The Fabulosity of Mr. Toad
with Matty Limerick

[Transcriber note: The punctuation in this transcript is less structured than other transcripts because it's a conversation. Unscripted conversations are harder to create methodized sentence structure, but I've done my best. I've also done my best to provide a clean transcript, eliminating verbal hiccoughs where available.]

A That's Not Canon Productions Podcast

[music]

Jen: Hi there and welcome to another midweek guest episode of Oof! Right in the Childhood. Today I'm joined by Matty Limerick of Dolewhip and Dreams Matty thanks so much for joining us today. 

Matty: Thank you for having me this is Disney-ception I love it so much

Jen: I am just thrilled that you wanted to come in and talk about The Adventures of Ichabod and Mr. Toad. Why don't you tell our listeners a little bit about yourself.

Matty: Well, hi friends, all of the people in the podcast universe. I am Matty Limerick. I am a freelance costume designer. In general, nerd human, but because we are in COVID times, there's not much costuming and theatre happening. But I am also a podcast creator. I have a Disney movie podcast myself called Dolewhip and Dreams over on the Certain Point of View media network. Each week I take a deep dive into Disney movies through all of Disney history. We're not going in kind of any order, and starting January first, I actually have a new show coming out called Saturday Morning Confidential. It's a similar structure but it covers all ideas of nostalgia that artists and creators find nostalgia with.

Jen: Well that's super, super fun, and it is my understanding that you're also talking about Ichabod and Mr. Toad this week, is that right?

Matty: We are, yeah. I had a, you know, technology, it's my first year in so technology has been a little bumpy for us, and I thought I had completely lost this episode with a good friend of mine. And I was cleaning out three years of grad school files on my [laughs] my computer and lo and behold it had gotten shoved in a folder when it auto downloaded, so it's a little clipped episode, I normally do about 90 minute episodes. It's about 40 minutes where I talk about this with a native of the Hudson Valley who grew up loving the Rale of Sleepy Hollow and kind of having it entrenched in him, so yeah we're talking about it on my show it'll be released this Friday. It should be actually out by the time this airs, so I'm excited for you all to listen to that as well. I love oddly love talking about this weird little "movie" that they put together of these two great shorts which was super common of the time, so I was excited to come on and talk about it

Jen: Well, like I said I'm just super excited to have you too. So before we start diving into your impressions of the movie and how it feels to watch it, I'm going to ask you the most important question of this entire film.

Matty: Yes.

Jen: And that is, "Who is the most fabulous character in all of English literature?" 

Matty: Oh my god, oh my god. In all of English lit? Oh my god, you've just totally stumped me. Because there are, I mean, there are lots of stories from different eras like I think Mrs. Bennett from from Pride and Prejudice is fabulous in the worst kind of way. [Jen laughs]. And I love the White Witch from Chronicles of Narnia. And oh god, there's just so many you've you've officially stumped me.

Jen: I probably should have warned you. That's the line at the very beginning of this movie is, 

Matty: [overlapping] Yes it is.

Jen: "Who is the most fabulous character in all of English literature?" and when I watched it, I was like, um so please tell me who it is because I'm not sure it's Mr. Toad.

Matty: Well i'm not sure I'd say it's Mr. Toad, but for the sake of this episode, why it's Mr. Toad! 

Jen: It's Mr. Toad!

Matty: I feel like this was just that Drag Race moment where RuPaul was looking at Miss Fame all episode and going, "How's your head?" and Fame could not answer it. I feel like you just threw me the biggest bone, and I couldn't so it's Mr. Toad. [laughs]

Jen: It's Mr. Toad. No but I do I like that, is it Ichabod Crane or Mr. Toad? And if so who are you that you think this?

Matty: Right?

Jen: But I thought that was the most hilarious way to start this movie.

Matty: Of course well I mean it's very, mid-century American of them too. Because this idea that like the most American entertainment company was was being like look at this British thing! Look at all these British stories we're telling look at all these specifically non-American stories we're doing. 

Jen: I'm assuming you know that this began as a full-length feature and ended up getting cut down to what it was.

Matty: Yes, absolutely.

Jen: So, when do you remember watching it for the first time?

Matty: So I remember I have, like I'm ingrained with memories of the Ichabod section of. the Sleepy Hollow, I remember. We didn't have cable growing up, but this time of year, specifically in October, Disney channel would always offer like a free weekend where you could watch, and they would really pack in. Like they would always show that 60-minute version of Alice in Wonderland, 101 Dalmatians would show. You get some of the, like, tv programming but I remember, in October, that they would always show the Sleepy Hollow portion, and so for me it was so ingrained that I remembered it. And I don't actually think, until my watch of this a year ago, that I ever watched the Wind in the Willows, the Mr. Toad section. I knew it was a ride at Disneyland that we'd had at Disney World, that everybody was very upset when it closed, but I honestly, I think a year ago was the first time that I watched the Wind in the Willows. But I remember I'm a big weenie when it comes to horror and spooky things [Jen laughs], and so the Headless Horseman coming through the woods and throwing his head at Ichabod as he runs through the countryside, I have the worst guttural memories of that of being so afraid of that. And that I didn't even remember until rewatch, and then I watched this again the other day that like, it's all musical I had totally forgotten about that as well again until I watched it about a year ago, and so I think as a kid I remember watching and just being so afraid of the Headless Horseman that I kind of forgot everything else. That weird nostalgia brain.

Jen: You know, I actually kind of had the same experience. I absolutely remember watching the Legend of Sleepy Hollow every Halloween when Disney Channel was on free preview, and my two big takeaways were how much Ichabod could eat and that pumpkin throwing scene. It was those two things.

Matty: Because he's so skinny and yet packs away — well and that was something I again watching it as an adult. I went whoa i'm finding myself totally not rooting for him at all and I'm sure we'll get into this but like it's one of those things I went huh—tale of the unlikable protagonists.

Jen: So I refer to Brom as Proto-Gaston.

Matty: I do as well.

[both laugh]

Jen: And Ichabod's a creep. [Jen laughs]

Matty: A total creep. An absolute creep. 

Jen: Like, he's like, "I'm gonna marry her so I can have her daddy's land," and I'm like wait, wait, wait, wait what?

Matty: It's one of those — he almost reminds you of like the Ali Hakim from Oklahoma! the like snake oil salesman that's traveling around. Except he's the school teacher that goes town to town until he can find the most beautiful woman to like marry into her rich family and have those things, and when he can't find it he just moves on to the next town. Like it's, like that's not part of the story, but my you know, my adult brain goes, "Who is this spaghetti man, coming in that's like,  'I look weird but I'm gonna marry this super pretty girl with the rich family.'"

Jen: Right? And I like how Katrina is just like, "Whatever. This is fine."

Matty: Yeah, yeah, yeah. 

Jen: In my first watch I thought that she didn't notice, but in my second watch, I think that she did, and she was just like, "Well these are nice gifts. That seems fine."

Matty: Yeah, and it's one of those things where I go, "Oh yeah girl take those gifts. You don't owe him anything, and he wants to give you a present. You take that present. You appreciate that present. You owe him nothing, so take those presents. Do what you're gonna do." [Matty laughs]

Jen: You know she's also kind of conniving too because for that final dance she writes both of them and personally invites them to that party, and so they're both vying for attention. And I'm like Katrina, everyone kind of sucks in this story.

Matty: Yes, and I ultimately like to think that she and Brom are both in on the the Headless Horseman aspect of scaring him out of town. I like to think that I mean granted, because much like many of the movies during this time Katrina has the least agency of anyone because she is "the woman." Which is she's a plot point. She's property to be won, but I like to think that she she was like you know let's give him a razz i'm i'm smarter than he thinks I am in this in this situation. I like to think she was in on it with Brom.

Jen: That's a great way to think about it I kind of love that so I have a Mandela effect going on with that particular scene, so I have two memories of that of that ending and one of them is the pumpkin and then, and it misses and it's Brom like throwing these pumpkins and then Ichabod and Katrina get married. And then I have the one where Ichabod maybe dies? They're very unclear about that.

Matty: [overlapping] oh I don't—

Jen: He might have died he might have moved to another town. We're not sure.

Matty: Mm hmm. It's it's very unspecific. The wiki uses the phrase that Ichabod was spirited away by the Headless Horseman. 

Jen: Oh

Matty: From someone thatm I lived in the Hudson Valley for four yearsm I go that sounds about right that that sounds like those Catskill people, like that sounds just about right. Also kind of remembering that this was also a Washington Irving story you know along with Rip Van Winkle in those kinds of almost Magical Realism. Like there's just enough that you're like huh—maybe we do have Fae and magical things in this world, or maybe we don't. It's none of our business. Let's keep moving on. 

Jen: Not pay attention to them. Yeah I talked a little bit about that about how Irving was actually stationed at Sleepy Hollow during the Revolutionary War, [Matty agrees] and during his time they found a Hessian soldier beheaded near a bridge. And then later in his life he met someone named Ichabod Crane, so I mean, it's really unclear where he got his ideas but—

Matty: Yeah that's wild. I mean that's also that time where we know stories that are supposed to be true that might you know they're as fictionalized as any other, you know literature, of the time. You know George Washington chopping the cherry tree and Johnny Appleseed and Pecos Bill and Paul Bunyan, and there are those things that there there is so little separating the fictionalized version of American history from the fictionalized story from the same time you know so who's to say who were real people and what actually happened.

Jen: Yeah it's very interesting. I think he's also taken a little bit from the Wild Hunt from German folklore there

Matty: [overlapping] absolutely

Jen: because they don't have heads either

Matty: Absolutely I would agree. Well you know, and that's just you know we. I had a professor who liked to say that there have been five original ideas, [Jen laughs] and they just get rehashed over time and every time you look at something go something will go they go, Well, that's just not original," and I go yeah we've had a thousand different versions of the story we you know very little is actually original or real anymore. You know a good artist borrows, a great artist steals.

Jen: [overlapping] Right?

Matty: So it's not surprising, but also how dynamic and fun is that of this idea of a headless man that's riding through this super creepy unlit woods of of the beautiful Hudson Valley. 

Jen: Only on Halloween night though.

Matty: Only on Halloween night. I mean, but you know, because not far from there is also you know, Salem's only about four hours, so you know that area is just full. It's where the original settlers were. It's where the you know a lot of the larger communities, you know, the Huguenots were in New Paltz which is, I think 30 minutes north. That's where I lived, and the Huguenots, literally their buildings are still there. It's one of those where it's like yeah, ghost maybe, and then you walk into those buildings and you're like, "Oh this s--t's haunted!" 

Matty: There's a lot of just the oldest parts of our country, I totally believe. You know, there's something that goes bump in the night, and people have seen weird things for 300 years, so who's to say? 

Jen: Yeah I grew up in the quote-unquote new part of the country, you know, west of the Mississippi, [Matty laughs] so i've never been to the truly haunted areas, I guess.

Matty: Oh, I would say a lot of the west is very haunted as well.

Jen: I'm sure it is. There's a lot more violence.

Matty: Oh a lot more violence, and a lot of just stories that, again, it's that idea that history is written by the victors, which happens to be lots of White settlers which did really awful things in order to take the land that they had, so — Which again, bringing up Oklahoma! again, I always go is that really what happened? Or was it much more violent and scary than that? I'm gonna go with violent and scary. 

Jen: Violent and scary [faux cough] yep.

Matty: Well and it's so interesting to me again that they chose to tell the story of Sleepy Hollow with one narrative voice. Now while we get lots of voices in the story, it's just Bing Crosby, and he's just singing and crooning along. Which, you know, from a historical standpoint of the time that this was made in that makes sense. He was huge in film. He was huge in music. He was Top 40 star. He was a theatre star, so you know it's one of those things that made sense, and looking back now I go, "Bing Crosby's the White Christmas dude, that's really weird," but again it was so popular, it would have been easy to sell. But it's so interesting that really Legend of Sleepy Hollow's like 19 minutes, maybe. It's really short. 

Jen: [overlapping] Very short.

Matty: Where you get the Wind in the Willows, and this actually only tells like three chapters of Wind in the Willows, maybe. It's a really short chunk of Wind in the Willows. It's still you know, about 38 or 40 minutes of this, and so you know we're barely cobbling together an hour of film. Which, again, it's this period of Disney film, but I do think it's interesting that they found a way to tell kind of a clear and succinct story or as much of the story as we needed in that kind of 20 minutes through a single narrative of voice. The animation was so dynamic, and the characters even despite being a little two-dimensional. They're super flat in some ways. It's still a really interesting story,

Jen: [overlapping] It really is.

Matty: and it's a fun story. I do think making it kind of a musical narrative with no other dialogue is a really interesting way to tell this story.

Jen: It is, and I kind of was like, "Oh Ichabod's song is way better than Toad's song." It was about halfway through I went, "No one talks here except for Bing Crosby." I didn't realize that. And it is — he's the White Christmas dude, but he was so popular. Like if nothing else, the 40's bits have star power. 

Matty: [overlapping] Star power.

Jen: That's what they've got. Like in Melody Time you've got the Andrews Sisters, and you've got Carmen Miranda's little sister in The Three Caballeros. They've got stars in them. I guess if if they couldn't do anything else ,they were just gonna throw famous people inside them.

Matty: Well, and this was the time of the studio system, so I think it was probably easier for them to get people, or like convince people to come in. Snow White had been so big that it really did kind of kick them off, so i'm not totally shocked they were able to get someone like Bing Crosby. I think just looking, and again, it's hard to look at it without future brain of looking at the next 75 years of film and pop culture that would come after. It's the same as having Ariana Grande do the new version of Beauty and the Beast. It's that same kind of thing. She has the the staying power. Or Gaga being in A Star Is Born. It's just one of those things. Every time A Star Is Born is remade it's it's — you know — it's Judy, it's Barbra, it's Gaga. It's one of those things that it makes sense that, if we were to make this now in the exact same way, it would be one of those Disney names or Disney voices that we are accustomed to because of Disney.

Jen: I want to take a moment to thank my supporters on Patreon. Jason and Mixie have both joined in at the $5 level so she could hear ad free versions of every episode one day early and listen to my discussion of the propaganda that Disney created during World War II. Supporters on Patreon help me cover hosting fees and upgrade my equipment while being able to choose to promote small businesses. If you'd like to become a patron, you can search the show name over at Patreon, or you can follow the link in the show notes or on my website.

Jen: Yeah absolutely, and during the War Time especially, because Disney had — they kind of fell out of favour during the whole FANTASIA fiasco, but then they got you know pumped right back up with all their propaganda that they put out. The US Army advertised for them as much as they advertised for the US Army. I'm sure it was very easy to get all the members of the USO tour to just wander into the Disney studios to do a recording real quick and then wander right back out. 

Matty: Oh, absolutely. I agree 100% with that. Absolutely. I think it is strange that these two stories are paired together. While they are both whimsical and interesting, they don't — there's really nothing that connects them. Like at all, and that's why I always. Other than people actually are really, really fond of both of these stories, I'm not sure ultimatel,y just looking at like laying out all the properties from seeing all of this era of film, and kind of how they were doing the movies. I'm not sure why these two were put together, because they do — we've got one that's in England, and one that's definitely not in England. Well, I mean, definitely not in England, but you know it could really sit anywhere. It doesn't have to be Sleepy Hollow, New York. But the two have two very different feelings. They're from two very different — you know — 1908 and 1790 are very different. So, it's really interesting that these were the two that were paired together. 

Jen: You know, interesting too. I think it might have been they knew that this was the last compilation film — the last package film and my episode that has already played is gonna go a little bit more into why they knew that, but I think it was just, "Well we've got these two, and we want to release one more to get all of our debts paid off, so we can do Cinderella. These two are pretty good. We'll just glue them together, and put some narration in the middle."

Matty: I say that and then I go, well they decided to use the library as the framing device. Ultimately these are two stories that come from literature, so I guess from that aspect it's let's pull two books off the wall and throw them together. So it does work, I guess in that aspect of it.

Jen: It's a better connection than the Fun and Fancy Free Jack and the Beanstalk versus Bongo the Bear. 

Matty: [overlapping] I agree

Jen: Those two, I have no idea how that worked. 

Matty: You know what I also feel like they weren't thinking about it too much during that time. I think this era: One, a lot of the Disney fans forget, because I think a lot of Disney fans out there now, especially that are in like our age group think of Disney and they think of like five of the pre-Renaissance films, and then their Disney films are Renaissance forward. Where, you know, there are a lot of these that if you're just a casual Disney fan, you're not really thinking about this era of film. They always — you know — Disney's so magical, and everything important, and how they tied everything together. But at points they were just trying to stay afloat and just putting movies out to put movies out. Because they needed money, so you know, it's not always a grand artistic reasoning behind it. 

Jen: Yeah I think we do, we think about we go from, like I actually, until I started this podcast, I didn't realize that Cinderella wasn't right after Bambi, and I was like what are these? Why are these five? 

Matty: [overlapping] Mmm hmm

Jen: And then I started kind of looking at them, like oh, well I've seen parts of all of these. I've never seen all of any of these, but like I mean even living in the U.S. I've seen Song of the South on Disney channel when it was on free preview. I was like oh yep. That's not going to happen, but looking at the others I was like, well I've never seen any of these. What are these? And then I started watching. "Oh, Mickey and the Beanstalk! Of course I've seen that. Oh, Sleepy Hollow, of course I've seen that." But I don't think I'd ever seen all of any of them and I think it gave that license to Disney channel later on when we were kind of like in the the Silver era in the Bronze era before the Renaissance to, like, "Oh, well we're just going to throw some old cartoons on the TV. That'll be fine, and just make everyone believe that Alice in Wonderland was all that there ever was." 

Matty: Right? Well, and it also, you know, because that's back when Disney fought home media for so long. They even took Sony to court to stop them from making Betamax and VHS. Then they went well if we can't beat them, I guess we join them. Then some of these films were the ones that they like split up in some of the Mickey Mouse shorts that they split up. They were the first things released on VHS, some of these like really short stories. So it's not shocking that these were the ones that they, I guess when these were all in the Vault, these meant nothing to them so they went okay. We're not putting Snow White or 101 Dalmatians out on VHS because they're the untouchables. so let's do these we have these. Let's use them.

Jen: The benefit of them fighting home media for so long is that I actually have memories of seeing Snow White and Bambi and I think I saw Pinocchio all three in theatres with my grandparents at one point. Before they opened the vault, or whatever. And I love having that because I kept thinking when I was older, when I was about 12, 13,  I kept going, "It doesn't make any sense that Snow White's from 1938. I saw that in theatres." It wasn't until I was older that I understood that they just kept re-releasing them into theatre.

Matty: Yeah, and I thought I totally made up a memory of seeing Snow White right after my sister — when my sister was like two or three, and it would have been right before the first VHS release of snow white in the mid-90s. I was like there's no way we saw that in theatres because it would have been after Beauty and the Beast came out, and I went huh — that's not possible. Then I went oh it is possible because of the re-releases which again it's the weird things that you find out once you start researching for a podcast. When I thought I had a really good like specific Disney knowledge, and I went wow there's so much that are it's in my brain and I thought I made these things up, but then oh no wait here they are I didn't actually make these up. There's a lot of in Dis— I find it specifically with Disney and nothing else there are a few other like of those weird Japanese anime properties that were kind of getting American dubs. I think it's funny there's like that collective repressed memory of Nemo in Sleepland that a lot of people have, and like I remember watching it because we had a VHS from the 90's release. But I think there's this era — especially people in our kind of age group and demographic — of they're like, "No, no I saw these Disney movies in theatre," and everybody's like, "That's not possible." But it's because most people don't have an intrinsic enough knowledge to know. I just did a Snow White episode, and they had like 14 re-releases which is why Snow White has made almost as much as you know one of the Frozen films over time, because it has been re-released so many times.

Jen: I saw recently that it's still in the top 10 of the highest grossing movies of all time. If you account for inflation it's

Matty: [overlapping] yes.

Jen: like just under Titanic or something. 

Matty: Yes. I mean but that's, but also it was because they waited so long to do a VHS release and then it was another 14 years after that before it got a DVD release. That it sold like five million VHS copies in the first three or four months it was out. And that's back when VHS were still like $30. That was when you were getting one new Disney movie a year. They were dropping them out of the Vault, and you know a lot of the live action were coming out. But people were spending money on their home libraries, so you know they've — every time — Snow White's one of those things that she is still so popular. And some of these even that I — you know — again we talk about that I don't really have memories of both but I remember that Ichabod and Mr. Toad cover that poster that comes up if you Google it. Which was the the home video release for it. I remember that. Because everybody remembers looking over the shelves at your local VHS store when a Walmart or Target opened in your town. That's why and it's good that they do account for inflation now because you know the the money they made in 1939 is not the same as the money they made 10 years ago.

Jen: Right and so that was something. 

Matty: Also a lot of those movies that have been studied over time there's just I find that some of these there's so much information on, or so little information on. Like, there's really nothing in between, especially when you get near the end of Walt's life when people were like actually documenting with video in the studios. When they were starting to hit like the Waking Sleeping Beauty era of animators and things. There's either a ton of information, or there's no information and I find on some of the episodes that the further I dug the further I went, "Oh I need like a string map to tell this." I was like, "This is too much for just our basic overview that I do in my episodes." But it's amazing the the things that I still feel that I've missed every time I cover something.

Jen: Really interesting because it was during the research for this movie that I realized that the reason that they made all these package films was because the studio was so deep in debt that the bank wouldn't allow them to finance any more feature films until they paid off all their debts. So that's why they kept releasing these package films until they had paid off enough of their debt for them to release a new feature film. In fact the Bank of America said you can only release these feature films and then no more until you've paid it all back, and I was like that feels like something that should have been mentioned way earlier in my research, 

Matty: [overlapping] Uh, yeah

Jen: but I found it out at the end of the Package Film era. And it's just okay that was out of order but fine.

Matty: Well, I mean because you know this is that time where they almost lost everything Jen: [overlapping] Oh, yeah.

Matty: people tend to only remember — again you know it's not people like us that have an unhealthy knowledge of all things Disney — and not really unhealthy I think I like to think a historian's level of all things Disney. But you know it's one of those that it's people forget that he wasn't the best businessman because he followed his heart so much which, you know, it's kind of cool. That's why Roy was there going Walt we can't do this anymore, and people finally were like no Walt you got to stop man. So you know there were times we they lo— they almost lost everything over and over again, and it's it's a wonder despite everything that the company still exists.

Jen: [overlapping] It really is.

Matty: Now we say this and this is literally we're recording this in the days after thousands of people have been laid off from well tens of thousands of people were laid off from from Disney, so really 

Jen: [overlapping] Well, yeah 

Matty: maybe we're hitting that point again, but 

Jen [overlapping]: I feel really bad about that but I I feel like for the first time, it might not be Disney's fault

Matty: [overlapping] yeah

Jen: that thousands of people are being laid off from them. I'm not gonna say it's great, and they tried to keep them on a lot longer than a lot of other multi-million dollar companies did.

Matty [overlapping]: Yes

Jen: I'm gonna. Like 

Matty: [overlapping] [faux cough] Sea World [faux cough]

Jen: it was so sad to see I was like, "Oh this is so sad." But I kind of was like but they kept them on for this long without you know worrying about it.

Matty: That could be a whole multi-part story of just. There is so much. I think people just forget that there are so many times that we were so close to losing Disney for good and I hate to think about like what entertainment would be if they did lose them because you know through all of their faults they have oftentimes defined what the rest of the industry was doing and everybody else started copying them. So you know they've been a trendsetter for so long, so it would have been interesting to think about well what happened what would have happened if they had to stop producing at those times.

Jen: Right and I mean I'm glad that they got to keep going, and they got through the Package Film era and back into princesses, so yeah next week I get to start with talking about Cinderella.

Matty: Which is so beautiful it's one of my favourite ones to revisit. I don't love a lot of that age of films but Cinderella is — it's so beautiful and it's it's got my, my it's got Jacques and Gus Gus who are two of my favourite little plush companions, if you will. So I can't wait to hear that episode. I'm excited. For everyone out there, I am a huge listener of this show and I'm so excited that you all are listening to us now.

Jen: Well, I again am super happy that you were here, and why don't you take a moment to tell everyone how they can find your podcast and how they can get in touch with you if they wanna listen to everything you have to say about Disney as well.

Matty: Great, well thank you. So you can find us all over the internet. I'm part of the Certain Point of View family of shows. We have some incredible stuff from movies to Star Wars to books, over there. We just acquired several new shows, and we've even got one I have a Golden Girl show that's coming out soon about how the Golden Girls changed how we watch television. So we've got some interesting things emerging over the next year, so you can find us at certainpov.com, and then once on our homepage you can see all of our shows and I'm Dolewhip and Dreams on there. On Facebook we're dolewhipanddreamspod. On Instagram we're dolewhipanddreams. On Twitter we are DolewhipPodcast because, of course. I have an entirely long long podcast title which makes branding difficult.

Jen: [overlapping] I feel that deeply in my soul.

Matty: [laughs] So I do have another side podcast that I started during quarantine it's called Isolationcast, Voices from Quarantine, and starting in November, I'm doing my first foray into audi— I don't want to say audio drama, but like, fiction. So instead of drawing as a designer for Inktober I've been writing on paper with pens, because I am what I call a stationery ho. I like to buy lots of stationery things and never use them. So I'm delving into that. For the month of oct— November, Monday through Friday, there will be a short form story every day, about two to five minutes to listen to. Then starting January 1st, I will have Saturday Morning Confidential along with a mini series about the first nine years of the Power Rangers, because the head of our network and I love Power Rangers. I've gotten some of the Power Rangers actually on the show with me that we've been recording interviews. So check us out on our Instagram and Facebook. We have a link tree to everything. I know that I've just given you a lot, so if you find us on certainpov.com or Dolewhips and Dreams Podcast on Facebook or Instagram, there's a link tree and you can find you can find us everywhere. Then all of my personal stuff is tied to that as well, so find us there!

Jen: Excellent. And I do want to thank you again for taking the time. This was such a great talk, and you can feel free to come back anytime and talk about any other movie you love.

Matty: I would love to. 

Jen: Guest episodes, when available, will drop into your feed on Thursdays after the main episode about that movie is scheduled. Make sure you don’t miss a single guest episode by hitting the Subscribe button on wherever you’re getting your podcasts right now. You can also get updates by following me on Social Media. I’m on Facebook, Instagram, and Twitter under the username oofmychildhood.

Jen: A transcript of this episode will be available on my website, and if you check my YouTube channel, you’ll find captioned videos. I do my best to provide a transcript and video as soon as this episode is published, but if this one isn’t available yet, check my website for updates and a link to the appropriate video.

Jen: My theme music was composed and played by Shawn Rudolph of Let Music Be. For more information on that studio, you can visit their website at letmusic.be or visit my website for an easy link.

Jen: Thank you so much for joining us today. I hope you come back each week to discuss Disney through modern eyes. And while you’re at it, if you’re enjoying yourself, please let your friends know about me. I’d also appreciate a rating and review wherever you’re listening to the show. This podcast was recorded with the help of the Craig chat bot and edited by me. I release a new regular episode every Monday through Apple Podcasts, Spotify, and many, many other podcatchers.

Jen: So, until next time, keep the magic alive.

[music]



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