Unraveling the Layers of The Princess Bride: A Cinematic Analysis
This episode is dedicated to the late Rob Reiner, the esteemed director of "The Princess Bride," whose untimely death marked a profound loss in the world of cinema. We delve into the intricacies of this beloved film, examining its unique narrative structure, which interweaves a fictional story with a heartfelt familial bond. The episode scrutinizes the film's themes of love, sacrifice, and the often overlooked depth of its characters, particularly in the context of traditional fairy tale tropes. As we reflect on the contributions of both Reiner and screenwriter William Goldman, we acknowledge their unwavering commitment to storytelling that resonates with audiences on multiple levels. Join us as we explore the enduring legacy of "The Princess Bride" and the impact of its rich narrative on contemporary cinema. The discourse delves into the cinematic masterpiece 'The Princess Bride,' a film that encapsulates the quintessence of storytelling through its unique blend of humor, adventure, and romance. It commences with a poignant tribute to director Rob Reiner, whose untimely demise in December 2025 casts a shadow over the celebration of his work. Reiner's commitment to storytelling and his ability to evoke genuine emotions in audiences are explored, emphasizing the warmth and wit that characterize his directorial approach. The episode intricately examines the film's layered narrative, beginning with the framing device of a grandfather reading to his grandson, which serves not only to engage the audience but also to highlight the significance of storytelling in our lives. The discussion navigates through the film's iconic moments, articulating how these instances resonate with viewers, thereby establishing 'The Princess Bride' as a beloved classic that transcends generations. Throughout the conversation, the hosts dissect various themes, including the complexities of love, the nature of heroism, and the significance of choice, culminating in a multifaceted analysis that invites listeners to reflect on their own interpretations of the film.
Takeaways:
- This episode pays tribute to the late director Rob Reiner, whose contributions to cinema are significant and lasting.
- The Princess Bride, a film adapted from a fictional book, artfully combines various genres and storytelling styles.
- The podcast explores the complex character arcs and emotional depth of the film's protagonists, particularly Wesley and Inigo Montoya.
- Rob Reiner's commitment to preserving the integrity of the story is evident in his directorial choices and casting decisions.
- The discussion highlights how the film critiques fairy tale conventions while simultaneously engaging with them, creating a layered narrative experience.
- The episode emphasizes the importance of love in its many forms, showcasing how storytelling serves as an act of love and connection.
Transcript
Millennial Moving Mob.
Speaker A:Cute.
Speaker A:The lights.
Speaker A:Let it roll.
Speaker B:Yeah.
Speaker A:We're diving in it all, every frame, every job.
Speaker A:Breaking it down with the Mob Film analysis.
Speaker A:Yeah, we go deeper.
Speaker B:Hello and welcome to Millennial Movie Mob.
Speaker B:I'm your host, Amanda Blossom, and today we're talking about the Princess Bride.
Speaker B:I am dedicating this episode to Rob Reiner.
Speaker B:And because I gen do not know how to talk about a movie without spoiling it, you have been warned.
Speaker B:Okay, before we do anything else, before the jokes, the trivia, before I tell you about Andre the Giant's giant bar tab, which is genuinely one of the funniest things I have ever read, I need to stop for a second.
Speaker B: ,: Speaker B:He and his wife Michelle were found stabbed to death in their home in Los Angeles.
Speaker B:Their son Nick has been charged with two counts of first degree murder.
Speaker B:It was a violent, devastating, completely senseless end to a life that gave so many people so much joy.
Speaker B:And I could not in good conscience do a whole episode celebrating this man's work without acknowledging that first.
Speaker B:So this episode is dedicated to you, Rob Reiner.
Speaker B:We're going to talk about him a lot today because he deserves it.
Speaker B:And I think the best way I know how to honor somebody who spent his entire life making stories that made people feel things is to talk about one of those stories.
Speaker B:So in the spirit of the man himself, let's get into it.
Speaker B:We are talking today about a movie based on a fake book abridged by a fake editor who invented the fact that he was abridging it for a son who found it boring.
Speaker B:And somehow, somehow this became one of the most beloved films of all time.
Speaker B:That's the Princess Bride.
Speaker B:Make it make sense.
Speaker B:And look, I have to open with this quote because it is perfect and it is the thesis statement of the entire film.
Speaker B:Since the invention of the kiss, there have been five kisses, rated the most passionate, the most pure.
Speaker B:This one left them all behind.
Speaker B:That's the standard the book sets for itself in the very first chapter.
Speaker B:But it comes at the end in the film, and then it actually clears the bar.
Speaker B:I don't know how, but it does.
Speaker B:All right, who made this and why does it work?
Speaker B:Let's start with the people who made this movie, because understanding them is understanding why it works.
Speaker B: irected this is spinal tap in: Speaker B: And then Misery in: Speaker B:That is one of the most insane creative runs in Hollywood history.
Speaker B:Six iconic films in eight years across completely different genres.
Speaker B:Mockumentary, coming of age drama, fantasy adventure, romantic comedy, psychological thriller, legal drama.
Speaker B:The man had range that most directors spend their entire careers trying to find.
Speaker B:And what ties all of those movies together is exactly what his friends said about him after he died.
Speaker B:Warmth, wit, and an absolute commitment to stories that make you feel something real.
Speaker B:His friends, Billy Crystal, Martin Scorsese, Albert Brooks, Larry David, put out a statement when he died that said there was no other director with his range and that he was always at the top of his game.
Speaker B:They also said he and Michelle devoted their lives to making things better for other people.
Speaker B:They fought for early childhood education.
Speaker B:They fought for marriage equality.
Speaker B:They fought to overturn Proposition 8 in California.
Speaker B:He was a filmmaker who also genuinely believed in something outside of filmmaking.
Speaker B:Los Angeles Mayor Karen Bass called it a devastating loss for the city and the country.
Speaker B:Gavin Newsom said his boundless empathy made his stories timeless.
Speaker B:He was 78 years old and he deserved more time.
Speaker B:I'm just going to say that plainly now.
Speaker B:The Princess Bride, specifically.
Speaker B:Reiner made this movie because he loved the book.
Speaker B:Loved it.
Speaker B:And when he got the chance to direct it, he fought for it.
Speaker B:Producers wanted to cut the framing device, the grandfather reading to the sick grandson, the whole story within a story, conceit.
Speaker B:And Reiner said no.
Speaker B:He backed William Goldman up and kept it in.
Speaker B:Without that fight, without that instinct, the movie is a different movie, probably a worse one.
Speaker B:He also cast Fred Savage because he saw him eating pizza somewhere.
Speaker B:Did not audition, just looked at this kid eating a slice and went, yep, that's the kid.
Speaker B:That's very much a Rob Reiner thing to do.
Speaker B:And during the Billy Crystal scenes, which we'll get to, he cried, laughing so hard that he ruined the audio and had to physically leave the set more than once.
Speaker B:He was not a detached, clinical director watching from behind a monitor.
Speaker B:He was in it genuinely delighted the whole time.
Speaker B:One more thing about Rob Reiner and this movie that I can't stop thinking about.
Speaker B:The Princess Bride is set at Christmas.
Speaker B:There's a Santa decoration in the grandson's bedroom.
Speaker B:There's a decorated bush visible in the hallway.
Speaker B:There's snow outside and lights on the neighbor's house.
Speaker B:The book the grandfather brings is wrapped in Christmas paper.
Speaker B:Princess Bride is arguably a Christmas movie.
Speaker B:Rob Reiner died on December 14, so I don't know what to do.
Speaker B:With that information, I'm just going to put it out there and let it sit.
Speaker B:He also hated the shot of Buttercup crossing the bridge on a horse because there's a lens flare in it.
Speaker B:Said it takes you out of the movie, makes you aware of the camera.
Speaker B:He's not wrong.
Speaker B:But Rob, it's also kind of charming.
Speaker B:We're going to let it breathe.
Speaker B: iam Goldman wrote the book in: Speaker B:He is a two time Oscar winner.
Speaker B:Butch Cassidy and the Sundance Kid and All the President's Men.
Speaker B:And he coined the phrase nobody knows anything about Hollywood, which remains the most accurate thing anyone has ever said about Hollywood.
Speaker B:The origin story of the Princess Bride is incredibly simple and I love it.
Speaker B:Goldman had two daughters and one said, write me a story about a princess.
Speaker B:And the other said, write me a story about a bride.
Speaker B:So he did the Princess Bride and that's it.
Speaker B:That's the whole thing.
Speaker B:He also fought alongside Reiner to keep the framing device in the movie when the producers wanted it gone.
Speaker B:Both of them understood that the grandfather and the grandson aren't just a cute wrapper around the story, they are the story.
Speaker B:The whole point is that this is a fairy tale being told by someone who loves you to you in a moment when you need it.
Speaker B: Goldman passed away in: Speaker B:We lost two of the people most responsible for this film's existence in the last few years.
Speaker B:And I think it's worth sitting with that for a second before we get to the fun stuff.
Speaker B:The book.
Speaker B:Yes, there is a real book and I read it.
Speaker B:Okay, so I read the book.
Speaker B:I read the 30th anniversary edition specifically, which includes a bonus chapter called Buttercup's Baby.
Speaker B:We will get there, do not worry.
Speaker B:First, the whole thing of the book is that Goldman is claiming to have abridged a much longer historical novel by a fictional Florinese author named S. Morgenstern.
Speaker B:He presents himself as the editor, not the author.
Speaker B:As a kid, his father read him the good parts of this book and he loved it.
Speaker B:So he tracked it down as an adult and gave it to his own son who found it incredibly boring.
Speaker B:And so Goldman claims to have cut all the boring parts and given us just the adventure.
Speaker B:The good parts version.
Speaker B:It is fictional, all of it.
Speaker B:Morgenstern made it up.
Speaker B:The full novel is made up.
Speaker B:Goldman wrote the whole thing and then invented a fake history for it, which is already extinct.
Speaker B:Extremely meta.
Speaker B:And then the movie is based on that book.
Speaker B:So we have a movie about a made up book.
Speaker B:From a made up editor who made up that he abridged a made up book.
Speaker B:Layers, people.
Speaker B:The story has layers.
Speaker B:What does this book do better than the movie?
Speaker B:All right, let's get into it.
Speaker B:Inigo and Fezic get full backstories, and I mean full.
Speaker B:We're talking origin stories.
Speaker B:Inigo's father, Domingo Montoya, was a master craftsman who made the most beautiful swords in the world.
Speaker B:When Inigo was 11, a six fingered man commissioned a sword from his father.
Speaker B:The most challenging design he'd ever attempted.
Speaker B:When it was finished, the six fingered man decided the price was too high and killed Domingo.
Speaker B:Rather than pay it, Inigo watched his father die.
Speaker B:He dedicated his entire life from that moment to becoming a master swordsman so he could find that man and kill him.
Speaker B:He trained for 20 years.
Speaker B:He became what the book calls a wizard swordsman, the highest possible level of skill.
Speaker B:And here's why this matters for the movie.
Speaker B:When Wesley beats Inigo, that means Wesley is also a wizard swordsman.
Speaker B:The movie just shows you a really cool sword fight.
Speaker B:The book tells you that what you just watched is essentially two people operating at the absolute ceiling of human capability.
Speaker B:That's a different level of stakes.
Speaker B:Fesik's backstory is heartbreaking in the best way.
Speaker B:He was born enormous and his family made him fight other men for money.
Speaker B:Because he was big, he never wanted to fight.
Speaker B:He hated it.
Speaker B:He was a gentle person who got very good at something he had no desire to do.
Speaker B:And he spent his whole life feeling bad about it and about himself.
Speaker B:His parents literally told him life is pain to try to toughen him up.
Speaker B:Which brings me to the life is pain line in the movie.
Speaker B:That's Wesley.
Speaker B:Life is pain, Highness.
Speaker B:Anyone who tells you differently is selling something.
Speaker B:Great line.
Speaker B:Iconic in the book, that line came from Fezzik's parents explaining to a crying child why he had to keep fighting.
Speaker B:And then the movie put it in Wesley's mouth and it somehow works.
Speaker B:Even that is a genuinely rare case of an adaptation improving on the source material, and I think it deserves to be acknowledged.
Speaker B:Humperdinck in the book is unhinged in a very specific and detailed way.
Speaker B:He has a five level underground death maze beneath the castle.
Speaker B:Each level is filled with different creatures he wants to hunt.
Speaker B:He has to kill something every single day or he cannot function.
Speaker B:He is obsessed with hunting to degree that is genuinely diagnosable.
Speaker B:The movie makes him a cartoonish coward villain, which is fine and very funny.
Speaker B:But the book's version of him, a man with a five Floor underground murder maze.
Speaker B:Who needs a daily kill to fill okay is scarier and more interesting.
Speaker B:The book also opens with a whole chapter on Buttercup's beauty, and it is pure satire of fairy tale conventions.
Speaker B:She's described as barely in the top 20 most beautiful women in the at first she moves up the rankings over time.
Speaker B:At one point the woman ranked above her got fat, which the book presents as a simple fact and which is clearly meant to be uncomfortable.
Speaker B:The ranking system itself is the joke.
Speaker B:Goldman is mocking the whole tradition of fairy tales that define heroines entirely by beauty, but it still lands with a thud in places because the fatphobia is in there even as it's being critiqued.
Speaker B:It's complicated.
Speaker B:The perfect kiss in the book happens at the beginning, not the end.
Speaker B:And in the book the Brute Squad tries to stop them from escaping at the very end.
Speaker B:And Buttercup declares that they're going to save Humperdink because she is the queen and she has authority over the Brute Squad.
Speaker B:That energy, that's the Buttercup I want more of.
Speaker B:The book gives her that moment and I love it.
Speaker B:I what the book does that is genuinely a problem is the racism against Spaniards.
Speaker B:It's in the movie too.
Speaker B:Inigo gives Wesley his word as a Spaniard and Wesley says, no good, I've known too many Spaniards.
Speaker B:That line is in the film, and it paints an entire group of people as untrustworthy.
Speaker B:I don't like.
Speaker B:Didn't land right when I watched it, and it's worth naming.
Speaker B:In the book Miracle Max uses a racial slur to refer to an ego.
Speaker B:He says it three times.
Speaker B:It is jarring and ugly.
Speaker B:And I genuinely don't know what Goldman intended.
Speaker B:Was he writing Max as a flawed, unlikable character on purpose?
Speaker B:Did he think it was okay?
Speaker B:I can't answer that.
Speaker B:What I can say is that it's in there.
Speaker B:It's not okay.
Speaker B:And it affected my read of the book.
Speaker B:The Goldman as a narrator problem, the fictional Goldman who narrates the book, the one who claims to be the editor.
Speaker B:And Bridger is kind of a terrible person.
Speaker B:He womanizes, he's fat phobic, he speaks badly about his soon to be ex wife throughout.
Speaker B:There's an argument that this is intentional, that Goldman is deliberately making his narrator unreliable and flawed to underscore the point that all storytelling is filtered through a perspective, and that perspective is never neutral.
Speaker B:Every good parts version is someone's version of good.
Speaker B:That's actually a really smart thesis, but also sometimes a prick is just a prick.
Speaker B:I'LL let you decide which this is.
Speaker B:Let's talk about Buttercup's baby, the bonus Chapter.
Speaker B:The 30th anniversary edition includes a chapter continuing the story after the movie ends.
Speaker B:And the most memorable thing in it is Fezzik saves Buttercup and her baby by performing an emergency C section.
Speaker B:I read that sentence three times.
Speaker B:I did not have that on my bingo card.
Speaker B:But he does it.
Speaker B:He saves them both.
Speaker B:And that's not even the most physic thing that happens in that chapter.
Speaker B:When the baby Waverly, is thrown off a cliff, Fezzik dives after her.
Speaker B:He uses his own body to break her fall and save her life.
Speaker B:And the question the chapter leaves you with is whether Fezzik survived.
Speaker B:Goldman doesn't fully close the door, which, if you've been paying attention to this story, you know is intentional.
Speaker B:Wesley was mostly dead.
Speaker B:Miracle Max brought him back.
Speaker B:This is a world where death is negotiable if the love is real enough.
Speaker B:So is Fezzik gone?
Speaker B:Maybe.
Speaker B:Or maybe somewhere out there there's a miracle pill with his name on it.
Speaker B:I choose to believe the latter, and I will not be taking questions.
Speaker B:And it somehow fits perfectly with who Fezzik is.
Speaker B:A person who is capable of extraordinary things when the people he loves need him.
Speaker B:Also in the book Count Rugen knows that when Wesley is being tortured, he mentally removes himself from the pain to survive it.
Speaker B:He actually calls Wesley out on it during the torture.
Speaker B:It adds a whole layer to the machine scene.
Speaker B:Wesley isn't just physically tough.
Speaker B:He has a specific psychological technique for enduring pain and a villain who is intelligent enough to recognize and name it.
Speaker B:That's genuinely chilling.
Speaker B:All right, here's where it gets wild behind the scenes.
Speaker B:Let's get to the fun stuff, and I want to start with casting, because the casting of this movie is kind of miraculous.
Speaker B:Robin Wright was virtually unknown when she was cast as Buttercup.
Speaker B:Uma Thurman auditioned.
Speaker B:Courteney Cox auditioned.
Speaker B:Meg Ryan auditioned.
Speaker B:They went with Robin Wright, who almost nobody had heard of.
Speaker B:And she was perfect.
Speaker B:Sometimes you just know.
Speaker B:Carrie Elwes, who plays Wesley, was 23 years old.
Speaker B:He had read and loved the book.
Speaker B:He wanted this role badly.
Speaker B:When he first met Rod Bryner, he tried to win him over with a Fat Albert impression.
Speaker B:I genuinely cannot tell you whether this worked or whether Reiner just liked him despite the Fat Albert impression.
Speaker B:But either way, he got the part.
Speaker B:Wallace Shawn was convinced every single day of production that he was about to be fired.
Speaker B:He knew Danny DeVito had been considered for the role of Vicini.
Speaker B:And he was certain he was a placeholder, that someone was going to tap him on the shoulder any minute and send him home.
Speaker B:He was in a near constant state of panic.
Speaker B:He put so much pressure on himself.
Speaker B:It was genuinely affecting him.
Speaker B:He is now the most quoted character in the entire movie.
Speaker B:Inconceivable.
Speaker B:The universe has a sense of humor and Liam Neeson wanted to play Fezzik.
Speaker B:Liam Neeson is not a giant, but we appreciate the ambition.
Speaker B:Liam, let's talk about the sword fight.
Speaker B:Cary Elwes and Mandy Patinkin trained for two full months with Bob Anderson, a legendary swordmaster who also worked on Star Wars, Highlander and Lord of the Rings.
Speaker B:They trained so intensively with both hands that they sometimes had to slow down for the cameras to keep up with them.
Speaker B:The entire duel scene is almost entirely them.
Speaker B:No stunt doubles, which is why you get all those gorgeous close ups of their faces throughout the fight.
Speaker B:You cannot fake that kind of fluency.
Speaker B:Patinkin has talked about how personal that role was to him.
Speaker B:He lost his father to cancer when he was young.
Speaker B:And when he finally gets to kill the six fingered man, when Inigo finally completes the thing he has spent his entire life working toward.
Speaker B:Patinkin said he imagined the villain as death it itself.
Speaker B:He imagined he was killing the cancer that took his father.
Speaker B:That wasn't acting.
Speaker B:That was closure.
Speaker B:And it's on screen.
Speaker B:You can feel it.
Speaker B:He also bruised an actual rib on set trying not to laugh during the Miracle Max scenes.
Speaker B:Which brings us to Billy Crystal.
Speaker B:Billy Crystal's scenes as Miracle Max are almost entirely improvised.
Speaker B:He spent three days, 10 hours a day, just riffing.
Speaker B:He never said the same thing twice.
Speaker B:He was so funny that Rob Reiner ruined take after take because of his laughter wrecking the audio.
Speaker B:And he had to literally leave the set to get himself under control.
Speaker B:At a certain point, they replaced the mostly dead Wesley on the table with a dummy because Carrie Elwes could not stop laughing long enough to get a usable take.
Speaker B:And where do I even start with Andre the Giant.
Speaker B:Andre the Giant had a forty thousand dollar bar tab during filming.
Speaker B:His daily intake was three bottles of wine, a case of beer, three bottles of brandy.
Speaker B:He had a personal bodyguard whose entire job was to make sure Andre didn't accidentally hurt anyone.
Speaker B:When he was drunk, he used to pass out at bars and they would just put velvet ropes around him and leave him there because they could not physically move him.
Speaker B:On his very first day on set, Andre the Giant broke the ice by letting out a 16 second fart.
Speaker B:Rob Reiner, not knowing what else to say, asked if he was okay and Andre said, I am now boss.
Speaker B:That was the start of their relationship.
Speaker B:All right, here is the heartbreaking part.
Speaker B:Andre's spine was completely destroyed by years of professional wrestling.
Speaker B:He was in constant pain.
Speaker B:He couldn't lift anything heavy.
Speaker B:All of those scenes where Fezzik carries people, hidden cables, wire rigs, stunt doubles.
Speaker B:Robin Wright was actually lowered by wires into his arms for the scene where he catches Buttercup jumping from the castle.
Speaker B:His arms were basically just there to receive.
Speaker B:They edited it together to make it look like he caught her.
Speaker B:And he never complained about any of it.
Speaker B:He was beloved on set.
Speaker B:He often quietly paid for the entire cast's dinner.
Speaker B:The man was a treasure.
Speaker B:He also had an ATV and he thought it would be fun to let Cary Elwise ride it.
Speaker B:Elwise got his foot stuck and broke his big toe.
Speaker B:He then acted on a broken foot for much of the rest of the production because he was terrified of being replaced.
Speaker B:Rob Reiner found out and was very calm about it.
Speaker B:Basically said, we'll work around it, it's fine.
Speaker B:But always spent weeks in pain hiding an injury he didn't need to hide.
Speaker B:That's commitment.
Speaker B:Wallace Shawn, by the way, was terrified of heights and nearly couldn't get through the Cliffs of Insanity scene.
Speaker B:Andre the Giant talked him.
Speaker B:Andre, who is in constant physical pain, who could barely walk, who was dealing with his own very significant challenges, took the time to calm down his co star and get him up the cliff.
Speaker B:Full circle to what I said about Fezik being emotionally intelligent when it counts.
Speaker B:Christopher Guest plays Count Rugen, the six fingered villain.
Speaker B:Cary Elways, apparently feeling confident, told Guests Guest to actually hit him for real with the sword hilt.
Speaker B:In the scene where Rugen knocks him out, Guest did hit him for real and Cary Elwes was actually knocked unconscious.
Speaker B:This is the take that actually made it in the movie.
Speaker B:His eyes go genuinely blank because he was genuinely unconscious.
Speaker B:Also, Christopher Guest is the fifth Baron Hayden Guest, an actual British lord.
Speaker B:The man playing the six fingered villain is real nobility.
Speaker B:I think about this more than is probably healthy.
Speaker B:The actor who played the albino was allergic to the contacts he had to wear for the pink eyed look.
Speaker B:He was in excruciating pain for the entire shoot.
Speaker B:He actually refuses to watch the film to this day because of the trauma.
Speaker B:That is not a bit.
Speaker B:That is a real person who had a genuinely bad time making a beloved movie.
Speaker B:Let's talk about the film itself because the Princess Bride is doing something sneaky and smart.
Speaker B:That doesn't always get talked about.
Speaker B:This movie is a fairy tale that rolls its eyes at fairy tales.
Speaker B:It belongs to a genre it's also actively mocking.
Speaker B:Every single character is a walking trope.
Speaker B:The beautiful princess.
Speaker B:The humble farm boy who's secretly extraordinary.
Speaker B:The genius villain who isn't actually that smart.
Speaker B:The giant.
Speaker B:The revenge obsessed swordsman.
Speaker B:They're almost caricatures, and Goldman knows that he's counting on you knowing that.
Speaker B:But then, just when each character is about to become a cardboard cutout, the movie gives them something real.
Speaker B:Inigo and Fezzik are comic relief, who also have the two most genuinely heartbreaking backstories in the film.
Speaker B:The funny giant who rhymes everything.
Speaker B:His family forced him to fight for money his whole childhood and he hated himself for it.
Speaker B:The guy who keeps repeating his catchphrase.
Speaker B:He's been drunk for 20 years because he had an identity crisis after not finding the Six Fingered man, and later because he lost a fight to Wesley.
Speaker B:These are not shallow people.
Speaker B:Goldman just hides the depth behind the jokes until he's ready to use it.
Speaker B:The grandson who is the son in the book watching the story is a stand in for all of us.
Speaker B:He's completely skeptical.
Speaker B:He's embarrassed.
Speaker B:He keeps asking if it's a kissing book.
Speaker B:And then he gets completely sucked in.
Speaker B:And at the end he asks if they can do it again tomorrow.
Speaker B:That's us.
Speaker B:That's the audience.
Speaker B:Goldman put us in the movie.
Speaker B:All right, Buttercup, let's be really honest here.
Speaker B:Buttercup starts the movie being genuinely awful to Wesley.
Speaker B:She bosses him around constantly.
Speaker B:She's dismissive.
Speaker B:She doesn't treat him well.
Speaker B:She kind of behaves like a Disney villain in those early scenes.
Speaker B:And then they fall in love so fast it's almost a joke.
Speaker B:She also doesn't recognize Wesley's voice when he's wearing a mask, which I understand it's a fairy tale, but also that's the voice of someone you were in love with.
Speaker B:You would know that voice.
Speaker B:For most of the movie, Buttercup is passive.
Speaker B:She gets kidnapped.
Speaker B:She gets carried, she gets rescued, she gets threatened, she gets rescued again.
Speaker B:She exists largely as the thing the men in the story are doing things because of, rather than as someone doing things herself.
Speaker B:Except, and this is important in her scenes with Humperdinck, when Buttercup faces the prince directly.
Speaker B:She is fearless.
Speaker B:She demands he sends ships for Wesley.
Speaker B:She does not back down.
Speaker B:She is not scared of him.
Speaker B:That is a completely different character than the one rolling down hills waiting to be caught.
Speaker B:And the movie doesn't Give her enough of those moments.
Speaker B:She has the capacity for that kind of power.
Speaker B:And the story keeps putting her back in the passive role.
Speaker B:Wesley, to be clear, is also not perfect.
Speaker B:He raises a fist to Buttercup in the movie.
Speaker B:It's a brief moment, but it's there.
Speaker B:He comes back from his years at sea emotionally colder and more performative than the farm boy she fell in love with.
Speaker B:And when he finds out she's engaged to someone else, instead of just asking her what happened, he tests her.
Speaker B:He reveals himself dramatically rolling down a hill.
Speaker B:He withholds.
Speaker B:He makes her prove herself rather than just talking to her, which is romantic in a fairy tale framing and would be concerning in an actual relationship.
Speaker B:Their relationship, if we're being real about it, is built on very little actual conversation.
Speaker B:It's built on as you wish, as you wish, which is beautiful.
Speaker B:And on five years of absence and longing and on the idea of each other, which is what fairy tales do.
Speaker B:They give you the feeling of love without the work of it.
Speaker B:But then death cannot stop true love.
Speaker B:All it can do is delay it for a while.
Speaker B:And I can't pretend, I cannot pretend that doesn't work on me completely, because it does every time.
Speaker B:And here's where Buttercup actually earns her moment.
Speaker B:When she agrees to go back to Humperdinck to save Wesley's life, she is consciously sacrificing the thing she wants to be with Wesley because she needs him to survive.
Speaker B:She puts his life above her desire to be with him.
Speaker B:That is real love, not the as you wish stuff, as lovely as that.
Speaker B:Is this the choice she makes when it costs her something?
Speaker B:The Vicini situation.
Speaker B:I have to talk about this.
Speaker B:During the battle of wits, Vasini says very confidently that he clearly cannot choose the wine in front of either of them.
Speaker B:And he's right.
Speaker B:Both cups were poisoned.
Speaker B:Westley had spent years building up an immunity to Aya cane powder.
Speaker B:And it didn't matter which cup Vasini drank from, he was never going to win.
Speaker B:But he still drank.
Speaker B:He died convinced he'd out thought everyone in the room.
Speaker B:He was a genius who didn't know himself well enough to know his limits.
Speaker B:A brilliant idiot.
Speaker B:And honestly, that's the most human thing in this movie.
Speaker B:We've all been Vaccini at some point, convinced we've seen every angle.
Speaker B:Drinking from the poisoned cup, the sportsman thing, that doesn't get talked about enough.
Speaker B:There is something really specific, specific about the moral code inside the world of this movie.
Speaker B:When Anigo and Wesley duel at the top of the Cliffs of Insanity.
Speaker B:They pause to let each other rest.
Speaker B:They complement each other.
Speaker B:Anigo tells Wesley he's been looking forward to this his whole life, and he means it as a compliment.
Speaker B:They're eventually honest about not being left handed.
Speaker B:These are men on opposite sides who genuinely respect each other.
Speaker B:And the same goes for Wesley and Fezzik.
Speaker B:There's a fairness to their fight, a mutual acknowledgment of the other person's capability.
Speaker B:In most action movies, you don't get that the hero beats up anonymous goons, and here everyone fighting gets to be a person first.
Speaker B:That's Goldman's doing.
Speaker B:And it's one of the things that makes this movie feel different.
Speaker B:All right, a few things.
Speaker B:I cannot let go.
Speaker B:Freeze frame on Buttercup rolling down the hill after she pushes Westley.
Speaker B:You can clearly see this is a body double with a mustache.
Speaker B:We see you, mustache man.
Speaker B:We see you.
Speaker B:The continuity of how far from the boat Buttercup is when Fezzik pulls her away from the eel is a choice.
Speaker B:The editors made a choice, and we're living with it.
Speaker B:How did Inigo know Buttercup was Westley's true love?
Speaker B:He knew he was tracking Buttercup.
Speaker B:He did not know why.
Speaker B:He and Wesley never had a conversation about it.
Speaker B:And Nico just decided on his own that this woman was worth fighting and nearly dying for alongside someone he'd just met?
Speaker B:He committed.
Speaker B:He chose.
Speaker B:No explanation needed.
Speaker B:Honestly, Respect.
Speaker B:Okay, I want to go somewhere now that I think makes this movie even more interesting than it already is.
Speaker B:We're going to take a look at the Princess Bride through two different lenses at the same time.
Speaker B:A feminist one and a Jungian one.
Speaker B:And I promise you, when you hold them up together, this film becomes a completely different experience.
Speaker B:Let me start with Carl Jung, because if you're not familiar, here's the quick version.
Speaker B:Jung was a Swiss psychiatrist who believed the human psyche is made up of different layers and archetypes.
Speaker B:The ego, which is our conscious self.
Speaker B:The shadow, which is everything we suppress or deny about ourselves.
Speaker B:The anima or animus, which is the unconscious feminine or masculine energy within us, and the Persona, which is the mask we present to the world.
Speaker B:The whole goal of psychological development, according to Jung, is something called individuation.
Speaker B:Becoming a whole integrated person by confronting all those parts of yourself.
Speaker B:Including the dark ones.
Speaker B:Especially the dark ones.
Speaker B:Now, here's my argument.
Speaker B:Not a single character in the Princess Bride completes that journey.
Speaker B:Every single one of them either mistakes their mask for their self, gets consumed by their wound, or never gets the chance to become whole at all.
Speaker B:And the story rewards them anyway.
Speaker B:That's not an accident.
Speaker B:That's the movie telling us something true about how fairy tales work.
Speaker B:And maybe how we work, too.
Speaker B:Let's go character by character with Wesley.
Speaker B:On the surface, Wesley looks like the Jungian hero.
Speaker B:He transforms.
Speaker B:He goes from humble farm boy to fearless pirate to the man in black.
Speaker B:He defeats every obstacle, and he gets the girl.
Speaker B:Classic hero arc, right?
Speaker B:Except look closer.
Speaker B:The farm boy, the Dread Pirate Roberts, the man in black.
Speaker B:These aren't evolutions.
Speaker B:They're costumes.
Speaker B:Each identity is a performance layered over the last one.
Speaker B:He is never, at any point in the story, just himself.
Speaker B:He never expresses doubt.
Speaker B:He never admits fear.
Speaker B:He never shows contradiction or vulnerability.
Speaker B:He is relentlessly, exhaustingly competent and composed.
Speaker B:Jung would call that a Persona that has completely swallowed the self.
Speaker B:The Persona is the mask.
Speaker B:It's necessary.
Speaker B:It protects you.
Speaker B:It helps you function in the world.
Speaker B:But when the mask becomes all you are, when there's no one underneath it, that's not wholeness.
Speaker B:That's a hollow man in very good boots.
Speaker B:As you wish is the thing everyone finds most romantic about Wesley.
Speaker B:Right?
Speaker B:And it is romantic.
Speaker B:But Young would look at that phrase and say, that is total ego suppression.
Speaker B:That is a man who has made his entire identity about being whatever someone else needs.
Speaker B:First, he is whatever Buttercup needs.
Speaker B:Then he is whatever the Dread Pirate Roberts needs.
Speaker B:Then he is whatever the rescue mission needs.
Speaker B:He never once asked what he needs, and the movie never asks him to.
Speaker B:He isn't integrated.
Speaker B:He's perfect.
Speaker B:And those are not the same thing.
Speaker B:Now bring in the feminist lens.
Speaker B:Wesley's hollow heroism is also the thing the story positions as the ideal of masculinity.
Speaker B:Strong, silent, competent, emotionally unavailable, unless it's in service of the woman he loves.
Speaker B:He is the blueprint.
Speaker B:And the blueprint doesn't have an interior life.
Speaker B:That's a problem not just for Wesley.
Speaker B:That's a problem for every boy who watches this movie and absorbs it as the template for what a man is supposed to be.
Speaker B:Okay.
Speaker B:Anigo Montoya is the clearest Jungian tragedy in the entire story.
Speaker B:And Mandy Patinkin understood this even if he didn't use that language.
Speaker B:Aniko knows who he is.
Speaker B:A son, a victim.
Speaker B:A man defined entirely by loss.
Speaker B:And instead of working through that pain, integrating it, growing alongside it, he became it.
Speaker B:His mantra.
Speaker B:Hello.
Speaker B:My name is Inigo Montoya.
Speaker B:You killed my father.
Speaker B:Prepared to die is not identity, it's possession.
Speaker B:He has been so thoroughly taken over by his wound that there is no indigo left outside of it.
Speaker B:The shadow, in Jungian terms, the unprocessed pain we carry hasn't just influenced him, it has replaced him.
Speaker B:And the tragedy is that when he finally does it, when he kills count rugen after 20 years, nothing happens.
Speaker B:There's no release, no transformation, no flood of relief, just emptiness.
Speaker B:He looks at this man he's waited his whole life to kill, and he says, I have been in the revenge business so long, I don't know what to do with the rest of my life.
Speaker B:That line, that line, that is a man who has just discovered that the shadow cannot be destroyed.
Speaker B:It can only be integrated.
Speaker B:And he never integrated it.
Speaker B:He just tried to kill it.
Speaker B:And now the thing that organized his entire existence is gone, and there's nothing underneath.
Speaker B:The book actually develops this further after the main story.
Speaker B:Aniko gets to find out who he is outside of revenge, and it's actually lovely.
Speaker B:The movie leaves him in that moment of beautiful, devastating emptiness, which might be the more honest ending.
Speaker B:Some wounds don't get fully healed.
Speaker B:Sometimes you complete the thing and you're still standing there going, okay, now what?
Speaker B:From the feminist angle, Aniko's entire arc centers male trauma, male revenge, male resolutions.
Speaker B:His father's death shapes the story.
Speaker B:His grief shapes the story.
Speaker B:Count Rugen's cruelty shapes the story.
Speaker B:It's all about men acting on men.
Speaker B:Buttercup is not even a factor in Inigo's world, except as a mission objective.
Speaker B:The emotional core of his storyline is entirely self contained within a male experience.
Speaker B:Fezzik is the one character in this movie who might actually be the closest to psychologically healthy, and the story sidelines him.
Speaker B:He's the only one who isn't defined by a wound or a performance.
Speaker B:He is genuinely kind, he is gentle, he is present.
Speaker B:He worries about an ego.
Speaker B:He uses his strength to help rather than dominate.
Speaker B:When Wesley beats him, Fezik doesn't react with ego or shame.
Speaker B:He's almost relieved to have met someone worthy of that is a level of psychological integration that Wesley never achieves.
Speaker B:The book tells you his whole backstory.
Speaker B:His family forced him to fight for money.
Speaker B:He hated every second of it.
Speaker B:He never wanted to hurt anyone.
Speaker B:He spent his whole life being used for his body by people who treated him as a means to an end.
Speaker B:And he came out of it not angry, not broken, not defined by the injustice, but gentle, curious, caring that is genuinely remarkable.
Speaker B:And the movie uses him largely for comic relief and heavy lifting.
Speaker B:The healthiest psyche in the film gets the least character development make of that what you will, Vasini, is the inflated intellect, the ego completely untethered from reality.
Speaker B:Talked about ego inflation, where someone becomes so identified with one aspect of themselves, in Vicini's case, his intelligence, that they lose the ability to see themselves clearly.
Speaker B:He is so certain of his own genius that he cannot conceive of being outsmarted.
Speaker B:The word inconceivable is his tell.
Speaker B:Every time something happens that challenges his model of reality, he doesn't update the model.
Speaker B:He just says inconceivable and keeps going.
Speaker B:And his death is the logical conclusion of that.
Speaker B:He was right that the wine could have been poisoned in front of either of them.
Speaker B:He was right in his reasoning.
Speaker B:He was wrong about himself, about his own ability to overcome poison through willpower, about his own limits.
Speaker B:He died believing he'd won.
Speaker B:The ego, fully inflated, cannot accept its own defeat, even at the moment of death.
Speaker B:All right, Humperdink, here's the one I think people miss.
Speaker B:Humperdinck is obviously the villain.
Speaker B:He's cowardly, power hungry, manipulative.
Speaker B:He frames an innocent country for a murder he plans to commit himself.
Speaker B:He treats people as objects and has no empathy, no moral center, no capacity for real connection.
Speaker B:In Jungian terms, he is pure ego with zero integration, no shadow awareness, no anima conn, no moral depth whatsoever.
Speaker B:He is a man who has never once looked inward and felt uncomfortable.
Speaker B:But here's the thing I want you to sit with.
Speaker B:Humperdinck and Wesley are not that different.
Speaker B:Both of them control.
Speaker B:Both of them perform.
Speaker B:Both of them make decisions about Buttercup's life without consulting her.
Speaker B:Both of them use her as a symbol, Humperdinck as a political trophy, Wesley as proof of true love.
Speaker B:Neither of them asks her what she wants until it's almost too late.
Speaker B:One is coded as the villain, One is coded as the hero.
Speaker B:Psychologically, both of them are incomplete.
Speaker B:The difference is charm and intention, not interiority.
Speaker B:That's uncomfortable, but I think it's supposed to be.
Speaker B:Now, Buttercup.
Speaker B:And this is where the two lenses really converge.
Speaker B:From a Jungian perspective, Buttercup functions as what Jung calls the anima, the feminine principle within the male psyche.
Speaker B:In Jungian psychology, the anima is supposed to be complex.
Speaker B:She is the part of a man's inner world that mediates emotion, depth, creativity, and genuine connection.
Speaker B:She challenges, she transforms.
Speaker B:She leads the hero somewhere he couldn't get to alone.
Speaker B:Buttercup does none of those things.
Speaker B:She is idealized, passive, inconsistent.
Speaker B:She reflects whatever the scene needs from her.
Speaker B:She doesn't challenge Wesley or deepen him.
Speaker B:When they reunite at the bottom of the ravine, she snaps immediately back into the lover role.
Speaker B:There's no processing, no reckoning, no transformation.
Speaker B:She cannot function as a true anima because she doesn't have a stable inner world of her own.
Speaker B:And here is the most devastating implication of that.
Speaker B:If Buttercup isn't a true anima, if she's just a projection of what Wesley and the story need her to be, then the union between Wesley and Buttercup is, psychologically speaking, and empty.
Speaker B:You cannot individuate.
Speaker B:You cannot become whole through a relationship with a projection.
Speaker B:You need a real person.
Speaker B:And the story will not let Buttercup be a real person.
Speaker B:That's where young and feminism arrive at exactly the same place from completely different directions.
Speaker B:The feminist reading Buttercup isn't a bad character.
Speaker B:The story won't let her be a full one.
Speaker B:She is selected, kidnapped, passed between men, captured, rescued, and eventually claimed.
Speaker B:The places where she has genuine power, demanding Humperdinck send for Wesley, declaring herself queen in the book are brief and exceptional.
Speaker B:The structure of the narrative requires her to be passive because she exists to be acted upon, not to act.
Speaker B:But here's the sharper version of that read, and this is the one I keep coming back to.
Speaker B:The movie knows this.
Speaker B:It is explicitly critiquing the fairy tale genre.
Speaker B:It is winking at every cliche.
Speaker B:It knows the passive princess is a cliche.
Speaker B:It comments on it, and then it does it anyway.
Speaker B:Most movies that do this go one of two ways.
Speaker B:They either mindlessly reproduce the trope, fine, whatever, it's a fairy tale, or they congratulate themselves on subverting it with, like, one moment where the princess punches someone.
Speaker B:The princess bride does something rarer and honestly, more honest.
Speaker B:Honestly, more honest than either of those options.
Speaker B:It is aware, it sees the problem clearly, and it still can't fully escape it.
Speaker B:The story is too in love with its own conventions to actually dismantle them.
Speaker B:And that the gap between knowing better and still doing it is the thing that makes this movie feel so real to me.
Speaker B:Because that's not just a movie problem.
Speaker B:That's a human problem.
Speaker B:We see the thing clearly and we do it anyway.
Speaker B:Because the pattern is too deep and the story is too comfortable and the love is too easy when she's that beautiful and that passive and that available.
Speaker B:Now bring in the framing device and it gets even more layered.
Speaker B:The grandfather, Peter Falk, is choosing this story for his grandson.
Speaker B:He edits what the boy hears.
Speaker B:He skips the boring parts.
Speaker B:He controls the Emotional exposure.
Speaker B:He decides what love looks like and what a hero looks like and what a woman's role in a story is.
Speaker B:And then he hands that curated version of reality to the next generation.
Speaker B:Young would say that true psychological development, true individuation, requires confronting the unknown, sitting in darkness, engaging with complexity and ambiguity.
Speaker B:You cannot grow if everything threatening is filtered out.
Speaker B:The grandfather's love is real, and his love is also structurally preventing the boy from having to grapple with anything uncomfortable.
Speaker B:The feminist reading adds this.
Speaker B:One of the things being filtered out is Buttercup's full humanity.
Speaker B:The grandfather isn't telling his grandson about a woman who has desires and agency and an interior life.
Speaker B:He's telling him about the most beautiful woman in the world who loves a man so much she waits for him forever.
Speaker B:He is teaching his grandson with great warmth and tremendous affection what women are for.
Speaker B:That is not a small thing.
Speaker B:Stories are how we learn what is normal, what is romantic, what love is supposed to look like.
Speaker B:The grandfather is doing what grandfathers do, giving a child something precious.
Speaker B:And what he is giving him is a vision of the world where women exist to be loved and saved and men exist to love and save them.
Speaker B:And that.
Speaker B:That's the shape of the universe.
Speaker B:And isn't it beautiful?
Speaker B:And here's my thesis.
Speaker B:The thing I want to leave you with, the line I keep turning over.
Speaker B:The Princess Bride gives everyone what they want.
Speaker B:Love, revenge, victory, adventure.
Speaker B:It is generous and warm, and it genuinely believes in the things it's celebrating.
Speaker B:But it denies every character and maybe every viewer the one thing that would actually require something of us.
Speaker B:It denies us the complexity, the discomfort, the truth.
Speaker B:That real love is not as you wish.
Speaker B:It's two complete people with full interior lives choosing each other anyway.
Speaker B:The movie is an illusion of wholeness, and it is a beautiful, beloved, deeply human illusion.
Speaker B:Because sometimes that's what we need.
Speaker B:Sometimes a single sick kid needs a grandfather and a story and a perfect kiss and a happy ending.
Speaker B:But I think we can love this movie completely and still see it clearly.
Speaker B:Both things are true.
Speaker B:The love is real and the story is incomplete.
Speaker B:The romance is gorgeous, and Buttercup deserves more.
Speaker B:Rob Reiner made something magical, and that magic is built on a foundation of fairy tale conventions that.
Speaker B:That flatten women and hollow out men.
Speaker B:Knowing that doesn't ruin it.
Speaker B:It makes it more interesting.
Speaker B:That's my read, and I will leave you to form your own.
Speaker B:Okay, let's talk about awards, because this is genuinely one of the more baffling parts of this movie's history.
Speaker B:The Princess Bride received exactly one Academy Award nomination.
Speaker B:One.
Speaker B:And it was for Best Original song, Storybook Love, performed by Willie deville.
Speaker B:It lost to Dirty Dancing, which I've had the Time of My Life is a great song.
Speaker B:I'm not going to fight that fight.
Speaker B:But one nomination for a movie this good, that's the Academy for you.
Speaker B: Best dramatic presentation in: Speaker B:And honestly, the genre community recognized what the mainstream awards completely missed at the Saturn Awards, which are specifically for sci fi, fantasy and horror.
Speaker B:It won best Fantasy Film and Best Costume Design.
Speaker B:Robin Wright was nominated for Best Actress and it was nominated for Best writing.
Speaker B:So the people who actually knew the genre got it.
Speaker B:The big mainstream awards completely asleep.
Speaker B:The Writers Guild of America put the screenplay on their list of the 101 greatest screenplays.
Speaker B:It came in at number 84 and also included it on their list of 101 funniest screenplays, where it ranked 22nd.
Speaker B:Goldwyn adapted his own novel for the screen and the WGA recognized it twice.
Speaker B:The Oscars nominated it once and it lost.
Speaker B:The soundtrack was nominated for a Grammy.
Speaker B:Didn't win that either.
Speaker B:As for the book, the Princess Bride novel has not won any major literary awards, which tracks with the general theme of this entire story.
Speaker B:Ignored by the establishment at every turn, beloved by everyone else.
Speaker B: by every major awards body in: Speaker B:The Hugo was right, the Oscars were wrong, and history has rendered its verdict.
Speaker B: box office when it opened in: Speaker B:It made back its budget, but just barely, and was considered a disappointment.
Speaker B:Critics were mostly positive.
Speaker B:Audiences just didn't show up in the numbers anyone hoped for.
Speaker B:Carrie always blamed the marketing team.
Speaker B:And honestly, fair.
Speaker B:How do you market this movie?
Speaker B:Is it a kids movie?
Speaker B:It has sword fights and a giant and a rhyming man, so sure.
Speaker B:But it also has torture and poison and a pretty complex emotional core.
Speaker B:Is it a romance?
Speaker B:Yes.
Speaker B:Is it a comedy?
Speaker B:Absolutely.
Speaker B:Is it an action movie?
Speaker B:Kind of.
Speaker B:Is it a satire?
Speaker B:Definitely.
Speaker B:It is all of those things, and none of them exclusively.
Speaker B: And apparently in: Speaker B:Then VHS happened.
Speaker B:People rented it, they loved it.
Speaker B:They told their friends.
Speaker B:They showed it to their kids, their kids showed it to their kids.
Speaker B: of the Library of Congress in: Speaker B:There are Princess Bride themed weddings, there are tattoos.
Speaker B:There is an entire community of people who can recite this movie from memory and find each other at parties by saying inconsistent, conceivable and watching who looks up.
Speaker B:I am one of those people who can quote this entire movie, beginning to end.
Speaker B:Don't watch it with me.
Speaker B:You'll be so annoyed because I can't stop.
Speaker B: In: Speaker B:They all filmed scenes from their homes and people lost their minds for it.
Speaker B:Because this cast, this movie, it means something to people in a way that almost nothing else does.
Speaker B:Humperdinck's castle.
Speaker B:By the way, that's Haddon hall in Derbyshire, England.
Speaker B:The same building has been used for multiple Jane Eyre adaptations.
Speaker B:Pride and Prejudice, the Other Boleyn Girl, Elizabeth Mary, Queen of Scots.
Speaker B:That building has been a villains lair and a romantic location for period films for decades.
Speaker B:And it keeps showing up.
Speaker B:Good for it.
Speaker B:We love a hard working castle.
Speaker B: The movie bombed in: Speaker B:It became immortal.
Speaker B:Anyway, Rob Reiner made something that outlasted the box office numbers, that outlasted marketing failure, that outlasted.
Speaker B:And I say this with so much heaviness, even him.
Speaker B:The thing that connects every part of this movie, the romance, the adventure, the satire, the meta fiction, is love.
Speaker B:Not just the romantic kind.
Speaker B:The grandfather and grandson, Anigo and Fezik.
Speaker B:The love people have for stories that were given to them at exactly the right moment by someone who cared about them.
Speaker B:That's what Rob Reiner understood.
Speaker B:That's what William Goldman understood.
Speaker B:A story is an act of love.
Speaker B:You are giving someone your attention, your imagination, your time, and you are trusting them to do the same for you.
Speaker B:Thank you for doing that today.
Speaker B:If you know someone who loves movies or someone who needs a reminder that true love, in whatever form it takes, is worth fighting for, share this episode with them.
Speaker B:That's how this mob grows.
Speaker B:And honestly, thank you from the bottom of my heart.
Speaker B:I don't take it for granted for even a second that you chose to spend your time here with me.
Speaker B:It means everything.
Speaker B:Remember, Some movies stick with you.
Speaker B:So let's stick together until next time.
Speaker B:As you wish.
Speaker A:Thank you for listening to Millennial Movie Mall.
Speaker A:We broke it down.
Speaker A:That's our job.
Speaker A:If you enjoy what you heard, like follow and share.
Speaker A:Spread the word.
