Therapist Reacts to PRIDE AND PREJUDICE - VoiceTube: Learn English through videos!

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Jono: Even though the culture and the practices are so far removed from our modern society,
there's still a lot here that is completely timeless and universal,
like the quest for individuality, the quest for deciding who you want to be with
or what you want to be in your own life.
In an era where people very much accepted their place and accepted their role
and would let others walk on them, she wouldn't.
This sets him on a journey towards growth and self improvement.
It's not to win her. Like, he hopes it will, but it's really like, This is what needs to be done.
Megan: The name of the movie is Pride and Prejudice.
Those are the two kind of defining traits of our main characters.
And here you see them come with complete humility and you see such a shift.
And that's why this story works.
Jono: There's a difference between, It was all for you so that you would be with me
and, It was all for you because I love you.
And that's what real love is, is I want you to be happy.
And whatever form that takes, I want that for you because you matter to me more than myself.
It can be unhealthy to put someone instead of yourself, but before yourself can be a very beautiful thing.
And there's a difference.
Alan: Welcome to Cinema Therapy.
I'm Alan Seawright, professional filmmaker who needs therapy.
Jono: I'm Jonathan Decker, a licensed therapist who loves movies.
And joining us today is our wonderful producer - Megan.
Producer / writer. Why is Megan with us today, Alan?
Alan: Well, because this is a film about a whole just group of sisters.
Jono: Also... Megan: And I have those. Many of them.
Jono: You love all things Jane Austen, is my understanding.
Megan: Yeah. I'm a big fan of Jane Austen. She's one of my favorite authors.
Jono: Awesome.
So in... I think, our very first Twilight episode. Alan: Yeah.
Megan: You guys mentioned that, like, why does it work for Pride and Prejudice
and why does it not work in Twilight. Jono: Yes.
Megan: The whole, like, enemies to lovers thing.
Jono: And that he's rude to her and puts her down and stuff like that,
which is what Edward does to Bella. And we hate Twilight, but we love this.
So what's the difference? Yeah. Megan: Yeah. I.
Alan: Snooty British accents.
Right-oh...
Jono: There's a lot here that even though the culture and the practices are so far removed from our modern society,
there's still a lot here that is completely timeless and universal. Alan: Yeah.
Jono: Like... Like the quest for individuality, the quest for deciding who you want to be with
or what you want to be in your own life.
Megan: A lot of what she does is social commentary very specific to that time period,
but a huge amount of it is just social commentary about human relationships and interactions.
Jono: Yeah.
Megan: And we can watch Pride and Prejudice and go, Oh, I know someone just like that.
Alan: Lisa's Popcorn, get this week's flavor.
It's White Chocolate because this is the whitest movie ever.
Jono: I would say, because it's timeless and elegant.
Alan: And white.
Jono: In the club.
Alan: One of the things that I really love about this adaptation
is that I how Joe Wright, the director, shot everything to feel alive
because so much of what we get with Regency historical British drama is
it's a very staid and proper and boring, and it didn't feel that way to the people at the time.
It felt like this. Felt noisy and loud and hot and sweaty and...
Megan: Well, you get the chaos, you know, they're not super upper crust,
so you get just kind of the chaos of life. Alan: Yeah.
Megan: And I love that.
Jono: There's a great frame right here. Alan: I love this.
This is one of the all time great character introductions ever in film.
They come in, they're dark and silhouetted against this light and life and noise.
Elizabeth: And the person with the quizzical brow?
Megan: It tells you so much about the characters, like the three characters that we're being introduced to
and the entire world that they're stepping into by seeing how everyone else reacts to them,
and the way they react to everyone else.
Alan: And Elizabeth spitting fire lines.
Jono: The sister on the left is straight out of Mean Girls. Look at her.
Not her, but the... ...Darcy's...
Alan: Bigley's... Bingley's sister. Yeah. Jono: Yeah.
Alan: All the performances are fantastic.
Matthew Macfadyen, looking at Keira Knightley
and having the correct response to seeing Keira Knightley in a ballroom full of people.
[Darcy status: 102 - processing]
Sorry, Megan. She's very pretty.
[Alan error 400: Bad request]
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Alan: Even from creepers like Mr. Collins.
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so we can watch more movies and TV shows.
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including more from Regency England.
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Jono: Oh, that roguish Mr. Wickham...
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Alan: 10,000 a year?
Jono: You heard right. Shall we go for a jaunt?
Alan: They've got 24/7 support and a cookie pop-up monster.
[Internet Dads error 410: Gone]
Oh, no. Have you no compassion for my nerves?
It's a cookie pop up blocker.
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Get Surfshark VPN at Surfshark.deals/cinematherapy
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Alan: cinematherapy.
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Alan: Thanks Surfshark for helping us attend more balls.
Jono: Watch more movies...
Alan: Watch more movies.
Jono: Alan and I, we were roommates in college, as you all know.
Gasp, I never would have guessed.
Jono: We would go see action movies and we would watch 24 with Jack Bauer
and we'd go see The Transporter with Jason Statham. And then this comes out.
And it's kind of like in Tommy Boy when that song comes on
and it's this sweet, romantic song and they're like...
Richard: Talk about lame.
Totally: Totally.
♬♬ Far away ♬♬
Totally: You can change it if you want.
Richard: I don't care. It's up to you.
Totally: I can live with it if you can.
Richard: Suit yourself.
♬♬ I'm in love with you ♬♬
The boys: ♬♬ Don't you remember ♬♬
♬♬ You told me you loved me, baby ♬♬
And I don't know how we got there, but it was like very gently testing the waters
because I wanted to see it and I think... but I didn't want Alan to think I was lame.
I was totally playing it like, This is going to be just a way to score points with women. Alan: Right.
Jono: And then I think we couldn't get dates.
Alan: We couldn't get dates that weekend and we're like, So we're just going to go anyway, right? Jono: Yeah.
We're just two dudes.
Alan: The theater was like 75-80% women.
Jono: When you and I went to see Pride and Prejudice,
and then afterwards just, like, talked about it for a couple of hours.
Alan: When we were walking out, we were the most effusive.
You know, all the women in the theater were like, Oh, I enjoyed that. That was a nice adaptation.
We're like, Are you kidding? It was so great! What an amazing film!
And like the performances and the music and, like, did you see...
Oh. The adaptation was so good, too! Remember this part in the book?
I know they didn't have that, but they had this.
Alan: And we're just like freaking out. Jono: We were just like, I love love, love is the best.
And so at that point, I'm like, Yeah...
I think this is more than just your standard, like, two guys being friends.
Alan: Yeah, this is definitely a movie bromance.
Elizabeth: Do you dance, Mr. Darcy?
Darcy: Not if I can help it.
[Elizabeth error 417: Expectation failed]
Megan: Her look, oh my gosh...
Alan: This 100% mirrors Megan and my first meeting,
except I was Elizabeth Bennet.
Megan: And I was definitely Darcy in this situation.
Mrs. Bennet: [...] and so much in love with her that I was sure he would make her an offer.
However, he did write her some very pretty verse...
Elizabeth: And that put paid to it.
I wonder who first discovered the power of poetry in driving away love?
Darcy: I thought the poetry was the food of love.
Elizabeth: Of a fine, stout love, it may.
But if it is only a vague inclination, I'm convinced one poor sonnet will kill it stone dead.
Darcy: So what do you recommend to encourage affection?
Elizabeth: Dancing.
Even if one's partner is barely tolerable.
Megan: So I love that they really lean into her sarcasm and kind of cutting wit.
Alan: And just this... The shot where she walks away and it carries her all the way out the room. Oh!
Jono: He's following her, he's still watching her.
Alan: Still watching her the whole time.
Megan: And you see her facial expression change because she can be sarcastic and cutting to him.
Jono: Yeah.
Megan: But then when she walks away, you see her kind of change to like,
Oh, that was, like, that hurt a little bit. There's,
Alan: There's the little smile, and then there's the, Maybe that was too much.
Megan: Her pride was wounded by what he did.
And so you just get a little hint of both of those things coming out as she's walking away.
Jono: Well, one thing I love about Elizabeth Bennet that I think really speaks to people today is
her family is looked down on for, you know, not having as much wealth
or because her mom is extremely eccentric, maybe...
Alan: Her dad's eccentric in a different way. Jono: Yeah.
Alan: And none of these are proper... the proper ways for the gentle folk to behave.
Jono: They're a rowdy family.
I mean, they actually remind me quite a bit of my family and what it sounds like your family.
And so people look down upon them. And what I love about Elizabeth is she's not having it.
You know, that in a in an era where people very much accepted their place
and accepted their role and would let others walk on them, she wouldn't.
Which for Darcy is intriguing because on the one hand,
he's repulsed by where she comes from because of his breeding.
Breeding.
Jono: And propriety and manners and all these things. Alan: Yeah.
Jono: But on the other hand, he can't help but be drawn to her spirit
because he's never met a woman like that.
Alan: I do really quickly want to tell the story of how Megan and I met.
There was... there was a little gathering. I had just moved into a new apartment.
You had just gotten back from... Megan: My study abroad.
Alan: A study abroad in Austria. I spot Darcy from across the room and I go...
You were sitting on the couch.
And I go plunk down next to you and like try and chat you up.
I don't even remember what I said. Megan: I don't either.
Alan: But you know, I try to say something and she turns and looks at me.
And do you remember what you said to me? Megan: I have no idea.
Alan: She turned and looked at me and said,
Well, nice to meet you. My friends are over there. I'm going to go talk to them.
She got up and walked away and after enjoying the view of her walking away, I...
I promptly just went, Well, that was interesting.
Megan: And I'm not trying to be rude, but it's just like I'm just shy.
And so that's how I came across.
Jono: Did it... Did it register to you as shyness or did it register to you...
Alan: To me? Jono: Yeah.
Alan: It registered to me as her taking the gantlet off and slapping me in the face with it.
I demand satisfaction. Ow...
Darcy: Do you talk, as a rule, while dancing?
Elizabeth: No.
No. I prefer to be unsociable and taciturn.
Makes it all so much more enjoyable, don't you think.
Alan: The dialog is so great. But just the way this is shot, this is one long shot.
With incredible camera choreography, focus choreography,
because they're moving backwards and forwards, towards the camera.
In fact when you met us, we just had the pleasure of forming a new acquaintance.
Darcy: Why do you ask such a question?
Elizabeth: To make out your character, Mr. Darcy.
Darcy: And what have you discovered?
Elizabeth: Very little. I hear such different accounts of you [...]
Alan: Slow pushing.
Darcy: I hope to afford you more clarity in the future.
Megan: The first cut in the whole scene.
First cut in the whole scene. And...
Pride and Prejudice did it better than Twilight, kids.
Because here you have the combination of an obvious level of attraction,
but also they don't know what to make of each other.
And so they're just caught in this moment together trying to sort out everything they're feeling and thinking. And...
Jono: So, one reason why this works better than Twilight.
When Darcy is rude and standoffish to Elizabeth, she doesn't just pursue him all doe eyed. Alan: Right.
Jono: She's she gives... Alan: She gives as good or better than she gets.
Jono: Yes. And... Megan: She calls him out.
Jono: Yes. Megan: She calls him out when he's being a jerk.
Jono: And whereas Bella is pretty much instantly on board with, I'm in love with him
and I'm going to make this happen. Elizabeth is like, What's this guy's deal?
Darcy: Why do you ask such a question?
Elizabeth: To make out your character, Mr. Darcy.
Darcy: And what have you discovered? Elizabeth: Very little.
Jono: And part of the reason she stays in his orbit, like, only a small part, I would say, is attraction.
I mean, it's definitely there.
But the larger part is because she's not going to be bested by him verbally,
which I'm not saying is a great way to run your life or relationships in real life.
It's far better to not worry about having the last word and just to let things simmer down.
But I do like the backbone of Elizabeth,
where one of the reasons she sticks around is he's more like a puzzle box, you know?
Megan: Well, at the very start, she's talking about, like, basically her perception of men, but he's not quite that.
He fits into some of her perception, but not all of it. And so she's trying to figure out.
Jono: It reminds me of a line in Firefly.
Inara: Why are you so fascinated by him?
Shepherd: Because he's something of a mystery.
Why are you?
Inara: Because so few men are.
Jono: I think Elizabeth's just trying to figure this guy out.
Darcy: I have struggled in vain, and I can bear it no longer.
These past months have been a torment.
I came to Rosings with a single object of seeing you. I had to see you.
I fought against my better judgment, my family's expectation,
the inferiority of your birth, my rank and circumstance,
all these things that I'm willing to put them aside and ask you to end my agony.
Elizabeth: I don't understand. Darcy: I love you.
[Elizabeth error 422: Unprocessable entity]
Darcy: Most ardently.
Please do me the honor of accepting my hand.
Elizabeth: Sir, I... I appreciate the struggle you have been through
and I am very sorry to have caused you pain. Believe me, it was unconsciously done.
Darcy: Is this your reply?
Elizabeth: Yes, sir.
Darcy: Are you... Are you laughing at me?: Elizabeth: No.
Darcy: Are you rejecting me?
Elizabeth: I'm sure that the feelings, which, as you've told me, have hindered your regard
will help you in overcoming it.
Darcy: Might I ask why, with so little endeavor at civility, I'm thus repulsed?
Elizabeth: And I might as well inquire why, with so evident a design of insulting me,
you chose to tell me that you like me against your better judgment?
Darcy: No, believe me, I didn't mean... Elizabeth: If I was uncivil, then that is some excuse!
But I have other reasons, you know I have.
Darcy: What reasons?
Elizabeth: Do you think of anything might temp me to accept a man who has ruined, perhaps forever,
the happiness of a most beloved sister?
Do you deny it, Mr. Darcy?
Megan: You can see he didn't even realize...
Elizabeth: You separated a young couple, who loved each other,
exposing your friend to the center of the world for caprice,
and my sister to its derision for disappointed hopes.
And involving them both in misery of the acutest kind.
Darcy: I do not deny it.
Elizabeth: How could you do it?
Darcy: Because I believed your sister indifferent to him.
Elizabeth: Indifferent?
Darcy: I watched them most carefully and realized his attachment was deeper than hers.
Elizabeth: That's because she's shy.
Darcy: Bingley, too, is modest and was persuaded she didn't feel strongly for him.
Elizabeth: Because you suggested it. Darcy: I did it for his own good.
Elizabeth: My sister hardly shows her true feelings to me.
I suppose you suspect that his...
Alan: Plays it so small, but it's so evident
Darcy: [I wouldn't] do your sister the dishonor, though it was suggested... Elizabeth: What was?
Darcy: It was made perfectly clear that an advantageous marriage...
Elizabeth: Did my sister gave that impression?! Darcy: No.
No, there was, however, I have to admit, the matter of your family.
Elizabeth: Our want of connection?
Mr. Bingley didn't seem to vex himself about that. Darcy: No, it was more than that.
Elizabeth: How, sir?
Darcy: It was the lack of propriety shown by your mother,
your three younger sisters, even, on occasion, your father.
Alan: Thunder...
Darcy: Forgive me.
You and your sister I must exclude from this.
Elizabeth: And what about Mr. Wickham?
Darcy: Mr. Wickham?
Elizabeth: What excuse can you give for your behavior towards him?
Darcy: You take an eager interest in that gentleman's concerns.
Elizabeth: He told me of his misfortunes.
Darcy: Oh, yes, his misfortunes have been very great indeed.
Elizabeth: You ruined his chances, and yet you treat him with sarcasm.
Megan: It's interesting that this is the first time they push in that close on their faces.
Darcy: Thank you for explaining so fully.
Perhaps these offenses might have been overlooked had not your pride been hurt... Elizabeth: My pride?
Darcy: ...by my honesty in admitting scruples about our relationship.
Could you expect me to rejoice in the inferiority of your circumstances?
And those are the words of a gentleman.
From the first moment I met you, your arrogance and conceit,
your selfish disdain for the feelings of others,
made me realize that you were the last man in the world I could ever be prevailed upon to marry.
Alan: More thunder.
[Connection error]
They're both... I love the way they play that!
Darcy: Forgive me, madam, for taking up so much of your time.
Jono: She's like, What am I feeling?
Alan: Even at the end of all that, wait...
Megan: The beginning of the scene is the first time that he appears vulnerable in any way.
He's let his guard down. He's always been so aloof, so removed.
And here he comes.
And just even his facial expression, the fact that his hair's all messy.
Alan: They're both sopping wet, like they've had, you know, the protective armor of their breeding.
Breeding
Alan: And the coiffure and everything is, like, stripped away and it's just the two of them raw.
Jono: We get locked in our own perspective as the perspective.
And so his thinking is inferior birth, inferior family, yet I can't help but love her.
She's probably going to be delighted that I would stoop lower than my station
and that I would pull her up to mine.
Alan: Yeah. she's going to be thrilled.
Jono: She's going to be so excited.
Turns out when you insult her family and tell her that she's from an inferior class
and you're going to condescend to be with her, she doesn't take that as a compliment.
Darcy: Could you expect me to rejoice in the inferiority of your circumstances?
Elizabeth: And those are the words of a gentleman.
Megan: She'll be the first to recognize it, Yeah. My mom does stuff she shouldn't.
My younger sisters are ridiculous, but especially when he says something about her dad.
You can see her face, like, that is too far. That is too much.
And she's going to jump in and defend her family.
And you can see her get defensive there.
Jono: Yeah, absolutely. I don't know the exact words, but basically you got offended because I was honest.
Your pride caused you to become offended by my honesty.
Megan: You can be honest in a way that's not insulting.
He was very insulting to her in the way that he he said those things to her.
Jono: Speaking whatever you're thinking isn't a virtue if what you're thinking needs to be checked.
Here's another big reason why this works and Twilight doesn't,
is because Edward really doesn't come out of his own perspective
until maybe like almost towards the very end of the last story.
You get a tiny little bit of that.
But almost the entire time Edward is just locked into my way of doing things.
I'm going to protect you. I'm going to lie to you. I'm going to own you and I'm going to control you.
And here she pushes back. And you see this... You see, like you were saying, Alan,
in the acting, you see paradigm shifts happening.
Jono: You see like four in the scene. Alan: Sure. Yeah.
Jono: Right? Where these pivots are happening.
Alan: They're big, yeah. And they're usually punctuated by thunderclaps.
Jono: Yeah. Alan: Good job, Joe wright.
Megan: But also their facial expressions, like, you can see when they've said something that really hits
and they're go, Oh I didn't know that about myself. Alan: They have... they have very clearly...
Jono: Yeah.
Alan: Yeah. And the actors and the director have very, very clearly put in the work
to get that scene on its feet and find those beats,
is generally what we call them, like, emotional beats in a scene.
I don't know if you guys notice this, there are two shots in that entire scene. Jono: Yeah.
Alan: There is one shot on Darcy and there is one shot on Elizabeth Bennet. Jono: Yeah.
Alan: And he gets close.
It's not a different shot, they just walk the cameras in.
Jono: The paradigm shifts happen, especially in Darcy,
where he's thinking, My actions are justified. My intentions were to protect my friend.
Your sister didn't seem like she was that into him, so I basically split them up
and Elizabeth's like, No, she was super into him and she would have been happy and now she's miserable.
And like you were saying, Megan, like, you could see in his face, I made a mistake. Alan: Oh no, I did a terrible thing.
Jono: When he sees that his words, how they land with her so differently than he anticipated.
And this is one thing I love about Darcy is for all the pride that he has,
I mean, they both have a lot of pride, there's humility there as well,
because when he gets called out on his stuff, not immediately. He doesn't immediately...
I mean, he apologizes, but...
Megan: But in that scene, they both get pretty defensive and worked up about it. But...
Jono: But they don't fall into each other's arms, even though the sexual chemistry is there.
But this sets him on a journey towards growth and self improvement.
Yeah, he spends the next year making everything right behind the scenes
without telling anybody about it. Yeah.
Alan: It's awesome. Jono: Yeah.
Megan: And without any expectation. Alan: Yeah.
Megan: It's just he took to heart what she said and went, I'm not the man I thought I was. Jono: Yes.
Megan: And I need to fix that.
Jono: And like you're saying, it's not to win her. Like he hopes it will,
but it's really like, This is what needs to be done.
Alan: Well, he very explicitly, constantly is trying to have her not find out that he's doing it.
Lydia: Don't tell anyone. He told me not to tell
Elizabeth: Mr. Darcy? Lydia: Stop it, Lizzy.
Jono: Yeah. Alan: Which that's... That's integrity. That's great.
Jono: Yeah. So this is after he's spent the past year being better and fixing everything.
And she's so happy for her sister and happy for her life.
And everything is a lot better. And she's realized that he was doing it.
Alan: This looks like confidence and swagger from an actor,
but this is confidence and swagger from a filmmaker and a composer. Megan: Yeah.
Alan: I'm going to sit on this long ass, boring shot,
and I'm going to let Dario Marinelli make you fall in love with this man.
Megan: Well, I don't think we even have the whole thing. I don't think we started at the very beginning, did we?
Alan: I cut off a few seconds of it, maybe.
Megan: But it is... it is a long, long shot.
The score is just phenomenal.
Elizabeth: I couldn't sleep.
Megan: And then he gets to her, and he looks so humble after that, like, swagger walk.
Darcy: How could I ever make amends for such behavior?
Elizabeth: After what you have done for Lydia, and I suspect for Jane also,
it is I who should be making amends.
Darcy: You must know. Surely you must know it was all for you.
You are too generous to trifle with me.
I believe you spoke with my aunt last night and has taught me to hope
as I had scarcely allowed myself before.
If your feelings are still what they were last April, tell me so at once.
My affections and wishes have not changed.
But one word from you will silence me forever.
Megan: I love that he's not trying to force it.
He says, I'll respect your agency here and what you want.
Darcy: If your feelings have changed,
I would have to tell you.
You have bewitched me, body and soul.
And I love, I love, I love you.
I never wish to be parted from you from this day on.
[Connection established]
Elizabeth: Well, then.
Your hands are cold.
Megan: I love that that's her response.
Alan: High iconic shots.
Megan: The name of the movie... of the book is Pride and Prejudice.
And those are the two kind of defining traits of our main characters
throughout a good chunk of the story.
And here you see them come with complete humility and say, I'm sorry for the mistakes I've made,
like, I'm trying to fix it. Here's how I'm trying to fix it.
Just coming to each other, like, both what they're saying and the way they're expressing it to each other.
Just complete humility in how they approach each other.
And you see such a shift. And that's why this story works.
Jono: There's a difference between, It was all for you so that you would be with me
and, It was all for you because I love you.
And that's what real love is, is I want you to be happy
and whatever form that takes, I want that for you
because you matter to me more than myself.
And people... it can be unhealthy to put someone instead of yourself.
But before yourself can be a very beautiful thing. And there's a difference.
Alan: This is a good movie. I like it a lot.
Mr. Bennet: Good Lord...
Jono: She's talking to her dad, who thought that Darcy was a jerk.
And now he's confused because...
Alan: She's just explained how much he paid to get Lydia kinda...
Elizabeth: [You mustn't tell] anyone. He wouldn't want it.
Alan: ...off the hook.
Elizabeth: We misjudged him, Papa.
Me more than anyone in every way, not just in this matter.
I've been nonsensical.
He's been a fool about... about Jane, about so many other things,
but then, so have I.
You see, he and I are...
He and I are so similar.
Alan: Such an interesting choice to be on a zoom lens
and kind of creeping in and out slightly.
Mr. Bennet: You really do love him, don't you?
Elizabeth: Very much.
Megan: I love how he does the same hand gesture that she just did.
You know, in in the book, especially in the movie a bit,
we see that they have a really close relationship.
Mr. Bennet: It seems I am overruled.
So, I heartily give my consent.
Jono: In some cultures and in some circles you still ask for the father's blessing.
And some would say that's an archaic tradition and sign of the patriarchy and should be done away with.
And I'm not going to argue that point, but I will say in this context, it's so beautiful.
Alan: It's lovely.
Jono: You know, he just wants her to be happy.
Megan: And especially if you contrast this scene at the end with the scene earlier
where her mom is trying to marry her off to Mr. Cullen.
Mr. Bennet: Your Mother will never see you again if you do not marry Mr. Collins.
I will never see you again, if you do.
Megan: I'm not going to send you off to be miserable for your life
because I care too much about you.
Jono: One thing that jumped out at me, just as a movie fan,
is how gorgeously shot this entire film is.
There's a scene where Keira Knightley is just on a on a cliff, just pondering.
And, I mean, there's nothing going on there. She's standing on a cliff pondering.
And I'm just so swept up in it, you know?
Megan: Yeah. A lot of it, I think, is the cinematography, but it's also the music. Alan: Yeah.
Jono: The palette in this entire film, everything is so rich, is the word that comes to mind.
Maybe I'm so used to seeing sad, depressing modern films with a blue filter on everything.
Alan: It's partially a warm color palette. A lot of it is just the richness and life.
A lot of that is the art department going to those places and packing them full of things,
lots of growing things. There's a lot of plants, there's animals, there's there's life, there's mud.
We don't live in pristine palaces where everything is, you know, measured out with a ruler.
And people back then didn't either.
Jono: Why does this work, when Twilight doesn't?
One, in Twilight Edward is supposedly... he's arrived on the scene perfect.
And therefore he doesn't really change or evolve throughout the entire series. Alan: Yeah.
Jono: And he talks down to Bella and he tries to control Bella.
And there are similarities between how Darcy starts and how Edward stays.
Alan: Yeah.
Jono: But, but the biggest difference is Bella just kind of puts up with it for a lot of the time,
and then she pushes back a little bit and her character grows and evolves.
But a lot of it is just accepting as wonderful Edward mistreating her,
whereas Elizabeth never puts up with it, she always pushes back.
And the only time, I mean, she's definitely attracted to Darcy,
but she doesn't fall in love with him until he changes. Megan: Yeah.
Jono: And their relationship is not going to work
until she lets go of her pride and he's going to let go of this prejudice.
And they both arrive with humility and it happens over a long period of time.
So the changes are realistic and believable.
Darcy evolves. That's, that's why it works.
Alan: And both of them, their perceptions of each other evolve. Jono: Yeah.
Alan: Darcy... Darcy changes, but it's not a huge change.
Jono: He has the same values at the beginning and at the end.
What he drops is, My perspective is the right perspective. Period. Alan: Yes.
Jono: So until next time...
Alan: So what do you recommend to encourage affection
Megan: Dancing, even if one's partner is barely tolerable.
Jono: Which are only to be obtained through intercourse.
[thunder]
Forgive me.
Through the intercourse of friendship or civility.
Internet Dads & Co: And... Watch movies!
Bingley: Oh, it's a disaster, isn't it?
It's been... It's...
Miss Bennett.
Darcy: Mr. Bingley.