgt for Instagram and x. Let us know, your experiences.

59:58 – 01:00:03
If you’ve got updates regarding the DAS program, you know, let us know so we can spread the word.

01:00:04 – 01:00:07
And thank you, Maria, for joining us again. Thank you. Anytime.

Media/Characters Mentioned
  • Disneyland
  • Mickey and Minnie Mouse
  • Peter Pan’s Flight
  • Grand Californian Hotel
  • Genie Plus
  • Aladdin’s Genie
  • TARDIS
Topics/Themes Mentioned
  • Ableism
  • Diversity, Equity, Inclusion, and Belonging (DEIB)
  • Dynamic Disabilities
  • Play Therapy
  • Event Planning
  • Ask Culture vs. Guess Culture
  • Imposter Syndrome
  • Disability Access Services (DAS)
  • Hospitality and Accessibility
  • Advocacy for Disability Rights
  • Play-Based Interventions
  • Educational Accommodations
  • Person-First vs. Identity-First Language

Website: happy.geektherapy.com
 | Instagram: @HappiestPodGT | Twitter: @HappiestPodGT | Facebook: @HappiestPodGT |
 | Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |
| A New Hope on Instagram: @ANewHopeTC | Facebook: ANewHopeTC |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
| GT Facebook: @GeekTherapy | GT Twitter: @GeekTherapy |
| GT Forum: forum.geektherapy.com  | GT Discord: geektherapy.com/discord |
Website: https://www.anewhopetc.org/

Previously On X-Men with Julia and Eric Lewald

May 25, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/e564453f/519c6d1f.mp3

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42: Join Ariel, Stef, and their distinguished guests, Julia and Eric Lewald—writers and showrunners of the X-Men Animated Series. This episode explores the legacy of the original X-Men series, its cultural impact, and the exciting revival with X-Men 97. The Lewalds share the challenges and joys of bringing their beloved characters to life through personal anecdotes and professional insights. Tune in for a nostalgic journey and a look at how X-Men continue to inspire and educate through themes of identity, diversity, and resilience.

Summary

Transcript

  • 00:00 Introducing Happiest Pod and Guests: Meet the hosts of Happiest Pod and their special guests, Eric and Julia Lewald, creators of the original X-Men series, as they discuss their passion for dissecting Disney mediums with a critical lens.
  • 01:02 Rediscovering X-Men’s Impact: Explore Eric and Julia’s surreal experience of rediscovering the massive fanbase and impact of X-Men years after the original series ended, leading to a resurgence of interest in the show.
  • 03:13 Family Support and Generational Connection: Discover how Eric and Julia’s family, including their children and grandchildren, have played a supportive role in their journey, bridging generational gaps and connecting with the show’s legacy.
  • 04:20 Working Together as a Married Couple: Delve into Eric and Julia’s unique dynamic as a married couple working in the same industry, exploring how their shared experiences and collaboration have strengthened their relationship and creative process.
  • 06:52 Empathy and Creativity in Collaboration: Uncover the deep empathy and understanding from working closely with a partner in the same field and how shared challenges and experiences can enhance creativity and collaboration.
  • 08:58 X-Men’s Legacy and Social Commentary: Explore the profound impact of X-Men in shaping representation, social justice themes, and fostering discussions on complex topics, reflecting on the show’s legacy and relevance in today’s society.
  • 09:42 Creative Freedom and Storytelling: Learn about Eric and Julia’s creative freedom in developing the X-Men series, balancing staying true to the original material and crafting engaging and impactful storytelling.
  • 16:23 Consulting and Continuation with X-Men 97: Discover Eric and Julia’s experience as consulting producers for X-Men 97, reflecting on the evolution of the industry and the challenges and joys of contributing to the continuation of the beloved series.
  • 25:11 Evolution of Animation Industry: Explore the changes in the animation industry over the years, from production timelines to technological advancements and the impact of social media on creative processes and audience engagement.
  • 28:28 The Art of Releasing Episodes: Exploring the impact of releasing episodes weekly versus all at once, reminiscent of the original X-Men series and the value of discussing episodes with friends and fans.
  • 31:27 Challenges of Accessing Content: Reflecting on the challenges of accessing the content in the past, such as delayed episodes on military bases and the impact of missing out on shared cultural experiences.
  • 32:01 Evolution of Show Intro: Discussing changes in show intros over time, comparing the consistency of the original X-Men series intro with the dynamic intros of X-Men 97.
  • 33:04 Budget Constraints and Creative Change: Exploring the impact of budget cuts on the final season of the original X-Men series, leading to changes in animation quality and music, highlighting the practical challenges in the industry.
  • 36:11 X-Men’s Enduring Theme: Delving into the enduring themes of X-Men, including social commentary, personal struggles, and the evolving nature of human society, emphasizing the importance of appreciating differences and striving for a better world.
  • 42:00 Time Travel and Multiverse Possibilities: Exploring the potential for time travel and multiverse concepts in X-Men 97, hinting at exciting narrative possibilities and connections to broader storytelling universes.
  • 43:45 Narrative Impact and Character Development: Discussing the impact of character narratives and sacrifices in storytelling, highlighting the emotional depth and realism that resonates with audiences, showcasing the importance of character development and impactful storytelling.
  • 47:00 Aspiring Writers’ Advice: Offering valuable advice for aspiring writers and creators, emphasizing consistency, networking, preparedness, flexibility, and the collaborative nature of the industry, encouraging aspiring creatives to hone their craft and embrace the profession’s challenges.
  • 57:00 Closing Remarks and Future Engagements: Expressing gratitude for the impact of X-Men and the joy of creative work, sharing insights on upcoming events like LA con and the uncanny experience, and inviting listeners to engage with the guests on social media.
Transcription

00:09 – 00:12
Hello, everyone. Welcome to the happiest pod on Earth. I’m Stef.

00:12 – 00:18
I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them.

00:21 – 00:21
And I’m Ariel. I use my client’s passions and fandoms to help them grow and heal from trauma and mental unwellness.

00:25 – 00:31
And I’m Julia Lewald, TV live action writer and animation, all that kind of stuff.

00:31 – 00:35
And I’m Eric Lewald, same job, same business as my wife.

00:35 – 00:37
I was just was the showrunner on X-Men.

00:37 – 00:40
And here at Happiest Pod, we dissect Disney mediums with a critical lens. Why?

00:40 – 00:44
Because we are more than just fans, and we expect more from the mediums we consume.

00:45 – 00:47
So what are we here to talk about everybody?

00:47 – 00:51
Well, as everyone heard, we have 2 exceptional guests on our podcast.

00:52 – 00:56
Big round of applause and snaps to Eric and Julia Lee Wald.

00:56 – 01:02
As they said, they are show runners, creators of the original X Men series, and we are so honored to have you on our podcast.

01:02 – 01:10
As we all know, X Men and X men 97 is a huge, huge part of the Marvel Universe and now the extended Disney Universe.

01:11 – 01:14
And we have tons to talk about, so I’m very excited.

01:14 – 01:16
Well, thank you for inviting us. This is fun.

01:16 – 01:23
Absolutely. So I’m curious, as you already know, we are going to talk about X Men, and I have seen that you’ve been going to a lot of conventions.

01:23 – 01:29
You’ve been doing free comic book day signings. Does this feel like a resurgence?

01:29 – 01:31
Does this feel like stepping back into old

01:32 – 01:33
skin? It feels surreal.

01:33 – 01:42
Understanding with good old X Men, the animated series, when it wrapped in 1997, there was no social media. There was no Google. There was no Internet.

01:42 – 01:47
We knew at the time that X Men was a big hit for Fox Kids.

01:47 – 01:49
But as far as the way it reached people, we had

01:49 – 01:50
We had no clue.

01:50 – 01:51
No clue.

01:51 – 01:51
There was

01:51 – 01:53
no interaction. We didn’t know.

01:53 – 02:00
You know, we we we wrote the scripts at home, and then we go out and we realize we start going to cons in 2017 after we put

02:00 – 02:09
out a book about the show and realized there were 100 of millions of people around the world who saw the show. I mean, it’s just crazy.

02:09 – 02:12
We go to a con and half the cosplayers were doing our show. Yeah.

02:12 – 02:16
And this was what it was not on the air, and the new show hadn’t been announced yet.

02:16 – 02:25
Wow. Wow. Okay. So this is still feels very sort of shocking and new because you’re now getting the fan interaction that you

02:25 – 02:28
didn’t before because the channels weren’t there.

02:28 – 02:30
Absolutely. Absolutely.

02:30 – 02:36
Yeah. So that was that was just it wasn’t something that was and we started feel I say feeling this at the cons well before

02:36 – 02:39
the new show came out, and so that was all about the initial show.

02:39 – 02:48
But then the new show, now it’s like, you know, we lived with this family 25, 30 years ago, and now the kids have gone off

02:48 – 02:54
and now we’re living with our grandchildren. It’s a strange double whammy.

02:54 – 03:03
Yeah. Yeah. Yeah. Actually, on that note, how is your family, you know, kind of helping you support the resurgence of your, you know, popularity?

03:03 – 03:10
Because I’m sure they were your kids, of course, were probably very small when all of this was happening, and now your grandchildren are part of it.

03:10 – 03:13
How how is your family helping in all of this?

03:13 – 03:16
Well, hopefully, grandchildren are on their way. But as far as

03:16 – 03:20
This this summer, there there there are 2 2 have been announced.

03:20 – 03:21
Yep. Yep. Yep. Yep. Yep.

03:21 – 03:22
Congratulations. But Congratulations.

03:23 – 03:30
Of our own 2. We have 2. And nieces and nephews. Our own 2 were itty bitty.

03:30 – 03:34
In fact, our second son was born October 8th, and x men

03:34 – 03:37
Came out October 31, 92.

03:37 – 03:43
So it it they they they’ve grown up as, you know, sort of with the show and with that time. So

03:43 – 03:51
More recently, when we started going to cons 7 6, 7 years ago, they they and their girlfriends and their friends would come

03:51 – 03:55
and, say at a big con like San Diego, be our support team.

03:55 – 03:57
Yes. We need them. We need those new boxes and books.

03:58 – 04:00
So, yeah, they’ve been very support very supportive. Yeah.

04:00 – 04:06
I love that. And, I mean, the reason why I asked is because I have a lot of students who help out their family businesses.

04:06 – 04:10
So I was, you know, liking to and this is the same thing, but just on a different level.

04:10 – 04:18
And I love how, you know, you can just imagine them helping you out at the Comic Con booths and, you know, passing out flyers and waiting at the table.

04:18 – 04:27
Help Exactly. And I think even going off of the topic of working in family, what is it like working together as a married couple?

04:27 – 04:35
Because I, know that as a marriage and family therapist, it can be difficult for my clients to even cohabitate with each other.

04:35 – 04:38
They couldn’t even imagine spending working time together.

04:38 – 04:40
So how’s that been for the 2 of you?

04:41 – 04:47
And I I certainly am aware of that, and I certainly know couples and families that feel that way.

04:47 – 04:54
But but the big difference for me, and I think for Eric, is I I’m born in Wisconsin, grew up in Texas, and I clogged my way

04:54 – 05:02
out to Los Angeles as a young 20 something and spent 10 years trying to break in as a writer, doing anything and everything.

05:02 – 05:06
And then the first professional job I got happened to be writing for animation.

05:06 – 05:12
I I’m happy to write for anybody or anything, but it happened to be writing for animation, and it happened to be for the Disney afternoon.

05:12 – 05:13
Happened to be next door to me.

05:13 – 05:14
And he was in

05:14 – 05:15
the office

05:15 – 05:20
next door. So we met when I was doing my passion on job.

05:20 – 05:22
This was all I’d ever wanted to do.

05:23 – 05:29
And you the same sort of way. Just you write? Writing? Writing? You’ll yep. Yeah. Alright. For sure. Yeah.

05:29 – 05:36
Yeah. Yeah. And and, well, there I mean, I think there are 2 two ways that it doesn’t drive us crazier than and you you mentioned

05:36 – 05:40
about about family therapists and people needing time away from each other.

05:40 – 05:47
One is is that our method of work tends to be, you know, we’ll sit down on our 2, workstations in our office. Mhmm.

05:47 – 05:49
And I’ll work for 4 hours, and she’ll work for 4 hours.

05:49 – 05:51
We would look up, and we’ll have lunch together, and then we’ll go back.

05:51 – 05:58
And we’ll just pretty much be in our little cocoons unless we need to discuss something and that, you know, that’s real really the case.

05:58 – 06:00
We kind of divvy up the work 5050.

06:01 – 06:10
But the the upside that that I hope you can tell your, your married clients about is the there’s a great gift to work here

06:10 – 06:21
in exactly the same job for exactly the same bosses with exactly the same frustrations as your spouse because it’s like having a war buddy. Yep. You don’t have to explain anything.

06:21 – 06:30
If I’ve had a terrible day with the executives at at Disney, she’s had to deal with the same people the same day and knows exactly what I’m talking about.

06:30 – 06:37
There’s there’s an amazing shorthand there that only comes from, you you know, shared challenges. Yeah.

06:37 – 06:44
And, you know, getting a show done, you know, in 6 months or whatever is a huge challenge, and you rely on each other and the trust builds.

06:44 – 06:51
And so so it’s really I think the war buddy thing is a gift, to a relationship, and I think everybody should try it.

06:52 – 07:00
Beautiful. So I’m hearing that there’s built empathy and compassion for each other because you directly witness what the other

07:00 – 07:02
one is having to experience as a struggle.

07:02 – 07:08
I hear some intentionality even in, like, the separation of desks, so it allows you to have creative flow.

07:08 – 07:11
But does it also make it easier for creativity?

07:11 – 07:14
Like, do you both bounce ideas off of each other during the working day?

07:15 – 07:25
We certainly do, but we’re in this kind of kind of neither fish nor fowl in that we don’t tend to work right we don’t tend to write together.

07:25 – 07:27
I will write scripts for him as a story editor.

07:27 – 07:29
He’ll write scripts for me as a story editor.

07:29 – 07:32
He was a showrunner on X Men. I wrote scripts for him.

07:32 – 07:34
We will show run a show together.

07:34 – 07:39
We will story edit a show together, But that’s what we do. That’s what I would do anyway.

07:39 – 07:43
That’s what I would do with anybody working in the same on the same show, the same job

07:43 – 07:43
Yeah.

07:43 – 07:45
Trying to get the same juices flowing.

07:45 – 07:48
Yeah. But it’s it’s different from writing partners. Right.

07:48 – 07:54
Writing partners, especially, let’s say, in sitcoms or whatever, will sit and constantly throw things at each other, and they

07:54 – 07:56
listen back and forth and back and forth.

07:56 – 08:02
And I think we’re just both very single-minded in our writing and okay. Here.

08:02 – 08:04
Here’s here’s 8 hours worth of stuff. Have a look.

08:04 – 08:08
If you see anything you don’t like, tell me and vice versa.

08:08 – 08:13
And so it’s not at all a a a you know, it’s not Abbott and Bustelo.

08:13 – 08:18
It’s it’s 2 it’s 2 separate people that are working on the same project.

08:18 – 08:24
Now in that way in that way, there isn’t a lot of continual hour after hour after hour stress.

08:24 – 08:29
There’s just occasionally looking over each other’s work and adding to it or questioning it.

08:29 – 08:30
Mhmm. Yeah.

08:30 – 08:37
I love that. I’m getting chills because as I’m watching you 2, I just see Scott and Jean right behind me.

08:37 – 08:43
And I’m like, would this be how Cyclops and Jean just do their everyday X Men stuff?

08:43 – 08:47
I mean, because they have 2 distinct roles in the team. But

08:47 – 08:48
yet they

08:48 – 08:55
come together and they Yes. They spearhead a lot of these missions and they are pretty much the ones to kind of collaborate.

08:55 – 08:58
And I love that, so I’m getting chills. Yeah.

08:58 – 09:06
I mean, on on top of that, we know that we’ve talked about how the impact of X Men has been so much more broad than we can ever imagine.

09:07 – 09:15
I know for myself, me and Ariel, we watched the show when we were younger, and we dressed up as characters throughout Halloweens.

09:15 – 09:19
And now that we are older, I have children of my own thing.

09:19 – 09:22
My my son’s like he’s 4 years old, and he’s like, X men?

09:22 – 09:26
I like X men because he’s showing me and my husband watch it every single week.

09:27 – 09:31
And there’s so many different levels of themes and character depth.

09:32 – 09:41
How do you feel about the show’s legacy in shaping that representation and even some of the really hard topics of social justice and having those really hard discussions.

09:42 – 09:44
First off, just to, again, lay the groundwork.

09:45 – 09:51
X men the animated series only exists because of 30 years of X men books that,

09:51 – 09:58
you know in 60 three. Stef Lee and Jack Kirby started it, and then lots of other writers and artists continue.

09:58 – 10:04
So they set up this really solid world to tell stories in. I mean, what a perfect setup.

10:04 – 10:12
You’ve got people that are special, but special in a scary way that it’s not unreasonable for the people around them to see

10:12 – 10:15
them as different and frightening at the same time.

10:15 – 10:20
So, you know, not all these people that are reacting against the main characters are being unreasonable.

10:21 – 10:25
It’s it’s a it’s an unusual situation full of fun and spectacle.

10:25 – 10:29
And so we were given that wonderful setup.

10:29 – 10:35
The the the thing I think we small thing we could take credit for is if you look back at the early books, the first 20 years

10:35 – 10:47
of the books, it breaks down into a couple, like, 2 basic types. 1 is kind of a a WWE professional wrestling. You know, we’ve got more power. No. We’ve got more power. No. It’s a whole no. It’s a thing.

10:47 – 10:51
Who’s gonna who’s who’s gonna overpower who by the end of the comic book?

10:51 – 10:55
So there’s that, which is kind of a natural fun thing that kids like to see.

10:55 – 10:57
You know, who’s gonna be who and who and why.

10:57 – 11:05
But the other half of it is this group of people, most of whom are kind of rejects or orphans or loners or don’t feel like

11:05 – 11:11
they fit in, and they’re they’re and they know they’re different from the society around them, and they have a found family.

11:11 – 11:11
Yes.

11:12 – 11:17
And we found that side of the writing much more interesting just because the other one’s kinda one note.

11:17 – 11:19
It’s kind of like shootouts in a western.

11:19 – 11:26
In the best action movies, it’s all about the characters and their personal lives. It’s not about the spectacle.

11:26 – 11:33
So we bent the stories a little towards the half of the books that that that looked into their mutency.

11:33 – 11:41
And that, again, that was it’s kind of a gift to us, and it wasn’t we didn’t really have a political or gender or any agenda.

11:41 – 11:43
It’s just that’s where all the drama is.

11:43 – 11:46
So we’re we’re we’re very practical people.

11:46 – 11:53
We’re frantically trying to get 13 scripts thought out, written, and finished in 5 months.

11:54 – 12:04
And and and so we we we look for where the the character moments and the drama is, and it happens to be at the center of our lead characters.

12:04 – 12:07
And that’s why when we pick the characters, we’re very careful.

12:07 – 12:11
There had been 29 people that had been X Men up until that point up until 92.

12:12 – 12:22
And we’d looked for as as varying a cast, as as diverse a cast as we could get, not out of ideology, but out of making the

12:22 – 12:24
writing easy and making the writing more effective.

12:24 – 12:32
Because if you’ve got 6 big rough guys sitting around a living room, you know, who are you gonna give the line to?

12:32 – 12:36
We wanted everybody to be as distinct from the others as possible. Mhmm.

12:36 – 12:42
When the smoke cleared, that meant, you know, 4 men, 4 women, and with various kind of backgrounds and personalities.

12:43 – 12:53
And that that was, again, a a case of self interest because that made the writing easier, quicker, and more satisfying for us.

12:53 – 13:03
And anyone who has survived puberty in adolescence has felt his, her, their own body go through bizarre changes.

13:03 – 13:04
Mhmm.

13:04 – 13:14
And the fact that x in x men, the tick is that when you hit puberty or adolescence, you may have a mutation that you don’t

13:14 – 13:20
know about, your family doesn’t know about, no one understands that you may have that, and it could turn out to be devastating,

13:20 – 13:22
good, bad, scary, but you don’t know.

13:22 – 13:30
And I think what an allegory for like I said, anybody who’s ever gone through adolescence and puberty, but also what what

13:30 – 13:41
an opportunity to to explore those feelings of of disconnect, of change, of being othered, of finding folks afraid of you

13:41 – 13:48
just because you are who you are or finding folks who don’t like you just because you are who you are.

13:48 – 13:54
Amazing in terms of what stories you can tell with that and how you can represent things with that.

13:54 – 14:05
I think so many episodes or shows actually in the nineties honed in on adolescence, and X Men was such a great amplification of that through such fantastical means.

14:05 – 14:13
I think that x men itself is so perfect to use in middle school, high school settings because everyone’s going through these

14:13 – 14:15
things in different stages, in different ways.

14:16 – 14:20
And the X Men really are so great at defining that because they are so different.

14:21 – 14:33
I’m curious to know, was there any precedent that Marvel gave you before giving you creative freedom as to Stef within these

14:33 – 14:35
boundaries or have creative freedom on this?

14:35 – 14:40
Because, like you said, there is so much content to really dive deep into.

14:40 – 14:42
Mhmm. We were really lucky.

14:42 – 14:44
Again, 1990 2. No social media. No, you know

14:45 – 14:47
No Internet. No Google. Marvel. No Wikipedia.

14:48 – 14:50
Marvel Comics was big. Marvel was based out of New York City.

14:51 – 14:54
Production was happening in Los Angeles. 2:30 on a Friday.

14:54 – 14:57
Everything shut down, and you couldn’t recommunicate until Monday.

14:57 – 15:04
But but the nice thing was, Marvel was so was small and struggling financially

15:05 – 15:05
Yes.

15:05 – 15:12
And were focused. I mean, the poor guy running the x books, Bob Harris, was our primary creative adviser, you know, he had

15:12 – 15:14
an 80 hour job just getting the x books out.

15:15 – 15:22
So he would, you know, give what attention he could to what we’re doing and be supportive and and give us notes and thoughts.

15:23 – 15:25
But Marvel was this is so odd now.

15:25 – 15:33
In 2024, they were so small and weak and just thankful that someone was putting up one of their properties on the air that

15:33 – 15:36
it they had no final say in anything. It was a Fox show.

15:36 – 15:43
And if Marvel hated the story, which, you know, 3 or 4, the ones that we got through, they really didn’t like, we just had

15:43 – 15:50
to struggle to, you know, I’m sorry, but, the folks here like it and we’re going forward with it. We’ll try to listen to you.

15:50 – 16:00
But, so it wasn’t their baby, and there really wasn’t oversight other than they really ask that we try to be true to the characters

16:00 – 16:03
and the the tone of and the the the history of the books.

16:03 – 16:07
But as Bob said, when the first day I met him, he said, look.

16:07 – 16:12
We’ve got 4 different there have been 25 years of this. We have 4 books going.

16:12 – 16:19
We have all these different timelines and all these different people switching good to bad, and who knows in the middle.

16:19 – 16:23
You pick your own way to focus these stories.

16:23 – 16:28
Because if you try to stick with Canon or try to you know, you’re gonna drive yourself crazy.

16:28 – 16:36
So so it’s it’s, you know, you guys’ story, You know you have different needs for a TV show than we have for comic books. Write your own stories.

16:36 – 16:39
Do your own thing, and we’ll try to be supportive.

16:39 – 16:43
And that was this incredible gift because, a, there was no sense of micromanagement.

16:44 – 16:49
There was no sense of frustration in fighting against the, you know, the original authors.

16:50 – 16:56
You know, we would come up with original stories and then go back through the books or reference materials and try to populate

16:56 – 17:04
them with, characters that fit our stories so that peep people that are fans of the books would say, oh, there’s this character,

17:04 – 17:08
there’s that character, and they’d feel very that we’re working within their world.

17:08 – 17:12
We tried never to make up a new character if there was one to be found in the books.

17:13 – 17:19
And I’m I’m curious. It almost sounds like it could be a full circle because now you’re consulting. Yeah.

17:19 – 17:24
As opposed to talking to somebody to consult, you are consulting.

17:24 – 17:27
So what is that shifter experience been like being on that?

17:27 – 17:29
End? Well, the fact that x men 97 is even happening

17:29 – 17:30
is one

17:30 – 17:31
of the insane. It’s

17:32 – 17:41
it’s surreal. But you’re exactly right. We went the one person that that that had some, suggestions for original show that

17:41 – 17:45
were were different from the direction we wanted to go, with Stan Lee.

17:45 – 17:52
There’s Stan all bursting with energy, full of life, always creative, but always wanting to have it be his show.

17:52 – 17:54
And it was a very different show.

17:54 – 17:58
The one the the x men he wrote in 1963 was kind of they were teenagers.

17:59 – 18:01
It was all guys, and they had a gene

18:01 – 18:02
like marble girl.

18:02 – 18:06
They had been less squamous. Like like 6 Smurfs and a Smurfette. Yeah.

18:06 – 18:11
And and they were wise cracking teenagers, and it was a very different mood.

18:11 – 18:20
The book went out of print, and when it came back in the mid seventies with Len Wein and Criss Clermont, suddenly everybody was the new characters were older. They were international.

18:21 – 18:25
They were a little bit more world weary and darker. I guess this was post Vietnam.

18:25 – 18:29
It was enough had happened in the culture that it was a very different X men.

18:29 – 18:36
And everyone agreed at the beginning of Marvel and everyone said, okay, you’re gonna be doing the darker, older, later X men.

18:36 – 18:42
But Stef didn’t wanna hear that because the one he knew was were the were the the bunches teenagers.

18:43 – 18:54
So so the point was he was 69 at the time and was trying to give us some consulting on the show and I’m 69 now and trying

18:54 – 18:56
to give some consulting to the new guys.

18:56 – 19:04
So I was painfully aware that if I didn’t watch my stuff, I could be that much out of step with what the new guys were trying to do.

19:04 – 19:09
I didn’t wanna be the curmudgeon that was wagging his finger. Well, you know, my day.

19:09 – 19:12
You know, we this is the way we did it.

19:12 – 19:17
So we were just really absolutely supportive, and Mhmm.

19:17 – 19:20
There was there was none of that of that challenge.

19:20 – 19:28
The the people doing the new show very much wanted it to be a continuation, add the same tone and the same people and the same focuses that we had.

19:28 – 19:33
So there was no, you know, culture gap that that we’d had to withstand.

19:34 – 19:39
It’s just amazing. In Hollywood, you never get invited back to the party. It’s how it works.

19:39 – 19:48
We’ve known friends who worked on shows that have been rebooted, reimagined, reenvisioned, retooled. Okay. Well, that was bye.

19:48 – 19:57
But the fact that the 2 of us and Larry Houston are on board as consulting producers is it still blows me blows my mind and

19:57 – 20:00
the fact that they are doing these in 6 of x men the enemy

20:01 – 20:03
In effect. Yes. Mhmm. Yeah. But it’s just the continuation.

20:04 – 20:11
It was such a great decision because last 5 or 6 years, we’ve been going to cons, and then every other fan would come up,

20:11 – 20:13
are they gonna do a new series?

20:13 – 20:15
And it show are are they gonna ruin it?

20:16 – 20:17
Yep. That’s my second question.

20:18 – 20:21
I want it to be the same I wanna be the same but new.

20:21 – 20:21
Yeah. You

20:21 – 20:24
know? Yeah. So so that they did that.

20:24 – 20:26
They made it the same but new. And that’s hard.

20:26 – 20:30
I think it’s harder than what we did. We had low low expectations.

20:30 – 20:37
People out here, all the entire creative cast was let go after the first 13 because they didn’t think it was gonna be successful.

20:37 – 20:46
Right. So the fact that it it, out of the gate, just blew up Fox net Fox Kids TV’s ratings Coming back for season 2, okay.

20:46 – 20:49
We’ll try 13 more episodes then okay. Let’s okay.

20:49 – 20:55
We’ll give you the so each season of x men, the animated series, was with an eye toward this is the only 13 we’re gonna get.

20:55 – 20:59
Whereas I do believe X men 97, they have they have announced

20:59 – 21:00
that They’ve announced 3 seasons.

21:01 – 21:05
3 seasons, yeah, already. That’s that’s a wonderful sort of bit of

21:05 – 21:06
It’s a good thing for them.

21:06 – 21:11
To push them. They’re nice nice making of a great big sandbox to play in.

21:11 – 21:14
Yeah. We do gig we do freelance gig workout here.

21:14 – 21:21
And so getting another season of something guaranteed is really helpful with overhead, with little children without paying for the kids and everything.

21:21 – 21:23
Yeah. My, my partner is a teamster.

21:24 – 21:32
So it’s, it says, as long as the something is shooting, and we’re always wanting a a series. Sometimes it’s a a film.

21:32 – 21:34
He does a lot of the Hallmark Christmas movies,

21:34 – 21:35
so I will

21:35 – 21:38
get lots of pictures of fake snow in July.

21:38 – 21:40
Oh my god. That’s the best. Yeah.

21:44 – 21:50
Yeah. And it seems that because you mentioned you were, you know, kind of just seeing where the next season would go back

21:50 – 21:52
then in, you know, the first series.

21:52 – 21:59
Did that kind of contribute to the nervousness and also maybe just saying we’re gonna give it all we’ve got because we don’t

21:59 – 22:01
know if we’re gonna be renewed again.

22:01 – 22:07
Like, do you think that that played a little bit and, you know, kind of just the I mean, not just the creative process, but

22:07 – 22:13
the way that you were, you know, writing, was it, you know, any at all impactful Oh, yeah. Because of the timeline. Yeah.

22:13 – 22:16
Definitely those first 13 and the next 13. Yeah.

22:16 – 22:18
You just don’t know if it’s gonna go beyond that.

22:18 – 22:24
And you as as a story editor, you he got 13 episodes each time. So that’s like, oh, yay.

22:24 – 22:30
As as a writer, I got an episode each season, and it’s like, well, that’s yay. You know?

22:31 – 22:35
But the the approach, yeah, it was definitely this may be it. This might be it.

22:35 – 22:41
And and designing so that at the end of 13 and at the end of 26, there could feel like a bit of a resolution, not necessarily

22:41 – 22:45
a perfect ending, but, okay, that that part of the story arc has been resolved.

22:46 – 22:52
And if we don’t get more, people will feel weird, like like they were left with the cliffhanger. Yeah.

22:52 – 22:52
Oh, boy.

22:52 – 22:55
Yeah. And and also the the artist, Larry, always talks about that. He said

22:55 – 22:56
Larry Houston. Yes.

22:56 – 23:05
It’s it’s a weird combination. On the artist side, really all of them were crazed X Men fans that had read every book since they were 6 years old.

23:05 – 23:09
And on the writing side, most of us had never read the X Men.

23:09 – 23:13
The the night before I got out the job, I got a call saying, you’re gonna be doing the X Men.

23:13 – 23:16
And I said, well, that’s a Marvel book. Right?

23:16 – 23:21
Because you had been hired to do a different show, but we found out that was all subterfuge. They didn’t want The

23:21 – 23:23
world to know that there could be an X Men.

23:23 – 23:23
So you

23:23 – 23:27
were expecting to walk in Monday morning to start working on show a.

23:27 – 23:31
You just Stef Sunday night, you get a call and you’re told it’s gonna be x men.

23:31 – 23:34
You’re gonna meet all the Marvel people in the morning. And Stanley.

23:35 – 23:39
And so I said, shut up and just get through them and and nod and say, oh, yes.

23:39 – 23:42
You’re gonna do a wonderful job Mhmm. And we’ll do this thing.

23:42 – 23:47
But just so that that was that was an interesting combination. The writers I mean, excuse me.

23:47 – 23:51
The artists really knew the books that were very helpful to us. Mhmm.

23:51 – 23:52
And they were the one Larry always mentions.

23:52 – 23:55
He said, I thought we were only gonna get 13.

23:55 – 23:58
It crammed everything I could into every episode, every

23:58 – 23:58
Mhmm.

23:59 – 24:02
Ex lot mutants in the background, the Easter eggs, cameo appearances.

24:03 – 24:03
So good.

24:03 – 24:05
And they just hope that we get more.

24:05 – 24:12
But, yeah, for him, since he was a fanboy, he wanted to see everything he could of that world in that first season.

24:13 – 24:20
And once we got more, he was a little more relaxed, but he’s he never lost the desire to put more and more and more and more

24:20 – 24:22
of the world, you know, into the into the stories.

24:22 – 24:22
And

24:22 – 24:26
we had you have to be careful about that. There’s a 22 minute story.

24:26 – 24:32
There’s not room for for to develop more than 3 or 4 characters in the course of the story.

24:32 – 24:36
But as far as the background goes where the where the artists have their fun, that’s wide open.

24:36 – 24:40
You know, they could they could go crazy with that if they want, and they did.

24:40 – 24:56
Well, I’m I’m curious because we’re reflecting on that creative process, some of the desires and wants and the way things sort of unfolded. How has the industry changed? Like, animation has definitely changed. Are is there quicker turnaround even?

24:56 – 25:00
I know that, like, even with social media, like, it’s hard to keep things private.

25:00 – 25:06
It’s hard to keep things confidential, to keep things on hush even though there are so many contracts in place.

25:06 – 25:10
So I’m curious, like, in what ways have things have been different, not just consulting?

25:11 – 25:14
We we had no pressure. There was no social media with, with the

25:14 – 25:15
rich for the original.

25:15 – 25:22
For the original with with hundreds of thousands of people, wanting to know what we were doing with our stories. There was 0 of that.

25:22 – 25:24
We could just write what we wanted.

25:24 – 25:27
And, so that there was that pressure wasn’t there.

25:28 – 25:36
Now with what’s happening now in our in our capacity, they they invited us and said when to come on board, say, we want the

25:36 – 25:38
3 of us to be our first audience.

25:39 – 25:41
Meaning, they rent we got to see every script.

25:41 – 25:49
And in the year 20, whatever it is now, all these animatics, which is animatics are they’re not brand new, but considering everything years ago

25:50 – 25:52
We didn’t have we didn’t have enough money.

25:52 – 25:52
Yeah. Yeah.

25:52 – 25:59
There were Yeah. Yeah. There it was you’re you’re talking about the time because, yeah, computer animation’s much quicker than hand painted.

25:59 – 25:59
Oh, yeah.

25:59 – 26:04
You know, the hundreds of thousands of hand painted cells per episode that had to be made.

26:04 – 26:10
So it would take about 9 months from the time we said, oh, we’re gonna do a beast story where he falls in love with a blind girl. Right.

26:10 – 26:13
To the time where we’d see the final product, it would be about 9 months.

26:14 – 26:14
Right.

26:14 – 26:22
And that it it was like 5 or 6 weeks to get the the the script locked, then about another 6 weeks to get the storyboard locked,

26:22 – 26:24
which was 900 or a 1000 images.

26:24 – 26:26
And all the all the model sheets, all the shapes.

26:26 – 26:30
And all the material gets sent overseas and be 4 or 5 months of animation.

26:30 – 26:35
And then finally, you know, we get to see what we what we’d imagined 9 months earlier.

26:35 – 26:40
Nowadays, of course, everything is zip zip zip is computerized. Everybody can see everything online. Mhmm. Mhmm.

26:41 – 26:49
But interestingly, we finished as I said, we had about 5 months of when we finished our first 13 episodes writing.

26:49 – 26:53
And these guys these guys had 3 years to to get the first Stef.

26:54 – 27:01
And we were a little envious that they could, you know, redo reduce things or fix things.

27:01 – 27:03
We we didn’t have time to fix mistakes.

27:03 – 27:14
But at the same time, it was a gift to us that we are under this intense time pressure because it was just we’d write a draft. It’ll go into production. We’d write a draft. It would go into production.

27:14 – 27:14
Mhmm.

27:14 – 27:20
There wasn’t second thinking. May Matt, why don’t we throw that one out and and try a slightly different take on that script?

27:20 – 27:28
It could be a different 40 pages, which we experienced some at Disney where there wasn’t the deadlines and they had incredibly deep pockets.

27:28 – 27:29
Right.

27:29 – 27:37
So I liter I remembered literally doing 8 outlines for, for a a show a show there. I can’t remember which one.

27:37 – 27:37
But

27:38 – 27:47
but by outline 5, I’ve given them everything that I could imagine, and I’m just repeating myself. Guys, just make a decision. You know?

27:48 – 27:55
So so there’s a there’s a joyful decisiveness and energy to having these tough deadlines.

27:55 – 27:57
Like, we’re having like, it’s it’s a weekly magazine.

27:58 – 27:58
Yes.

27:58 – 28:00
And a boom, boom, boom. You’re like a journalist.

28:00 – 28:10
You get it done, and you hope that your first instincts were good and that it didn’t need another month of of of pondering to come to a good story. But that was yeah.

28:10 – 28:20
As I say, looking back, however stressful it was to be under that time crunch, it was a real gift because exactly what we imagined and ended up on screen. Yeah.

28:20 – 28:22
They didn’t have time to change anything.

28:22 – 28:28
Yeah. We just talked about slowing things down versus speeding things up in, you know, the world before and the world now.

28:28 – 28:33
I know a lot of students, especially now, they’re so used to getting everything at lightning speed.

28:33 – 28:40
If they’re gonna watch a show, they’re getting all 10 episodes just dumped on them, and they could watch and binge the entire thing.

28:41 – 28:49
As a showrunner and a writer, do you think it was very helpful that Disney Plus decided to release 1 a week?

28:49 – 28:53
As of what? As of last Wednesday, anyone can binge it. It’s there.

28:53 – 28:55
All 10 episodes are available to you.

28:56 – 29:02
But for those 10 weeks when they were releasing it one at a time, that was a kind of magical throwback to the original X Men

29:02 – 29:08
series, where you had to be there Saturday morning, or you had to catch it after school, you know, on Fox Kids on a Tuesday.

29:09 – 29:14
And that gave you time to to have the episode you know, to absorb the episode.

29:15 – 29:16
And talk to your friends about it.

29:16 – 29:21
Yeah. To give you time to think about it and say, no. They didn’t do that. They couldn’t do that. They did that.

29:21 – 29:29
What’s that gonna mean to have that kind of conversation, especially with with friends and fans, that’s what that’s exciting. That’s wonderful.

29:29 – 29:40
And and, again, everybody else now can can binge it all they want, but having it released 1 at a time, I thought was very, very smart. I mean, I I enjoyed that. I enjoyed the excitement it created.

29:40 – 29:49
It’s such a different world now. I mean, you remember when you were little, there were 3 networks and Fox was just this new one starting out. There weren’t that many choices.

29:49 – 29:54
And if something was really popular, half your friends at school would have seen the thing.

29:54 – 29:56
And you on Monday, you’d be talking about it. Yeah.

29:56 – 30:02
And then you’d be you’d be asking each other you’d be looking forward to the next weekend versus now if something’s really

30:02 – 30:06
popular, maybe 3 or 4% of the kids.

30:06 – 30:11
So, you know, 2 of the kids in your class instead of 20 of them will have seen it.

30:11 – 30:18
And it’s there’s it’s just not this common culture center that it would you know, it was it was it was a it’s fun.

30:18 – 30:24
It’s hard thinking back and explaining to our kids what it was like where there was a common culture all around the country

30:24 – 30:27
and and the world eventually, you know, went because it showed everywhere.

30:27 – 30:28
Yeah.

30:28 – 30:32
That everybody knew what you’re talking about when you’re talking about the X Men.

30:32 – 30:35
The closest thing with our kids when they were younger is Pokemon. Yeah.

30:35 – 30:37
It became this world it became a worldwide craze.

30:38 – 30:40
They’d wear Pokemon shirts, and we’d be in airports.

30:40 – 30:44
And foreign kids would rush up to them, and they’d start talking Pikachu at each other.

30:45 – 30:48
My dad was in the military. He was in the navy.

30:48 – 30:50
We moved a lot around a lot.

30:50 – 30:53
Steph knows us from the the podcast and us being friends.

30:53 – 30:58
And we moved to Guam right when like X Men was in its final season.

30:58 – 31:00
And we lived on the military base.

31:00 – 31:08
And so I would get all of the episodes at least 2 weeks later because of the way the military base has for streaming right

31:08 – 31:10
there, like, what you could actually watch.

31:11 – 31:15
And so I I didn’t even know it was ending, until way later.

31:16 – 31:20
And I didn’t have anybody to sort of, like, talk about it to on the Internet.

31:20 – 31:22
And so I didn’t have a a heads up.

31:22 – 31:26
And then it was just shifting to different programming after that.

31:27 – 31:30
And I thought it was like, Oh, it’s because I’m on the base.

31:30 – 31:33
They just don’t have the new seasons yet.

31:33 – 31:35
You know, they don’t have access to that.

31:35 – 31:38
And I, you know, we came back to the states and was like, No, no, it’s over.

31:38 – 31:40
It ended for everyone.

31:40 – 31:52
It ended for everyone. Yes. And then now with the resurgence, it’s, I’ve been having conversations with my friends and my roommates, some different things here.

31:53 – 32:00
I don’t know if maybe, and please correct me if I just was a kid and didn’t pay attention that I don’t remember the intro changing.

32:01 – 32:06
I remember the intro being the same and only a few seasoned episodes having, like, a special thing.

32:06 – 32:10
Is that my childlike memory, like, pushing everything together?

32:10 – 32:14
Because in the new because in X Men 97, they change up the intro a little each time.

32:14 – 32:15
Which I think is fast.

32:15 – 32:21
Kinda cool Yeah. Depending on who’s gonna be the main person in the which which would have been way too expensive for us.

32:21 – 32:25
And Larry Houston is is is back doing the new intro for

32:25 – 32:29
the show. So the guy that did our intro is is is supervising their intro.

32:29 – 32:37
What happened is I think the first sick the first 65 episodes, so the first, in effect, 5 seasons, were which we all thought

32:37 – 32:39
was gonna be the the the finale.

32:39 – 32:42
It was the same group of people. It was the same executives.

32:42 – 32:46
It was, the opening didn’t change at all. Nothing changed.

32:46 – 32:55
But that last season when the animation looks so thin, Margaret Lesh, whose baby this is, the reason it’s on the air is because of her president of Fox Kids. Mhmm.

32:55 – 33:04
Before those last 11 were were commissioned and produced, she was eased out there at Fox and new people came on and they cut the budget in half. Yeah.

33:04 – 33:12
And I think they changed the music a little and changed the opening a little, I think simply financially because they they

33:12 – 33:17
they make more money or they’d have rights they’d have rights to the new season where they didn’t have rights to the old season.

33:17 – 33:23
So those kind of adjustments were not creative adjustments. They were fine. Like like the cheapened animation.

33:23 – 33:28
It wasn’t because the new director wanted it to be looked cheaper.

33:28 – 33:30
It was the the the money was taken away.

33:30 – 33:34
And so those last 11 were like a different little category of things.

33:34 – 33:39
The write the writers were the same, and we didn’t have to change our writing.

33:39 – 33:46
Everything in the production, our main director, our main video editor, everything about it, again, the main executive that

33:46 – 33:52
was overseeing it at Fox, all were gone and we just and it was kind of an afterthought.

33:52 – 34:00
We were prepared to to take another job because in fact, that Beyond Good and Evil, the big four parter was supposed to be the ending of the series. Yeah.

34:00 – 34:05
And then suddenly, we get this call saying, oh, no. We’re gonna do a few more.

34:06 – 34:13
And we couldn’t say no, but we lost a lot of the creative people and executives for that season.

34:13 – 34:19
And it’s it’s hard to explain to to fans why it looked different and why it sounded a little different. And Mhmm.

34:19 – 34:24
And it’s just it’s a it’s a practical thing in Hollywood. I understand. It’s not unusual. It happened to Star Trek.

34:25 – 34:30
Their last half season, the budget was, you know, cut by a third. Mhmm. You know, what do you do? Do you finish?

34:31 – 34:34
You walk away in a huff or do you, you know, you keep working? So

34:34 – 34:42
Yeah. And I I remember seeing those nuances, not in x men, but in another show that I loved, which was Sailor Moon.

34:42 – 34:48
I was noticing that their animation style changed, you know, kind of in the second and third season.

34:48 – 34:50
And as a kid, you don’t think twice of that.

34:50 – 34:54
But as you’re analyzing it as an adult, you’re like, something must have happened. And it’s very interesting.

34:54 – 34:59
I mean, I’m just happy that you all decided to push through and was like, you know what?

34:59 – 35:00
We’re just gonna finish what we started.

35:00 – 35:06
And that just totally, just speaks to the integrity and the passion that you have for the series.

35:07 – 35:14
And, you know, as we’re looking back and looking forward also, what hopes and goals do you have for the continuing seasons

35:14 – 35:22
in regarding its cultural, educational, just global impact now that we have the lens to see how the world is reacting to it?

35:22 – 35:27
Are there any sort of goals that you have in mind that you haven’t achieved already?

35:27 – 35:39
Well, if there are any goals for X Men 97, they’d probably be the same ones we had for x men the animated series, which would be, come on people. Let’s be nice. Let’s not just randomly

35:40 – 35:43
hang Xavier. Xavier’s dream. Yeah.

35:43 – 35:44
And and

35:44 – 35:49
here we are 30 years later, and good God, the world’s hair is on continues to be on fire.

35:49 – 35:53
And we frozen in time, x men went off the air 97.

35:53 – 35:59
And 25 years later, we can go back and talk about where the world was at that time, and it was ugly.

35:59 – 36:02
And here we are now, and good god, it is ugly.

36:02 – 36:09
But there has been great progress and great and great good things that have happened, but but, it’s not easy to remember that

36:09 – 36:11
to realize that in the face of all the ugly.

36:11 – 36:16
So, yeah, can we just appreciate each of those differences instead of automatically date them?

36:16 – 36:19
Yeah. Yeah. I mean, it’s it’s it’s the same kind of story.

36:19 – 36:23
I my the top writer for me is a friend from college, Mark Edens and I.

36:23 – 36:29
Mark’s, degree was in in the classics as in, you know, Homer.

36:30 – 36:34
And, you know, we’d sit down and talk and say, you know, the stories are the same. People are the same.

36:34 – 36:36
The the the crises are the same.

36:36 – 36:41
The loyalties and the the backstabbings and the and the the trust and the love.

36:41 – 36:46
It’s, you know, it’s, you know, it’s the fix improve, but human nature is human nature.

36:46 – 36:51
And we look back in the nineties and while, you know, it was Rodney King trial, the LA riots

36:51 – 36:52
Yes.

36:52 – 36:54
And and, AIDS AIDS epidemic

36:54 – 36:55
That we couldn’t use before.

36:55 – 36:57
That you couldn’t even say the word out loud. No.

36:58 – 37:03
No politician on the planet, Republican or Democrat, could come out in favor of gay marriage. My God.

37:03 – 37:05
That’d be the end of his career.

37:05 – 37:06
His career. Yeah.

37:06 – 37:14
His career. Right. So and I look back to when I was a kid in the sixties when we both fell in love with Stef Trek. There was no Star Trek.

37:15 – 37:21
You know, a, you know, a third of the people I knew, you know, were the families were disowning them because, you know, they

37:22 – 37:29
their politics were different and their religions were different and the plate the culture was cracking apart. Mhmm.

37:29 – 37:38
So this stuff this stuff is part of part of, our evolution, and it’s we hope for we we hope like Xavier.

37:38 – 37:41
We’ve got Xavier the idealist that’s still full of hope.

37:41 – 37:46
But in the end, if you notice, we’re we can’t tell Magneto to shut up.

37:46 – 37:50
We can’t say, you know, you’re you’re a villain. You’re wrong.

37:50 – 37:58
You’re you’re and and my favorite part of of writing x men was deciding to focus on the fact that these two people with completely

37:58 – 38:03
different ideologies were it was a bromance that they were the best friends.

38:03 – 38:05
They were like a like a married couple.

38:05 – 38:08
That that was the central part Mhmm.

38:08 – 38:11
Of them struggling through life, doing what they both felt was important.

38:11 – 38:19
Yeah. I I think you’re really touching on the fact that, you know, humans have patterns and we tend to repeat them. Right? We repeat history.

38:20 – 38:32
I also think, that there’s a line in one of the episodes, from the animated series, where Storm is like, a skin based prejudice. How quaint.

38:33 – 38:37
No. Skin based prejudice. That’s so pathetic. It’s almost quaint.

38:37 – 38:39
It’s almost quaint. Yes. Quaint.

38:39 – 38:45
Yeah. Yeah. But that was a result of traveling back in time and To the fifties. To the fifties. Yes.

38:45 – 38:47
And you can look at that through the lens.

38:47 – 38:50
If you’re a kid watching the show, it’s you don’t even catch it.

38:50 – 38:54
You’re just going, these people are kinda punky, and they came in the back in the past.

38:54 – 38:57
And And they did like Storm because he was black. Like, I don’t know why.

38:57 – 38:59
I don’t know why that, but she looks like a weird person, so that must be it.

38:59 – 39:01
And then as you get up, no. No. No.

39:01 – 39:05
It’s because, you know, different skin color with Bishop and Chard and oh my god.

39:05 – 39:07
That’s what they were that’s what the show was talking about.

39:07 – 39:11
By the way, that was that was that was my my favorite episode ever was one man’s worth.

39:11 – 39:12
The 2 parter.

39:12 – 39:15
It’s a 2 parter where they go back. And the 3 or 4 reasons.

39:15 – 39:20
But the hardest part of my job, we had wonderful people writing, including by dear wife.

39:21 – 39:30
And so once we had come up with a good, really solid kernel for a story idea out of the 1,000 we could have told and convinced

39:30 – 39:33
everybody that it was a good story, Marvel and Fox and whoever.

39:33 – 39:37
And our censor, our wonderful censor, Avery Coburn, who had to approve everything.

39:37 – 39:42
That handing it off to one of the writers, I knew I’d have end up, a month later with something really pretty good.

39:42 – 39:50
But coming up with a different but consistent story 76 times was the hardest part.

39:50 – 39:54
And so when one would come to you, it’s, oh my god. That’s a perfect x men story.

39:55 – 39:59
That was that would happen about once every 6 months. Yeah. That that I have one more.

39:59 – 40:01
And one man’s worth was that to me.

40:01 – 40:04
It was like, we both love, It’s a Wonderful Life.

40:04 – 40:08
We both love the Star Trek episode, sitting on the edge of forever. Yeah.

40:08 – 40:13
And each of them, the core idea is one person makes a difference.

40:13 – 40:14
Yeah. Yes.

40:14 – 40:17
And, look, all of history Mhmm. In one per

40:17 – 40:23
So Eric came up with that idea and expanded it out and pitched it to Bob Harris at at Marvel Comics. And

40:24 – 40:24
And Bob loved it.

40:24 – 40:26
Bob loved it. That’s a really good idea.

40:26 – 40:34
And so we’re telling I’ll share with you Marvel took that, and that spun into the age of apocalypse series for them. Wow.

40:34 – 40:38
But the original idea was Eric’s one man’s worth for the for the TV show.

40:38 – 40:45
Now TV animation has a lot of cooks in the kitchen, and time travel stories are tricky. So rather than

40:45 – 40:48
That one took us months to get everybody to sign off on. Okay.

40:48 – 40:53
Then they go travel out in the future and then the past, in the future and the past and yeah.

40:53 – 40:59
But so by the time it got to the storyboard stage, the folks at Marvel Comics had already

40:59 – 41:06
drawing we’re drawing the freeze of apocalypse, and so we use some of their their drawing in our show.

41:06 – 41:07
In those episodes.

41:07 – 41:09
And so It went back it went back and forth.

41:09 – 41:18
Yeah. But so people assume that’s where One Man’s Worth came from, but I’m telling you that’s where Age of Apocalypse came from. It came from One Man’s Worth. So that’s just one of those.

41:18 – 41:25
But but you often say very generously, we’re here because of x men, the books, and the fact that something like that you created

41:25 – 41:29
was was able to contribute to the books themselves is It

41:29 – 41:35
was nice to be able to give it back because we took so much so many of the highlights from what they’ve done over 30 years

41:35 – 41:36
and used them for our own stories.

41:37 – 41:43
The fact that they could take this nugget from us and build something special for them, that was that was very gratifying.

41:43 – 41:43
Yeah.

41:43 – 41:50
Okay. And, spoiler alert. This is my spoiler alert for anybody who has not finished watching X Men 97.

41:50 – 41:54
This is your chance to pause and come back at this exact time stamp.

41:55 – 42:00
This is, again, another full circle thing because it looks like we’re doing time travel again.

42:00 – 42:07
And interestingly enough, in connection with, like, Disney in the multiverse, this might even be an opportunity for multiversing.

42:07 – 42:12
Plus, there’s time traveling because it’s still taking place technically in 1997. Yeah. Yeah.

42:13 – 42:16
You caught that, did you? Yeah. Yeah. Hey. No.

42:16 – 42:25
The fact that, I got to write, Daisy Future Past part 1 for season 1 of the 2 parter, with which introduced Bishop, And I

42:25 – 42:27
think that was the first time travel episode

42:28 – 42:28
Yeah.

42:28 – 42:35
In the series. If used sparingly, it’s such a a great way to sort of expand out on a story.

42:36 – 42:40
Now we can all you’re saying the multiverse, and we can also

42:41 – 42:41
Yeah.

42:41 – 42:50
Time travel. But good old morph in the pie in the 2 part opener, he supposed to stay dead, and he stayed dead for the first 13 episodes.

42:50 – 42:53
And that was thanks to Margaret Lesh, thanks to Avery Coburn.

42:53 – 42:57
Allowing us to have a lead character have a heroic sacrifice.

42:57 – 43:03
That’s what it was. It was heroic to prove that the stakes are real, to prove Yes. That things have consequences.

43:03 – 43:11
Then when you got tapped to come back for season 2 of X Men, and it’s like, it’s a big hit. We’d like you to come back. Yay. But one problem.

43:11 – 43:19
We had a focus group with a bunch of 9 year olds and asked them who their favorite character was from that first season. Morf won by a landslide.

43:21 – 43:24
So they said, is there any way you can bring him back? Please.

43:24 – 43:26
But you’ll notice he doesn’t come back through time travel.

43:26 – 43:32
He comes back as a result of mister Sinister pulling him aside Yes. And messing really messing with him.

43:32 – 43:40
Thank goodness. Because one of the one of the many restrictions placed upon us by the the sensor was stating that if if he

43:40 – 43:42
gets killed, it has to be off screen. Just that.

43:42 – 43:45
And so that gave us this opening to have him.

43:45 – 43:51
Well, he’s oh, so he was so something Sentinels blasted him, and everybody felt like he was dead

43:51 – 43:52
Yeah.

43:52 – 43:57
And which was an incredibly intense moment, and most of the fans bring up to us.

43:57 – 44:06
But if we wanted to bring him back, we could say something happened very quickly off screen and explain that mister Sinister

44:06 – 44:08
had been up to but we hadn’t planned that whole sinister thing.

44:08 – 44:12
That was that was a way to bring morph back.

44:12 – 44:19
So that’s the reason that the whole second season started that way was because we needed an elaborate excuse for bringing

44:19 – 44:23
back to life somebody that we had really were sure sure was dead.

44:23 – 44:24
And it wasn’t time travel.

44:24 – 44:25
It wasn’t time travel.

44:26 – 44:30
Yeah. Leave it to the 9 year olds to really lay it off these decks.

44:30 – 44:32
You know, and they can be as truthful as possible.

44:33 – 44:43
I mean, to be fair, watching Gambit made me feel like a 9 year old, and I I felt that same, like, lump in my throat watching it. Mhmm. And I Mhmm.

44:43 – 44:51
As a mother of 2 very young kids, I watch x men 97 on my phone after the kids have gone to sleep because I cannot turn on

44:51 – 44:53
a TV without them being like, mommy, what are you watching?

44:53 – 44:58
And here I am in my feelings. Just like, goodness. What is happening?

44:58 – 45:07
So I’m I’m glad that you you were dedicated to that because that impact makes the show, the characters so real and so visceral. Yes.

45:07 – 45:15
There’s all kinds of as the joke is, there’s all kinds of yellow spandex and big things blowing up, but everything about x

45:15 – 45:20
men is, you know what I mean? It’s it’s about the character. It’s about the individual character.

45:21 – 45:26
And each of the individual X Men and there’s a it’s a large team once you start trying to write for everybody.

45:26 – 45:30
Each of them has his or her own genuine sorrow.

45:30 – 45:35
And I often say if rogue and Wolverine could swap powers, they’d both be really happy.

45:35 – 45:38
He would not touch people and he’d go live in the woods. He’d be fine.

45:38 – 45:43
She could touch people, but not, not have to skewer them. She’d be fine.

45:43 – 45:50
So the thing that defines each of them as their own kind of most amazing mutant is each one of them their own greatest personal sorrow

45:50 – 45:51
That that weighs on them.

45:51 – 45:52
That weighs on them.

45:52 – 45:52
And I

45:52 – 45:59
think Yeah. It it you can say the same you can say that about all of them, including good old Scott Summer Cyclops, the the

45:59 – 46:02
most clear eyed board thinking he he can’t take off his glasses.

46:02 – 46:05
He can’t he there’s something always between him and you.

46:05 – 46:09
I mean, any one of them, you can say you can pull it apart like that. So yeah.

46:09 – 46:17
Yeah. I I think even, like, Stefanie, you talking about, your son. Right? We’re talking about layers of acceptance.

46:18 – 46:25
He’s he’s only 4, and he already felt the world say that he can’t do something because he’s too small. And that was so heartbreaking.

46:25 – 46:27
He couldn’t get on a ride at Universal.

46:28 – 46:34
Not allowed. On his birthday. Yeah. On his birthday, he was 1 inch too short to ride the Mario Kart ride.

46:34 – 46:39
And he was the sorrow and devastation, you know, you know your kids’ cries.

46:39 – 46:44
And the cry that they had was something that I’m not used to seeing every day.

46:44 – 46:52
So those are real emotions and, you know, real things and just pausing to acknowledge that that’s a real thing.

46:52 – 46:59
And, you know, even though we can just embrace those feelings, we can always look forward to, you know, what’s to come.

47:00 – 47:02
And, you know, that just makes us stronger.

47:02 – 47:10
There’s so many learning points in X Men, which I love so much because as an educator, we can pull so much to as a mirror

47:10 – 47:13
for a lot of these kids to just look at themselves and their struggles.

47:13 – 47:19
How they can, you know, not make certain mistakes and how they can process it in the way that is right for them.

47:19 – 47:25
The way that we’re speaking through our own personal experiences and the people we work with, we really are grateful for the

47:25 – 47:29
love and dedication that you have for the series, because it shows. Yes. It absolutely shows.

47:30 – 47:35
It was it it it remains our one of our favorite, if not our favorite jobs. You know?

47:35 – 47:36
And we’ve worked on a lot of shows.

47:36 – 47:44
But for those years before we started prior to 2017, it held a special place in our hearts, and we were dedicated to it.

47:44 – 47:48
But the rights had fallen apart and had been sold off piecemeal.

47:49 – 47:49
Yes.

47:49 – 47:55
And there was no sort of general celebration of X Men like there were celebrations of Batman, the animated series

47:55 – 47:56
Or Stef Trek.

47:56 – 48:02
Or Star Trek with Paramount. And I really thought we were like wandering around in the woods, just shouting, anyone remember X Men?

48:02 – 48:02
You know?

48:03 – 48:11
And so for those years when it was kind of just us on our own going, anyone remember to be able to come in at in 2017, 2018,

48:11 – 48:20
and sort of discover that for ourselves, that there are people out there who embraced it and continue to embrace it, That’s that’s been spectacular. That really has been.

48:20 – 48:24
Before we close out, I would just like one sentence each from you.

48:25 – 48:32
What advice would you give aspiring writers and creators who are inspired by, you know, your journey?

48:32 – 48:41
Okay. This thing here and the thing that we’re communicating with, this was Stef Trek little magic, but when I was trying to claw my way in.

48:42 – 48:48
And Larry Houston, at conventions, anywhere a young artist comes up to him, you know, I said, did you have a chance to draw something today?

48:48 – 48:51
Did you get out a pencil or a pen and just doodle on some paper?

48:52 – 48:54
And if you wanna be a writer, you’re you are a writer.

48:54 – 48:58
You but you gotta put it on you gotta put it down.

48:58 – 49:02
You gotta you gotta put it on paper or you gotta put it on the screen.

49:02 – 49:04
Finish things and show them show it to people. It’s hard.

49:04 – 49:08
It doesn’t have to be a whole novel. It can be a comedy sketch. It can be a monologue.

49:08 – 49:11
It it doesn’t have to be a lot, but it’s a muscle you have to work.

49:12 – 49:18
And you have so many opportunities now to let other folks see what your art is, see what your craft is.

49:18 – 49:21
You can have your own, you know, YouTube site.

49:21 – 49:23
You can have your own web page for that matter.

49:24 – 49:26
Don’t wake up and say, I have to write 200 pages today.

49:27 – 49:28
Or if that works for you, do it.

49:28 – 49:32
But, but don’t put that kind of pressure on yourself to do what we do.

49:33 – 49:33
This is

49:33 – 49:34
more than one sentence, but

49:34 – 49:36
It’s okay. It’s good.

49:36 – 49:49
They’re writing at least in for, for projects, let’s say in Hollywood, there are a lot of different cubbyholes that writing can fall into. You got live action. You got animation. You got you got new media.

49:49 – 49:51
You got all these different and within that, you got hour length

49:51 – 49:52
Games.

49:52 – 50:00
Video games. You you got and then you got audio. You got hour length. You got half hour. You got dramedy. You got comedy. You got drama.

50:02 – 50:06
And each one of those has a kind of specific sort of script format. I can say that.

50:06 – 50:10
So if there’s something you wanna write, find out what else is happening in that arena.

50:10 – 50:14
Get your hands on as many scripts as you can to see what those scripts look like.

50:14 – 50:20
And you are already farther ahead than I was when I first drove out here because that kind of access was not available.

50:20 – 50:28
Give me 2 real quick examples. I mean, the basic the sentence is if you if if you wanna write, just do it as much as you can. You’re just gonna get better.

50:28 – 50:28
Yes.

50:28 – 50:31
And don’t worry about it. And don’t worry about being bad.

50:31 – 50:36
Almost everybody’s, you know, the the Shakespeare stuff you read is probably starting in his 12th year.

50:37 – 50:39
You know, it’s not the stuff he started in high school.

50:39 – 50:43
It’s, you know, the early stuff was a struggle and he was finding his voice or whatever.

50:44 – 50:46
Just write and write and write and write.

50:46 – 50:54
If you write or if you draw, when an opportunity arises, like, the day I gotta call my neighbor out here.

50:54 – 50:58
They’re hiring new new writers at Hanna Barbera because they got a huge order for for new scripts.

50:59 – 51:02
He said, do do you have something I can show to my boss?

51:02 – 51:05
I said, well, yeah, I’ve got about 10 years worth of it here. You know?

51:05 – 51:13
It’s it’s a few a few thousand pages worth. What do you need specifically? Okay. It can’t be too long. Okay. It needs to be short. It needs to be funny.

51:13 – 51:15
It doesn’t need to only need to be animation. Okay.

51:15 – 51:21
So so the the 2 hour film war goes over here and the 1 hour drama goes over here and the mini series goes over here. Okay.

51:21 – 51:26
And I dig out 1 of 2 sitcom, little short sitcom scripts I’ve written.

51:26 – 51:32
She got it into the head of Hunter Barbera. She probably read 3 pages. Thought, well, this guy’s okay.

51:32 – 51:34
We will let him pitch to us.

51:34 – 51:43
But that one magic moment where somebody read 3 pages of what I’d written Out of all that I’d written over 10 years, it took

51:43 – 51:48
the 10 years of writing to get good enough that those three pages got me into to a job.

51:48 – 51:57
And so you have to keep doing it even if you don’t even if you have perhaps no immediate hope other than a naive hope, imagination,

51:57 – 52:01
that what you’re doing is gonna get produced. Yeah. That’s not why you do it.

52:01 – 52:02
You do it because you love to write the story.

52:02 – 52:08
And and also, network among your friends, network among your your support team.

52:08 – 52:18
He his neighbor knew he was he want was a writer wanting to break into writing more, and an opportunity came up, and the neighbor let you know. I had several friends.

52:18 – 52:20
They invited me to join a softball team.

52:20 – 52:24
I am not a softball team person, but I it was a fun summer.

52:24 – 52:35
But there, one of my friends introduced me to one of her friends who at that time had already been working at Disney. You wanna write you wanna write? Well, we do animation over here. You wanna yep. Yes, please. Yes, please, and thank you.

52:35 – 52:39
So let folks know if that’s what if that’s what you aspire to.

52:39 – 52:40
And and be flexible.

52:40 – 52:41
Be very flexible.

52:41 – 52:46
Neither one of us imagined at all that we would write for animation when we came out here at all.

52:46 – 52:46
Okay.

52:46 – 52:48
Movies. She loved the

52:48 – 52:49
Live action.

52:49 – 52:49
Live action.

52:49 – 52:51
Comedy. Mhmm. Yeah.

52:51 – 52:57
So it just happened that the first two jobs that became available were that, and we discovered that it was something we had

52:57 – 52:59
a feel for and that we were good at.

52:59 – 53:06
That’s a a lot there’s I’m really hearing a lot of advice columnist recently saying, following your passion can get you into

53:06 – 53:12
trouble because you could have a passion for being, you know, one of the the 4 people that writes for Stephen Colbert, and

53:12 – 53:15
there are only 4 of those jobs available. Yeah.

53:16 – 53:23
Have a try a hundred different things and find something you’re really good at. The peep oh my, hey. That was really funny.

53:23 – 53:29
I mean, now with with with with cell phones, you can do a you can do a movie on your on your iPhone.

53:29 – 53:36
Try try Stef, show it to people, let it crash and burn 7 or 8 times, but you find something, you’re good at that, then it

53:36 – 53:40
can become your passion because it’s something that people wanna pay you for and give you a job.

53:40 – 53:46
And in the kind of writing that you and I each do, realize too, it is very collaborative. Mhmm.

53:47 – 53:50
You you can I love I love to write poetry?

53:50 – 53:53
I love to write, you know, short pieces, you know, years ago.

53:53 – 53:57
And and that’s what I guess what I’m saying.

53:57 – 54:04
There are a lot of people you have to, work with in the in the production of a thing. So so be prepared.

54:05 – 54:11
Be be prepared to be a diplomat and come up with 3rd alternatives, which, you know, where you thought something was absolutely

54:11 – 54:13
perfect, and the other person is like, I can’t live with that.

54:13 – 54:16
I’ve got this other idea, and you can’t live with that.

54:16 – 54:19
And you sit down and you negotiate and you find the perfect thing in the middle Mhmm.

54:19 – 54:21
That might even be better than the first thought you had.

54:22 – 54:32
So be prepared to listen and revise the people you’re working with because, you know, the joy of writing poetry for yourself, that’s a single thing. Nobody’s giving you notes on it.

54:32 – 54:38
But the idea that you’re a professional writer and people are paying you lots of money to People

54:38 – 54:39
are paying you money.

54:39 – 54:45
Are paying you a living a living wage to write stories, which is a pretty amazing thing. That is amazing.

54:45 – 54:49
You need to respect the fact that, well, they have they have an ear too.

54:49 – 54:59
And, it’s their money or it’s their network or it’s it’s their artwork, and you need to come together and and find the the alternative that makes you all happy.

54:59 – 55:07
That that is that is a learned skill, and there’s some wonderful writers that never learn it. It’s fine. They can publish on their own.

55:07 – 55:09
They can self publish, and that’s cool.

55:09 – 55:11
Yes. That’s available to people.

55:11 – 55:14
A place like Hollywood is so collaborative.

55:14 – 55:21
It’s it’s it’s scary, and the people that do best are the ones that listen best and, you know, teamwork.

55:21 – 55:24
And it’s it’s it’s it’s tough on your ego sometimes.

55:25 – 55:31
And and, you know, you have to see Stef left out that you thought was was your best stuff. Old.

55:31 – 55:34
But if the next morning, you’re still getting paid to write stories.

55:36 – 55:40
Okay. So, Steph, I think what I heard and let me know if this is what you heard.

55:41 – 55:47
Consistency, just making it a regular practice to write or draw, whatever creative endeavor.

55:47 – 55:50
It does involve practice and purposeful practice.

55:50 – 55:54
I’m hearing networking, and networking isn’t just for strangers.

55:54 – 55:56
You need to tell your friends and your family.

55:56 – 56:00
You need to let everyone know this is a thing that I wanna do and hear what it looks like.

56:01 – 56:07
I think I’m also hearing preparedness, and preparedness means if you’ve been practicing, you have something to give.

56:07 – 56:12
It also means prepare yourself to receive feedback and prepare yourself to have collaboration.

56:13 – 56:18
So be willing to to have that flexibility. Is that what you heard? Flexibility.

56:18 – 56:24
We say in the education world, know when to step back and know when to step forward.

56:24 – 56:29
And I think being able to have that flexibility just opens up more doors to you.

56:29 – 56:33
And even though some of those doors close, it’s not the end of the world, which is part of the compatibility.

56:34 – 56:37
But thank you so much for your wisdom, so much of your insight.

56:37 – 56:39
This has been such an amazing talk.

56:39 – 56:43
I wish it could last forever, but I know we have things to do today.

56:44 – 56:52
But, you know, like I said, earlier, it is such an honor to have you both and have all of the years of your expertise and

56:52 – 56:58
just you grinding it out, you know, because it really does translate into our professions too.

56:59 – 56:59
Yes. Yes. It does.

56:59 – 57:02
I’ve taken a lot of nuggets. I’m sure our listeners will.

57:02 – 57:11
And, yeah, hopefully, we will see you at maybe Comic Con if you’ll be there next, because I know we will be, or wherever else you may be.

57:11 – 57:14
LA con in October, if you come by LA con.

57:14 – 57:18
That’s Minnesota of all places, and that’ll be know. My god. You’re getting

57:18 – 57:26
1, girl. The the uncanny experience. They have a unique thing where it’s it’s it’s a totally x men thing, and they rent out

57:26 – 57:29
a 7 story old 190 8 Yes. Gentlemen’s club

57:29 – 57:29
It’s

57:29 – 57:31
and turn it into the x mansion.

57:31 – 57:40
Last year was their premier, event, and we get got to attend that, and it was it was amazing. And they’re doing it again. So if anybody We

57:40 – 57:41
will be back.

57:41 – 57:43
It was remarkable. It was really remark.

57:43 – 57:45
So, yeah, those two things for sure.

57:45 – 57:47
Was it can we say uncanny?

57:48 – 57:52
It and it was an experience. It was an okay experience.

57:53 – 57:55
Alright. Well, thank you again for coming on the episode.

57:55 – 57:57
We really appreciate having both of you.

57:57 – 58:05
Well, listeners, if you would like to connect with, Eric and Julia, you can find them at x mentas.com.

58:07 – 58:16
That is also their Instagram handle, x men t a s. So go ahead and, DM them. Show all the love.

58:16 – 58:17
If you if you

58:17 – 58:18
Oh there you go! There you go!

58:18 – 58:19
I like that. yeah

58:19 – 58:30
Share all the love. DM us and let us know about your, thoughts of the animated series and, your thoughts on how to use x men in educational therapeutic settings.

58:30 – 58:35
Please, DM us at happiestpodgt, both Twitter and Instagram.

58:35 – 58:38
I guess Twitter’s named X now, so we can say X men Twitter.

58:38 – 58:41
Oh, there you go. Yeah. There you go. I like that. Yeah.

58:41 – 58:41
Yeah. Okay.

58:41 – 58:42
Thank you.

58:42 – 58:42
Thank you.

58:42 – 58:43
Buh bye!

58:43 – 58:44
Bye bye. Thanks Stef

Media/Characters Mentioned
  • X-Men: The Animated Series
  • X-Men 97
  • Marvel Universe
  • Charles Xavier
  • Cyclops (Scott Summers)
  • Jean Grey
  • Wolverine
  • Storm
  • Beast
  • Gambit
  • Rogue
  • Professor X
Topics/Themes Mentioned
  • Legacy of X-Men: The Animated Series
  • Cultural and social impact of the series
  • Resurgence and revival with X-Men 97
  • Creative process and challenges in animation
  • Working dynamics as a married couple in the industry
  • Representation and diversity in media
  • Educational applications of X-Men themes
  • Consulting on new series and maintaining original tone
  • Evolution of the animation industry
  • Fan interactions and convention experiences

| Website: happy.geektherapy.com |
| Instagram: @HappiestPodGT | X: @HappiestPodGT | Facebook: @HappiestPodGT |
| Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |
| Eric and Julia on Twitter: @xmentas | Eric and Julia on Instagram: @xmentas|
| Eric and Julia on Facebook: @xmentas | | Website: https://xmentas.com/ |
| Book 1: https://amzn.to/3yJTQOo | Book 2: https://amzn.to/3UvScYf |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
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Welcome to The Happiest Pod on Earth! On the Geek Therapy Network we believe that the best way to understand each other, and ourselves, is through the media we care about. On this show, we focus exclusively on Disney!

Hosted by Stefanie Bautista and Ariel Landrum!

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