Shrek 2

SC_801_Shrek2_Mix1

Speakers: Hannah Leach & Audrey Leach

[Music Playing]

Hannah Leach:

Welcome back to Sleepover Cinema, where we analyze the films that created the collective unconscious of those who know a racist when they see one, even if they're secretly a frog.

I'm Hannah Leach, a writer, musician, audio producer, and fourth runner up of Far Far Away Idol.

Audrey Leach:

And I'm Audrey Leach, director, editor, producer, and the muffin man who lives on Drury Lane. We are the sister duo, also known as Too Pink Productions. And we haven't stopped thinking about these movies since we first saw them.

Hannah Leach:

We're going to explore the good, the bad, and the nonsensical of the movies that first inspired our love for film. In an attempt to answer the question, are these movies actually good? And at the end of the day, do we really care if they are?

Audrey Leach:

Today, we are talking about 2004’s Shrek 2.

Voiceover:

“You are cordially invited.”

“Dinner is served.”

“Everybody dig in.”

“Don’t mind if I do, Lillian.”

“To meet the family.”

“It’s easy to see where Fiona gets her good looks from.”

“Make new friends.”

“Pray for mercy from.”

“A bullet.”

“If we need a expert on licking ourselves, we’ll give you a call.”

“And discover what happens.”

“Shrek and Donkey on another world adventure.”

“After happily ever after.”

“Now where were we?”

“Donkey!”

“DreamWorks Pictures presents Mike Myers, Eddie Murphy, Cameron Diaz and Antonio Banderas.”

“Shrek?”

“For you baby, I could be.”

“Shrek 2.”

“Donkey?”

“You’re a …

“Stallion baby.”

Hannah Leach:

Can you believe we're back so soon?

Audrey Leach:

Two weeks. Two weeks off.

Hannah Leach:

Has it only been two weeks?

Audrey Leach:

Yeah.

Hannah Leach:

It felt like a long time. I mean-

Audrey Leach:

No, it didn't.

Hannah Leach:

Okay, I think it's more that the past two weeks have felt really long to me because a lot has happened. We visited Chicago, we went to our friend’s really elaborate, Indian wedding. I did my final School of Rock shows yesterday. Audrey was there, which was really nice. And I just feel like I've been rocket launched over the past two weeks.

Audrey Leach:

Life comes at you fast.

Hannah Leach:

It really does come at you fast. I'm also congested yet again. So, I apologize for that sensory experience for all of you.

Audrey Leach:

Yeah. No, not as many things have happened to me in the past two weeks, but things are shifting.

Hannah Leach:

There's a shift coming.

Audrey Leach:

There's something in the wind.

Hannah Leach:

That is the most obscure song you possibly could have sung about change. But you're right.

Audrey Leach:

Change is a powerful thing.

Hannah Leach:

I feel like I have-

Audrey Leach:

Shout out to the Lust for Life fans out there.

Hannah Leach:

Oh boy. Okay. So, I have a question for the culture, and you're not going to be surprised by this. So-

Speaker 1:

“The culture's super sick right now.”

Speaker 2:

“It's actually really bad. Period.”

Hannah Leach:

Actually, it's a pretty good question though, I think. The Eras Tour is happening currently.

Audrey Leach:

Oh, I went.

Hannah Leach:

Would you like to speak on that?

Audrey Leach:

Yeah. Last time we recorded, I think I said I was about to go or something. It went really smoothly compared to what I thought. I mean, they run it like a well-oiled machine. They know what they're doing. It wasn't scary. I thought it might be scary and it wasn't.

Hannah Leach:

That's good.

Audrey Leach:

She performed for three hours, which is just a really long time for one person to perform. So, that's impressive. And what I like about it because I saw her Red Tour in 2012 and it kind of feels like a stage show. It's sort of more blocked.

And what I like about this one is that it kind of feels more intimate actually. A lot of it is just her alone with a guitar or a piano, which is cool.

Hannah Leach:

Yeah. I'm happy for everyone that attended the Eras Tour. That is absolutely true.

I also had a dream last night that I made a piece of political artwork about feeling isolated as a non-Swifty.

Audrey Leach:

That's actually insane.

Hannah Leach:

I know. And I remember exactly what it looked like too, and it looked kind of sick. But I remember in the dream we were fighting about Taylor Swift a lot. And then I accused you of using Donald Trump logic in one of your arguments. And then mom was like, “You took it too far.” And it got really serious.

Audrey Leach:

Oh, that's funny.

Hannah Leach:

But is there a particular fandom that you feel the need to say something about when it comes up because it annoys you that much?

Audrey Leach:

I thought you were going to say, is there a fandom that you would be the insane one for which I'm like-

Hannah Leach:

Do you have that?

Audrey Leach:

Yeah. But it wouldn't be a main pop star. I don't think it would. It'd be Julie Andrews.

Hannah Leach:

Yeah. I mean, I knew you were going to say that for sure.

Audrey Leach:

Not that anybody's ever had a bad thing to say about her.

Hannah Leach:

No, no. There's nothing to say.

Audrey Leach:

It would be so …

Hannah Leach:

That would be your other person?

Audrey Leach:

I'd be like, yeah, you can't say anything about her. I don’t know.

Hannah Leach:

Camila Cabello, Shawn Mendes.

Audrey Leach:

She's just annoying. She's fine now. There's nothing wrong with her.

Hannah Leach:

Don’t make fun of people who fail like Maroon 5. No, Imagine Dragons is where I really get fired up and I feel bad because Bridgett's definitely listening to this. And we used to fight about Imagine Dragons.

Audrey Leach:

I just don't know about them as people. So, I think it's easier to take a political stand if you know more about them, if their music — are you just talking about people whose music sucks?

Hannah Leach:

Oh, what about Harry Styles?

Audrey Leach:

Ooh. Oh, that's a good one. Yeah. Sorry, but his fans are annoying.

Hannah Leach:

Is that the end?

Audrey Leach:

Yeah. Because I don't actually-

Hannah Leach:

Because that encompasses the same type of person.

Audrey Leach:

I always see TikToks of his concerts, but he's like, why is he talking for the whole thing? I've never seen a TikTok video of him actually singing at his concert. It's always him talking to the audience.

Hannah Leach:

That's very interesting. I don't really get that much Harry content in my life. TikTok really thinks I care a lot about the Little Mermaid though. And I don't.

Audrey Leach:

I have a conspiracy about that.

Hannah Leach:

Do you think they're paying?

Audrey Leach:

I think there's a ton of marketing dollars being pumped into it. Obviously, there's also an algorithmic reason that it's happening, but I got an influx of Little Mermaid, random shit. I'm like, I didn't feed that.

Hannah Leach:

Yeah, I know. Me too.

Audrey Leach:

But I've noticed on any given day, TikTok will pick a thing for you to care about and kind of keep giving you … it's a lot less random seeming than it used to be.

Hannah Leach:

Well, so I should also say that to those listening, you should know that we have our brand-new intern, Hailey, engineering for us. And by our intern, we mean Evergreen’s intern. We don't have our own personal intern, but that would be cool if we did.

Audrey Leach:

Yeah.

Hannah Leach:

She got here like one hour ago and she's already like in the throes of this. So, Audrey take the wheel.

Audrey Leach:

I did the notes for this.

Hannah Leach:

Community service.

Audrey Leach:

So, let's get into the facts about Shrek 2. It was released on May 19th, 2004. And it was rated PG. Honestly, kind of surprising-

Hannah Leach:

I know.

Audrey Leach:

After you watch it. It was directed by Andrew Adamson who directed the first Shrek and the Narnia movies.

Hannah Leach:

That's kind of weird.

Audrey Leach:

Kelly Asbury also was a co-director. You might think that's a woman. It's not, it's not. He directed Gnomeo & Juliet.

Hannah Leach:

Frozen.

Audrey Leach:

Spirit.

Hannah Leach:

Stallion of Cimarron.

Audrey Leach:

Yeah. And he was in the art department for Beauty and the Beast.

Hannah Leach:

Interesting.

Audrey Leach:

Kind of interesting. And then last co-director, Conrad Vernon was a part of Shrek 1 and 2. Obviously we're talking about Shrek 2. Monsters vs. Aliens and Sausage Party.

But these people are not necessarily directors. They kind of are just people in animation who seem to have gotten the promotion here.

Hannah Leach:

I see.

Audrey Leach:

And there was more about that later. So, as we know, we covered Shrek at the end of season six.

Hannah Leach:

And we were at Evergreen. That was the last time we recorded in Evergreen.

Audrey Leach:

So, something about Shrek, I don't know. So, we kind of already covered half of this, so I'm going to go fast, but based on the book by William Steig called Shrek! But now we're not working off his material anymore. Now we've gone off into the wilderness.

The story is by Andrew Adamson and there's so many writing credits on this movie. It's crazy. And I didn't feel like listing everything they've done because it's a list of a ton of dudes and they just seem to all have contributed in some form.

The screenplay is by Andrew Adamson, Joe Stillman, J. David Stem, David N. Weiss. Additional dialogue by Cody Cameron, Walt Dohrn, Chris Miller, David P. Smith, and Conrad Vernon.

Hannah Leach:

So, literally all men.

Audrey Leach:

Yeah.

Hannah Leach:

When we were watching last night and we saw the credits, I was like, this is all men.

Audrey Leach:

It makes sense.

Hannah Leach:

I know, but they're funny.

Audrey Leach:

We got to talk about this.

Hannah Leach:

Okay. Synopsis. First, we have IMDb, “Shrek and Fiona traveled to the kingdom of far, far away, where Fiona's parents are king and queen to celebrate their marriage.” That's a horribly written sentence. “When they arrive, they find they are not as welcome as they thought there would be.”

Okay. Letterboxd:

“Shrek, Fiona and Donkey set off to far, far away to meet Fiona's mother and father. But not everyone is happy. Shrek and the king find it hard to get along and there's tension in the marriage.

The fairy godmother discovers that Shrek has married Fiona instead of her son Prince Charming and sets about destroying their marriage.”

Alright, so we have one more level of depth in this one.

And then Rotten Tomatoes, “After returning from their honeymoon and showing home movies to their friends … and we're their friends.

Audrey Leach:

They didn't do that.

Hannah Leach:

After returning from their honeymoon and showing home movies.

Audrey Leach:

Like as though that's a story-

Hannah Leach:

To their friends, they're having a screening in their house. I can't believe someone wrote. Also, why would that even be like a plot point? That is the most insane thing I think we've ever had in a synopsis.

Okay. “After showing home movies to their friends, Shrek and Fiona learned that her parents have heard that she has married her true love and wished to invite him to their kingdom called Far Far Away.

The catch is Fiona's parents are unaware of the curse that struck their daughter and have assumed she married Prince Charming. Not a 700-pound ogre with horrible hygiene and a talking donkey pal.

A 700-pound ogre?

Audrey Leach:

That is a crazy.

Hannah Leach:

Where did they get that from?

Audrey Leach:

Maybe that's in the book.

Hannah Leach:

Literally a 700-pound stinking, wreaking ogre.

Audrey Leach:

Actually, I would like to — the gravity must work differently in the Shrek world because he could not weigh 700 pounds.

Hannah Leach:

How would he get in that onion carriage if he weighed 700 pounds? I love that Rotten Tomatoes has this as their synopsis. It's so funny and kind of wrong. Shout out to that. That's the best one I think we've ever had. That is so funny.

Audrey Leach:

I would estimate, if you were to guess how much Shrek weighs.

Hannah Leach:

In real life?

Audrey Leach:

What do you mean in real life? He is not real.

Hannah Leach:

Well. Not with the seven … with normal laws of gravity. How much I guess Shrek would weigh?

Audrey Leach:

I feel like he's coming in around like-

Hannah Leach:

Do you know how much people weigh?

Audrey Leach:

I feel like he's coming in around like — it's hard because like the scale.

Hannah Leach:

I feel like this is kind a fucked up thing to talk about.

Audrey Leach:

This scale is weird.

Hannah Leach:

I feel like it's fucked up to be doing this.

Audrey Leach:

Yeah, we don't need to do that. Actually, I feel like there's a relevant topic later in the second half. I've thoughts about that topic.

Hannah Leach:

We'll come back to that later.

Audrey Leach:

Taglines. You would think these would be great, right?

Hannah Leach:

Yes.

Audrey Leach:

You would think they would come up with the best taglines ever because that's their thing. But no, they're not that good. There's three. The first one is, “In summer 2004. They're back for more.”

Are you kidding?

Hannah Leach:

That's really bad.

Audrey Leach:

Awful. Second one, “Once upon another time.” What is this? Sara Bareilles?

Hannah Leach:

Oh my God. We can sing because we're in person. That's too much power.

Audrey Leach:

True. And the last one, “Not so far, far away.”

So lame.

Hannah Leach:

I agree.

Audrey Leach:

They’re so lame. Cast. I'm not going to talk about these main three again.

Hannah Leach:

We don't need it.

Audrey Leach:

Mike Myers is Shrek, Cameron Diaz is Fiona, Eddie Murphy is Donkey. But there are some new people.

Hannah Leach:

Including your favorite.

Audrey Leach:

Including Julie Andrews. So, Antonio Banderas as Puss in Boots. Rupert Everett as Prince Charming. Jennifer Saunders as the Fairy Godmother. John Cleese as the King. And Julie Andrews as the Queen.

Hannah Leach:

Of course, she's the queen.

Audrey Leach:

I mean, these are all extremely logical casting choices. Like when you get your first choice.

Hannah Leach:

Yes.

Audrey Leach:

It's that.

Hannah Leach:

Yes.

Audrey Leach:

And I do feel like Jennifer Saunders is kind of related to Lucy Punch in my head. There's a similar thing with them. I'm not even going to list what they were in.

Hannah Leach:

That's fine with me.

Audrey Leach:

It’s okay.

Hannah Leach:

Who cares?

Audrey Leach:

If you want to know what Rupert Everett was in, look it up.

Hannah Leach:

Look it up.

Audrey Leach:

Although I will say My Best Friend's Wedding.

Hannah Leach:

One exception.

Audrey Leach:

No, my ear wounds right now.

Hannah Leach:

Oh no. You should tell them.

Audrey Leach:

Why?

Hannah Leach:

Because it's interesting.

Audrey Leach:

Yeah. So, quick story. I took out my third-

Hannah Leach:

Story time, no exaggeration.

Audrey Leach:

I took out my third, what are they called? Thirds? I don’t know.

Hannah Leach:

Your third lobe piercing?

Audrey Leach:

Third lobe piercing today because my ears just simply would not accept them as a part of the family It's bad. And I didn't want to take them out.

Hannah Leach:

I’ve seen anything like it.

Audrey Leach:

Yeah, yeah. But I thought for some reason that I was physically incapable of taking them out on my own because I feel like they do — I've heard that a lot with piercing stories. Like no one would take it out or something along those lines.

Hannah Leach:

It's like my nose piercing. Yeah.

Audrey Leach:

Yeah. But then I just got determined and I took it out. But these headphones are pressing.

Hannah Leach:

You take out both of them?

Audrey Leach:

Yeah.

Hannah Leach:

Were they both messed up?

Audrey Leach:

Yeah, they're both messed up.

Hannah Leach:

That is so weird.

Audrey Leach:

The budget of Shrek 2-

Hannah Leach:

Back to more pressing matters.

Audrey Leach:

Was $150 million. Opening weekend, the film opened at number one with a Friday to Sunday total of 108 million and 129 million since its Wednesday launch from a then record 4,163 theaters for an average of $25,952 per theater over the weekend. The worldwide gross though is 935.2 million.

Hannah Leach:

That's insane.

Audrey Leach:

And I have a little quote about it, Shrek 2 made almost $930 million worldwide and almost half of that was its domestic gross alone. The total domestic gross for the 2004 movie was 441 million. But as that was almost two decades ago, the figure is much higher. One adjusted for inflation.

Hannah Leach:

I mean, it kind of makes sense.

Audrey Leach:

I guess men have a point.

Hannah Leach:

Men had a point with Shrek 2, 100%. And men made a lot of money off Shrek 2.

Critic and audience opinions. So, the critic score for Shrek 2 on Rotten Tomatoes is 89%. And the critic consensus goes as follows., “It may not be as fresh as the original, but topical humor and colorful secondary characters make Shrek 2 a winner in its own right.”

Some critic opinions, “Go and see Shrek 2. You'll enjoy yourself thoroughly. Only the churlish could find any faults.”

Audrey Leach:

I just like that they used the word churlish.

Hannah Leach:

Only the churlish. I can only figure out what that is with context clues. But someone look up churlish at home and then DM us and tell us what it is.

Audrey Leach:

You’ve never heard the word churlish?

Hannah Leach:

No. “The animation by which it stands or falls is as brilliant as ever. And though it wouldn't really be right to call it totally anti-Disney, it certainly trumps that institution for sharpness of focus, notably, as far as the screenplay is concerned.”

And then lastly, “The movie is obvious, but consistently entertaining and animated. And DreamWorks as ‘realistic,’ digitized style.”

King Roger Ebert gave the movie three out of five stars. Damn. And said:

“Sequels have their work cut out for them. Some people think Godfather part two is better than The Godfather, but the first film loomed so tall in my mind that I gave part two only three stars.

In the same way. Perhaps I would've liked Shrek 2 more if the first film had never existed. But I'll never know.”

Common Sense Media, my favorite. They said that Shrek 2 is appropriate for ages six plus.

Audrey Leach:

I don't know, I'd give it a good nine.

Hannah Leach:

Same. Well, I mean, I guess you don't get it when you're six.

Audrey Leach:

Yeah. You just don't get it.

Hannah Leach:

So, what parents need to know, “Parents need to know that Shrek 2 has some crude potty humor and some moments of mild peril and tension. The King hires a hit man to get rid of Shrek. Luckily, it's a small cat. Shrek and friends steal potions from the scheming fairy godmother, theft. The only casualties are an enchanted character and a couple of fish.”

An enchanted character. What would make that less bad?

Audrey Leach:

Witchcraft.

Hannah Leach:

Also, why aren't they talking about all the horniness? That's really what you got to look out for.

Audrey Leach:

Yeah. I would say so.

Hannah Leach:

And now Audience Score and Letterboxd average star rating is, I'm always aspiring towards pronouncing Letterboxd correctly. And I just did it wrong again, so that's good. Okay. Audience opinions. It got a 69% on Rotten Tomatoes. How appropriate. And was given four stars average on Letterboxd.

Audrey Leach:

Yeah. Just say it normal.

Hannah Leach:

Girl, I say Letterboxd. That's how I say it. I can't say it right. How do you say it?

Audrey Leach:

Letterboxd. Or like an ST kind of.

Hannah Leach:

ST, Letterboxd, is that right?

Audrey Leach:

Yeah.

Hannah Leach:

Okay. I'm going to start thinking about it that way. “It took me 16 years to finally give this movie the five-star rating it unironically deserves. Every scene is great. Every joke lands. It's emotionally moving. It's incredibly exciting. It's a fucking miracle of a movie. I cannot stress that enough.” From none other than Schaffrillas, our favorite YouTube guy.

Next one:

“Metamodernism is such a good way to follow up the first with literally perfect sequel. The soundtrack is amazing, the animation too. The world building is awesome. It introduces the best characters in the trilogy and it's a lot funnier than the first.

Also, fairy Godmother is literally Umbridge, and I really want to beat her to a slow, painful death with my bare hands. Then stop just before she does die and repeat with every existing method of torture for my entire life.”

Audrey Leach:

She's not that bad.

Hannah Leach:

“Then kill her and myself. Find her in hell. And …

I don't even know what else I'd do.

Audrey Leach:

I didn't read that one full out. I just saw Umbridge, and I was like, what?

Hannah Leach:

This reminds me of a teenager that doesn't know when to stop talking.

Audrey Leach:

She's not like Umbridge, she just kind of looks like-

Hannah Leach:

They just look the same.

Audrey Leach:

They're just British ladies.

Hannah Leach:

Some teenager that's watched too much My Little Pony wrote that.

Audrey Leach:

Okay. So finally, some cultural context for Shrek 2. So, Mike Myers, Eddie Murphy, and Cameron Diaz negotiated an upfront payment of 10 million each for voicing a sequel to the film. I mean, knowing how much it was going to make, that's valid. Maybe you should ask for more.

But what I thought was crazy about this is that each of the actors were expected to work between 15 and 18 hours in total. 15 to 18 hours to voice an entire movie. That's kind of surprising.

Hannah Leach:

I agree. I bet they could've gotten better stuff if they had more hours.

Audrey Leach:

Yeah.

Hannah Leach:

That’s like $500,000 an hour.

Audrey Leach:

Yeah.

Hannah Leach:

Can you imagine?

Audrey Leach:

That's a great hourly rate.

Hannah Leach:

Yeah. Seriously. We should be vying for that.

Audrey Leach:

Yeah. The pay increase represented a significant rise from the $350,000 salary that each of the actors was paid for their three weeks. So, they did three weeks on the first one, I guess.

Hannah Leach:

Oh God. They're really getting ripped off with that one.

Audrey Leach:

Yeah. According to Jeffrey Katzenberg, the executive producer of Shrek 2, and a co-founder of DreamWorks Pictures who led the negotiations, the payments were probably the highest in the actors’ entire careers.

Hannah Leach:

Maybe Austin Powers could have been more, but I doubt it.

Audrey Leach:

Okay. So, this is some personnel stuff that happened. Ted Elliot and Terry Rossio, the screenwriters of the first Shrek film insisted that the sequel be a traditional fairytale. But after disagreements with the producers, they left the project and were replaced by Andrew Adamson.

His writing of Shrek 2 was inspired by the 1967 comedy drama film, Guess Who's Coming to Dinner and was completed with the help of the film's co-directors.

Hannah Leach:

I have never seen that movie, but I looked up what it's about. Can you tell us what it's about?

Audrey Leach:

Yeah. So, it's simply put about a black man going to his white girlfriend's family's house for dinner. So, it's kind of a fish out of water thing, but it's about the clash between the racist white family and him.

Hannah Leach:

Have you seen it?

Audrey Leach:

Yeah. But like in 2015.

Hannah Leach:

Classic.

Audrey Leach:

A long time ago.

Hannah Leach:

Is it like Get Out but the grandfather of Get Out sort of?

Audrey Leach:

Yeah. They're linked.

Hannah Leach:

Got it.

Audrey Leach:

They're definitely linked. And then, this I thought was interesting. “In an early version of Shrek 2, Shrek abdicated the throne and called for a fairytale election. Pinocchio's campaign was an honesty campaign. While Gingy’s was a smear campaign.

Adamson said that although this plot did have many funny ideas, it was also too overly satir and political and considered more intellectual than emotional.”

I mean, I could see it being boring as hell.

Hannah Leach:

Yeah, I agree.

Audrey Leach:

So, I'm glad they redirected.

Hannah Leach:

I don't think that Shrek cares about participating in society that much.

Audrey Leach:

No. I mean, yeah, they would have to have him have a whole political awakening.

Hannah Leach:

Right. He becomes a socialist leader. I could actually see that for him. But yeah, he's also not trying to do all that.

Audrey Leach:

No. He just wants to live in a swamp, peacefully.

Hannah Leach:

Yeah. And fart without judgment. Before we rewatched this movie, I remembered most of it. There's stuff that I want to say about it that I'll say in the second half in terms of what I remembered and how things panned out. But we had this movie in the minivan.

Audrey Leach:

This was a minivan movie.

Hannah Leach:

I know we always say that about movies and there's actually still some we have not covered.

Audrey Leach:

Well, that's what my third graphic for this is going to be, van movies part two.

Hannah Leach:

Okay, got it.

Audrey Leach:

Because there's a lot that were not on there the first time.

Hannah Leach:

So, we saw this movie a million times, which makes me surprised that it still kind of felt like I was watching something new when I was watching it.

Audrey Leach:

But the DVD menu is very present in my mind. The bonus features and all the other stuff.

Hannah Leach:

I mean, you guys know that we watch bonus features more than the movies.

Audrey Leach:

Yeah. That might be why we kind of — I don't have Shrek to the movie that memorized compared to others, but I definitely have the bonus features in my head a lot and very clearly.

Hannah Leach:

Agreed. Okay. I feel like we should just go to the second half. So, okay. If you want to watch Shrek 2, it's available on Hulu. It's worth the watch. So, get comfy and-

[Music Playing]

Audrey Leach:

We'll be right back.

Hannah Leach:

Yeah. BRB.

I am going to say it, not only does this movie have the best opening sequence ever, but it has two of the best opening sequences ever. Other than the wolf in the grandma dress reading pork Illustrated. Even though that was funny.

Audrey Leach:

I have to be honest in that I realized in this watching that almost every joke that isn't just … if it's a visual joke and not a verbal joke, it has to do with drag or potentially trans or type vibes.

Hannah Leach:

Yeah.

Audrey Leach:

Every joke.

Hannah Leach:

Yeah. Every single one.

Audrey Leach:

Literally.

Hannah Leach:

It's really weird.

Audrey Leach:

Unless it's a verbal joke, but yeah. If it's a visual joke, it almost always has to do with that.

Hannah Leach:

Yeah. And I guess we can just get this stuff out of the way now. We're just getting right into it. Yeah. Like saying gender confused as a joke is so — it's like way more heavy handed than it was even in the first movie.

Audrey Leach:

I just don't know why that in particular was their go-to.

Hannah Leach:

Well, and it's also interesting if you think about the fact that it's an all-male team.

Audrey Leach:

It's lazy joke writing.

Hannah Leach:

But there's some joke writing that's really good though.

Audrey Leach:

But I think that has more to do with actor deliveries than it has — it has to do with Eddie Murphy.

Hannah Leach:

Yeah, that's true.

Audrey Leach:

Rather than like, them being smart.

Hannah Leach:

That’s true.

Audrey Leach:

That's why these movies are so good. For the most part is due to the actors.

Hannah Leach:

Yeah, the gender confused wolf. Well, obviously the ugly stepsister thing, it's like she's ugly because she's a man.

Audrey Leach:

Yeah. Because she is in drag basically.

Hannah Leach:

So weird.

Audrey Leach:

I think I just was like; I don't know about this.

Hannah Leach:

I think perhaps to us we were like, we don't know about this, but it's blatantly like dressing femininely as a non-woman is a thing that makes you a freak.

Audrey Leach:

They're in the kind of evil character bar.

Hannah Leach:

I love the evil character bar.

Audrey Leach:

All the shady people come to this bar. And that's the thing also in Tangled for example, but not, they’re all like-

Hannah Leach:

It’s like a rowdy tavern.

Audrey Leach:

There's lots of that.

Hannah Leach:

Fairy tales love to have a rowdy tavern. But this is more like a speakeasy vibe.

Audrey Leach:

And it's like where you go to do dark deals.

Hannah Leach:

Like nocturnally, these things exist.

Audrey Leach:

So, it's kind of a-

Hannah Leach:

I wish that we had like a shady bar. I'm sure there's shady bars in Cleveland, but not in that way.

Audrey Leach:

Well, they're not like going to be fun for you.

Hannah Leach:

How do you know?

Audrey Leach:

Probably.

Hannah Leach:

I don't really associate with hit men, but maybe I should. Maybe I'm missing out on a really big opportunity there.

Here's something similar, but not quite. In the opening when Prince Charming takes off his helmet and has the hairnet on, first of all, hilarious. Second of all, I was like, is he an ongoing gay joke? Like, I couldn't remember. But he's actually really not.

Audrey Leach:

I mean, they don't actually make any blatant gay jokes about him. He's just like a mama's boy. A pretty boy.

Hannah Leach:

Yeah. He's just a pretty boy. And I was like, that's how I remembered it being. But I wasn't totally sure because at the time, even being a pretty boy could be turned into being a gay boy. The only gay representation is the guy who works at the front desk at Fairy Godmother.

Audrey Leach:

Jerome.

Hannah Leach:

Yeah. Jerome. Are you feeling-

Audrey Leach:

Degraded or depressed?

Hannah Leach:

Oppressed. He's like, “A little.”

Voiceover:

“Are you feeling at all degraded or oppressed?”

“A little.”

“Well, we don't even have dental.”

“They don't even have dental.”

Audrey Leach:

Wait, how is that a gay joke?

Hannah Leach:

No, it's not. It's just the way he is. He just is

Audrey Leach:

I love that moment because as we clearly see a Far Far Away is modeled after Hollywood. And the main strip of Far Far Away looks like the grove. It just does, it looks like Rodeo Drive. And not that those are the same thing, but shopping areas in LA. So, when they go into the castle, it's not even the castles. Wherever the fairy godmother like works, I guess.

Hannah Leach:

Her factory.

Audrey Leach:

Shrek is like saying he's a union rep. And it feels very agenty. Like the fairy godmother is an agent and she's got this assistant. And it just works. It's like a full metaphor.

Hannah Leach:

And it also works on a lot of levels too because someone with your level of knowledge can see it for that someone with a mid-level of knowledge is like, oh, she's just like an evil boss. And then little kids are just like, she's a mean lady. It works on so many different levels, which is cool.

Audrey Leach:

Yeah. And I also was reading that like, I mean, clearly the people that worked on this movie are very ingratiated in Hollywood culture, so they really infused that into the movie. So, if you're aware of it, you could definitely spot it.

Hannah Leach:

Okay. So, Hailey's indicating that she has a fact to share. So, Hailey, what fact do you have?

Audrey Leach:

Another Hollywood reference?

Hailey:

I thought it was really weird. I've seen the movie a couple times. And I was actually really excited to hear that you guys were talking about this today because it's a good movie.

There is a scene where Donkey is running away with Shrek riding him down the highway or road. And the cops are in a helicopter or something above. There's just an overhead shot. And they go, “There's a white Bronco going down the highway.” It's an OJ reference.

Hannah Leach:

I did not know that.

Hailey:

Because OJ on the highway drives a White Ford Bronco. And that's like the whole coverage. One of the biggest stories of all time in journalism is him driving down the highway in the White Ford Bronco.

Hannah Leach:

It's so good.

Hailey:

Yeah. That's mainly what it was, it's so weird.

Hannah Leach:

It's so funny too because neither Audrey or I knew that, right?

Audrey Leach:

Well, no, I think I kind of have purposefully avoided knowing a lot about the OJ trial. I don't know why. I think I-

Hannah Leach:

You're not a true crime girl.

Audrey Leach:

No, I am actually.

Hannah Leach:

You are?

Audrey Leach:

I just don't talk about it.

Hannah Leach:

Oh, my God. That's your secret? Is that … secret?

Audrey Leach:

It’s like a passing interest.

Hannah Leach:

Got it.

Audrey Leach:

But yeah, like the OJ trial is one of the few that I really have not interesting invested any time in.

Hannah Leach:

What I was going to say though is that kind of like what we were talking about earlier how the references operate on so many levels. I laughed at that, “We got our white Bronco running down the street,” not knowing.

Audrey Leach:

You don't even need it.

Hannah Leach:

I had no idea. I just thought it was really funny.

Hailey:

It's the strangest random — they don't even like say like OJ. It's literally just like three words just randomly input in which always confused me and I didn't realize it until recently. Because I'm also a true crime buff. So, when I heard it, I was like, I know exactly what that is. It's the same shot. I'm not joking. Frame by frame. It looks exactly the same.

Audrey Leach:

Oh, that’s cool.

Hannah Leach:

We have to do a side by side of that.

Audrey Leach:

Yeah. That's really cool.

Hannah Leach:

Wow. The thing that just occurred to me that I can't believe I forgot about with all the weird gender-bending stuff. Why is it that Pinocchio had to be wearing ladies' underwear?

Audrey Leach:

This is their go-to. So, it's just extremely lazy because they've got … I can see them in the writing room. I can see them all congregating about this. And it's like, obviously we're going to do a bit where Pinocchio's nose needs to grow so that they can get out of a situation. What would be the reason? And it's so stupid.

Hannah Leach:

You could've said anything.

Audrey Leach:

You could've done like another borderline inappropriate joke about so many things. But why is it always having to do-

Hannah Leach:

It's a weird gender thing.

Audrey Leach:

With like a boy — not the Pinocchio. Pinocchio is not even-

Hannah Leach:

He's not even a real boy.

Audrey Leach:

He's not even a person. It didn't need to be that. It could have been any joke.

Hannah Leach:

Yeah. So, we had the wolf, Doris the ugly stepsister.

Audrey Leach:

Pinocchio.

Hannah Leach:

Pinocchio with the ladies' underwear. Prince Charming being effeminate kind of.

Audrey Leach:

The dude named Kyle.

Hannah Leach:

Oh, my God. Her chauffer, Kyle, loved Kyle.

Audrey Leach:

Jerome.

Hannah Leach:

Oh, and Jerome, front desk little guy.

Audrey Leach:

I mean we’re up there.

Hannah Leach:

Kyle is an enigma. We'll have to include a little clip of Kyle.

[Music Playing]

Hannah Leach:

He has like the velure-

Audrey Leach:

But she doesn't say anything.

Hannah Leach:

I know. But there's that whip when she is like my chauffeur Kyle. And then it whips. I love him.

Audrey Leach:

She keeps calling him sexy which I find uncomfortable in-

Hannah Leach:

I wrote this down when I was a kid and I'm sure you feel the same way, I really thought that sexy was like a bad word.

Audrey Leach:

Me too.

Hannah Leach:

And then they would say it on Fairly Odd Parents, and I'd be like, “This is a bad word.”

Audrey Leach:

They did.

Hannah Leach:

Yes. I remember that. Because it was in one of the Jorgen von strangle episodes that, and he kept referring to himself as sexy. He's like the Arnold Schwarzenegger knockoff guy. And I was just like, isn't that a bad word?

Audrey Leach:

I didn't think it was a bad word. I thought it was inappropriate. Why would a kid say that?

Hannah Leach:

We really had a lot of language rules though when we were kids.

Audrey Leach:

I mean, there's nothing more uncomfortable than hearing a child say the word sexy. I don't want to hear that.

Hannah Leach:

Yeah, I don't like that either. I don't like that either.

Audrey Leach:

That is weird.

Hannah Leach:

Yeah. I don't like that. One of my students said fuck really loudly in a rehearsal one time and it was actually like the best thing of my life.

Audrey Leach:

Well, that's fine.

Hannah Leach:

It’s because we were talking about our favorite swear words, which was a bad topic that I brought up. He said, Fuck Andy as a starter. So yeah, throw me in teacher jail. It was not the best moment, but it was funny. Anyway, this movie's kind of transphobic, but I am so-

Audrey Leach:

It is. It kind of is.

Hannah Leach:

And maybe, I don't know if it gets better or worse in the third movie, but maybe we'll cover that at some point.

Audrey Leach:

I think that's irrelevant. I have not seen it in a long time. I think I've seen it once. As I recall, the tone changes a lot in the third.

Hannah Leach:

Yes.

Audrey Leach:

And it's no longer can we make a million jokes about dumb stuff. I think it's a little more serious.

Hannah Leach:

It may be.

Audrey Leach:

In tone.

Hannah Leach:

Yeah. Why are Shrek and Fiona so horny at the beginning, but also, they are newlyweds, so I get it.

Audrey Leach:

It's realistic, but it's too realistic.

Hannah Leach:

The home movies they show their friends are really cute. I really love that opening.

Audrey Leach:

Yeah. That's counting crows, right?

Hannah Leach:

Yes, it is.

Audrey Leach:

It's the counting crows that made that what it was.

Hannah Leach:

They were putting in work. Also, we forgot to say that we had the soundtrack to this movie when we were kids and we're bumping that shit nonstop. I think I know every single word to that song. Which leads me to why is it that they say, “Baby I surrender to a strawberry ice cream. Never — this love.” I hear strawberry ice cream so clearly. Do you know what I'm talking about?

Audrey Leach:

Yeah. But those are the words.

Hannah Leach:

I surrendered a strawberry ice cream. What does that mean?

Audrey Leach:

I feel like there's a misinterpretation going on.

Hannah Leach:

I'm finding it. It's literally exactly what I thought. “Well baby, I surrender to the strawberry ice cream. Oh. Like never ever end all of this love.”

Audrey Leach:

At least there's a the because you … I think-

Hannah Leach:

That's true.

Audrey Leach:

In my head, I didn't really hear the-the, but to the, at least it is a sentence. It's not just like him interrupting his own sentence.

Hannah Leach:

Yes, that's true.

Audrey Leach:

I surrender to strawberry-

Hannah Leach:

Strawberry-

Audrey Leach:

Ice cream.

Hannah Leach:

This song is so good. Okay. Anyway. Love that opening.

Audrey Leach:

I noticed also in this one this viewing that there are other Hollywood movie references. The Spider-Man kiss is in there. There's a whole bunch of little things that you have to have seen another movie to get in this movie. And I definitely didn't get that as a kid.

Hannah Leach:

She says pretty woman.

Audrey Leach:

Yeah, pretty woman.

Hannah Leach:

So funny. I'm looking up the lyrics to the Fairy Godmother song because they-

Audrey Leach:

It's a lot of words.

Hannah Leach:

They become really incomprehensible near the end, but I'm sure that they're funny. Can I read these to you?

Audrey Leach:

Yeah.

Hannah Leach:

Okay. So, where it stops being understandable goes,

“I'll make you fancy.

I'll make you great.

The kind of gal the prince would date.

They'll write your name on the bathroom wall.

"For happy ever after, give Fiona a call!"

A sporty carriage to ride in style.

Sexy man-boy chauffeur, Kyle!

Banish your blemishes, tooth decay.

Cellulite thighs will fade away.

And oh, what the hey!

Have a bichon frisé!

Nip and tuck, here and there.

To land that prince with the perfect hair.

Lipstick, liners, shadows, blush!

To get that prince with a sexy tush.

Lucky day, hunk buffet!

You and your prince take a roll in the hay!

You can spoon on the moon.

With the prince, to this tune.

Don't be drab, you'll be fab!

Your prince will have rock-hard abs!

Cheese soufflé!

Valentine's Day; have some chicken fricassée!

And then it just repeats things. Roll in the hay. You can spoon on the moon. Holy shite. It's written by all men also.

Audrey Leach:

But it’s going so fast that like kids are just like, “Whoa. Look at all the thing, the visuals.”

Hannah Leach:

I know. Well, that's why I was like, I have to look up these lyrics because I'm sure they're kind of out of pocket. I also love that they throw a bichon frisé at her. I think that's really funny.

Audrey Leach:

Yeah. And then the bichon is in the entire movie.

Hannah Leach:

I know. And it's really cute. Also though, cellulite thighs. That brings me to it's another really man thing to make the Fairy Godmother's running joke that she's breaking her diet and because she's like, not actually fat, but she's like loosely plump or whatever.

Audrey Leach:

She's literally tiny.

Hannah Leach:

Well, she's tiny, small, but you know what I mean?

Audrey Leach:

Yeah. Like her build.

Hannah Leach:

It just feels very 2004.

Audrey Leach:

Not to bring up layers, but-

Hannah Leach:

Like onions?

Audrey Leach:

The layers of like implications about body size through this movie are kind of — and it's similar in the first movie too. They're saying a similar thing. They're using a race trope from who's coming to dinner for what boils down to a beauty standard-

Hannah Leach:

Yes.

Audrey Leach:

Story, which feels a little unbalanced, unfair, not fought through all the way.

Hannah Leach:

Yeah. I mean, of course.

Audrey Leach:

And to have the takeaway be Fiona is going to choose to be “ugly” because she fell in love with “ugly” person.

Hannah Leach:

Yeah.

Audrey Leach:

What is that thing? And is that in reality, you can't transfer this to reality because no one would choose to have less power. Fiona's not that good. She cannot be that good of a person.

Hannah Leach:

No, no, I agree. And I was thinking about that too because I was like going with the racial metaphor, but then I was like, so what is Fiona in this situation then?

Audrey Leach:

Yeah. Because normally you've got like when who's coming to dinner, Fiona would be a white girl who can choose to be racist with her family or not.

But now because of the transformation element, that is not something from who's coming to dinner. That's a fantastical element. I feel like it's sort of one of those situations where like I think he probably would be better off living how he wants to live.

Hannah Leach:

Yes.

Audrey Leach:

But-

Hannah Leach:

Well, I also feel like, okay, I know this is kind of like a girl bossy comment to make, but if this had been a sequel from Fiona's perspective, it would've been really interesting because her dilemma is way more interesting. You had this moment where you've changed into an entirely different race question mark.

Audrey Leach:

Yeah. Kind of.

Hannah Leach:

And/or you've chosen one side or the other and now you like have to be reunited with your parents who literally locked you away, sent you to boarding school essentially. Because they were like ashamed of you and now your husband is here and he loves you, but he won't play the game. Like what do you do?

Audrey Leach:

Yeah.

Hannah Leach:

I think that's interesting.

Audrey Leach:

Well, let's think about when they drop her off story-wise because they do.

Hannah Leach:

I think it's like once-

Audrey Leach:

It’s kind of like once he reads the diary.

Hannah Leach:

It's once he reads the diary. Yeah.

Audrey Leach:

She's sort of out of the picture. We're not thinking about how she feels much right after that.

Hannah Leach:

Right. Also, as a side note, Audrey and I were both really surprised when Shrek and Donkey didn't become sexy until the exact midpoint. Because I remember that being the whole point of the movie.

Audrey Leach:

I actually forgot that was going to happen.

Hannah Leach:

Really?

Audrey Leach:

And then when it was about to happen, I was like, oh yeah, wait, that's what this movie's … that's what happens in this movie.

Hannah Leach:

That’s what happens in this movie. Yeah. In my mind I was like, I thought that happened like a quarter of the way in not halfway through.

Audrey Leach:

It's not an inciting incident. It's the midpoint.

Hannah Leach:

The racism is the inciting incident. I also just feel like I wish that they had gone more into the wrongs of the parents and the personalities of the parents more. Wait also, which brings me to-

Audrey Leach:

They forced Julie the Queen to be pretty flat.

Hannah Leach:

I know. She had like one day in the studio or something. That's what it seemed like.

Why is it that Puss in Boots doesn't do anything? I remember him being so much more of a character.

Audrey Leach:

Well, it's funny because there's a new Puss in Boots movie that came out last year.

Hannah Leach:

I know, I heard it's a slay.

Audrey Leach:

Yeah. So, it's like clearly there was a lot more there that they could explore. But yeah, I don't know. He doesn't do much.

Hannah Leach:

The only thing he does is that pouty thing.

Audrey Leach:

You know what else they don't like fully wrap up as I recall, there's that whole little moment where Shrek and Puss in Boots are bonding and Donkey's jealous, they don't revisit that.

Hannah Leach:

Well, they end up tying it up in a weird way where they're like, now Puss in Boots and Donkey are friends, instead of Shrek and-

Audrey Leach:

Shrek and Donkey having a talk. Which, I guess both would be ideal in some way.

Hannah Leach:

Yeah. I thought the night sequence was really funny.

Audrey Leach:

Yeah. They do like a cops parody.

Hannah Leach:

Yes. Where they're getting rounded up by the cops and when they find catnip on Puss in Boots and he's like that's not mine. That was really funny.

Honestly, watching the movie with Audrey was so fun because we'd had a really long day and were like mildly drunk and we're just laughing, earnestly laughing at the movie because it is genuinely really funny.

Audrey Leach:

Sometimes.

Hannah Leach:

There's moments where it's cringeworthy, but for the most part there's a lot of really simple, funny things like taking out the fairy godmother at the end, and the three little pigs are there. And they're like pigs in a blanket. And they'll like launch one of them into the sky. Like it's stupid stuff. It's so funny.

Audrey Leach:

We always get a big kick out of Monte Crisco. Is it Crisco?

Hannah Leach:

It's Cristo.

Audrey Leach:

What is that?

Hannah Leach:

Montecristo, my understanding is that it's like a French toast sandwich.

Audrey Leach:

Oh, okay. Yeah. Well, earlier in the Jerome scene, the fairy godmother asks for Montecristo, I think. And then later the little worker dude comes in and he's like, “Montecristo and coffee.” It’s so funny.

Hannah Leach:

That impression is really good.

Voiceover:

“Montecristo and coffee. Oh, sorry.”

Hannah Leach:

It's the way like Shrek and Donkey have warmed their way into the fairy godmother's lab where she's making the horniest potion of all time. Not sure why. She's like, “And gallons of lust in the-

Audrey Leach:

It's very Ursula.

Hannah Leach:

Yeah, yeah, yeah. I want to know why she was making that potion. But yeah, then the little guy walks in and it … that was one thing that really lived in my mind forever was Montecristo and coffee. It’s so good.

I'm looking at my list here.

Audrey Leach:

There's so many things that we kind of used to say to each other. Or like the working hard or hardly working?

Hannah Leach:

Also, one line that really made me laugh that I didn't remember was in the beginning where Shrek and Fiona come back from the honeymoon and they walk into their house and Shrek is like, “Donkey get out.” And he's like talking and talking and talking. And Shrek’s like “Donkey. “And he's like, “Yes roomie.” And then he's like, “Get the fuck out.” That made me laugh really hard.

We haven't even talked about the fact, I know we talked about it last time with the first Shrek, but like the fact that Eddie Murphy is like so black but also an animal.

Audrey Leach:

Yeah. Puss in Boots is also a non-white. Well, Antonio Banderas, I guess he counts as white for sure.

Hannah Leach:

A white Latino.

Audrey Leach:

But like, not Mike Myers, that's for sure.

Hannah Leach:

Yeah. Definitely not Mike Myers. I heard I Need a Hero. This version on an MP3 player, when I was like a little kid before we had iPods, I almost said iPad, but I stopped myself. And I remember going on a walk around the block and listening to, I Need a Hero like two times in a row. It is a great cover.

Audrey Leach:

It is. I love her performance choices.

Hannah Leach:

And the dress. I mean, that is gay representation. Honestly, that really did it.

Audrey Leach:

I have some things. One, now we know what Shrek’s nipples look like. Why does an ogre have nipples anyway? I mean, I guess.

Hannah Leach:

I mean, it's like they're humanoid. They're humanoid. I can't believe you brought up Shrek’s nipples right now.

Audrey Leach:

It's just true. Chest hair. It's all there. It's uncomfortable. Why is Shrek wearing boxer briefs?

Hannah Leach:

What? Those aren't boxer briefs. Those are boxers.

Audrey Leach:

Oh yeah. Those were just boxers.

Hannah Leach:

They're just straight boxers.

Audrey Leach:

But they weren't like boxers.

Hannah Leach:

What if he was a boxer brief kind of man?

Audrey Leach:

No. I think they were kind of in a half because they weren't long boxers anyway.

Hannah Leach:

Well, that's because he's a massive 700-pound ogre. I just had a conversation about the difference between these things. They were boxers because we would've seen-

Audrey Leach:

No, don't say it. Don't say it. Don't say it. Don't say it.

Hannah Leach:

We would've seen it.

Audrey Leach:

Don't say it. Don't, don't say it. Do not. You're done. No.

Hannah Leach:

Audrey's looking at me with this level of urgency in her eyes. Like, you cannot say it.

Audrey Leach:

No.

Hannah Leach:

Let me say it. I have to. Okay, fine.

Audrey Leach:

You shouldn't.

Hannah Leach:

Okay. Well, you know what you would see if they were boxer briefs.

Audrey Leach:

Yeah, disgusting.

Hannah Leach:

I don't think you've ever stopped me that hard in our lives from saying something. Well, when that scene happened, Audrey was like, this part always made me uncomfortable. Like the second that it started.

Audrey Leach:

How could it not? Why would an ogre have chest hair?

Hannah Leach:

Like what do you mean?

Audrey Leach:

He doesn't need to. Basically, what I'm saying is like, that wasn't necessary.

Hannah Leach:

No one needs to have chest hair.

Audrey Leach:

Yeah, exactly. So, why add it? Why is it there?

Hannah Leach:

Because he's a man.

Audrey Leach:

Is it because they wanted chest hair on the human version? Because they literally bring up chest hair when he becomes a human. Remember the girl says that?

Hannah Leach:

No.

Audrey Leach:

She does.

Hannah Leach:

I think I tune that part out.

Audrey Leach:

Was it important for you?

Hannah Leach:

Important character traits that he had, chest hair. Anyway. So, you're being made uncomfortable by ogre bodies.

Audrey Leach:

Yes. I'm valid.

Hannah Leach:

It's your trauma speaking.

Audrey Leach:

Okay. Last point I have is, so both Shrek and Donkey take this potion and it turned Shrek into a human and it turns Donkey into a stallion. So, it should have turned donkey into a human. That would've been so interesting to see what they would've done. Would it have been a black man? And they knew they couldn't do it. They knew they couldn't do it. It'd be too uncomfortable for them.

Hannah Leach:

No way.

Audrey Leach:

Yes.

Hannah Leach:

That's a really interesting point.

Audrey Leach:

It's not — a donkey turning into a stallion. The potion doesn't make sense.

Hannah Leach:

No, the potion doesn't make sense. And I have another point about that. But the whole thing … okay, I think you're right. They couldn't have made a black man. That would've been really fucking weird.

Audrey Leach:

Because there are no black people in the movie.

Hannah Leach:

But I think that they turned Shrek into a human because there needed to be the equivalent to Fiona.

Audrey Leach:

Yes. And from that-

Hannah Leach:

He's a humanoid. And Donkey is not.

Audrey Leach:

But the implication of that is the upgrade of a donkey is a stallion. The upgrade of an ogre is a human.

Hannah Leach:

That makes sense to me though.

Audrey Leach:

Yeah. It does make enough sense to not necessarily — like most people will not come to this conclusion when they think of the movie of like … but shouldn't — what were the rules of the potion?

Hannah Leach:

Well, okay, so that leads me to the same thing. So, Fiona didn't take the potion. She just woke up because she was Shrek’s true love. So, she woke up as her yassified version. My question is, does that mean … I think that's how it works.

Audrey Leach:

It has to work that way. There's no other way for it to work. Why did she change when she didn't take it herself?

Hannah Leach:

I think it's because she's the true love of Shrek.

Audrey Leach:

Yeah. No, that is what it is.

Hannah Leach:

But this is my question.

Audrey Leach:

Why is Dragon not in there?

Hannah Leach:

That's what I was going to say. No, she's in it for like a second.

Audrey Leach:

They mention her, but she's not in it.

Hannah Leach:

Well, that's what I was going to say is like, is she off screen? Like a sexy-

Audrey Leach:

What's the upgrade of a dragon? Maybe that's why she's not in it physically.

Hannah Leach:

Because she's like an even sexier dragon.

Audrey Leach:

Yeah.

Hannah Leach:

I can't imagine her being a sexier dragon.

Audrey