Pride and Prejudice Part 3 - Jane Austen - Classic Literature - Romance Book - Season Finale

We finally finished Pride & Prejudice and have thoughts. In this season finale, Shiara, Jonathan, and Slava are joined by guest Lindsay to break down Volume 3: Darcy's secret intervention, the Lydia and Wickham disaster, the Pemberley awkward run-in, and whether Elizabeth Bennet deserves her happy ending (jury's still out).

We also get into why gossip is the engine of the whole book, what makes Mr. Darcy the most underrated character in classic lit, and why texting would have solved literally everything.

In this episode: Darcy's Pemberley behavior explained · The "I did it for you" moment · Lydia and Wickham: who's actually worse · Lady Catherine's unhinged house call · Elizabeth vs. Charlotte Lucas · Jane Austen's real life vs. the novel · BBC vs. Keira Knightley — which adaptation wins · Colin Firth as Mr. Darcy, explained

Subscribe so you don't miss it.

ABOUT THE BOOK
When Elizabeth Bennet first meets eligible bachelor Fitzwilliam Darcy, she thinks him arrogant and conceited; he is indifferent to her good looks and lively mind. When she later discovers that Darcy has involved himself in the troubled relationship between his friend Bingley and her beloved sister Jane, she is determined to dislike him more than ever. In the sparkling comedy of manners that follows, Jane Austen shows us the folly of judging by first impressions. She superbly evokes the friendships, gossip, and snobberies of provincial middle-class life. This Penguin Classics edition, based on Austen's first edition, contains the original Penguin Classics introduction by Tony Tanner and an updated introduction and notes by Viven Jones.

ABOUT THE AUTHOR
Jane Austen was born in 1775 in the small Hampshire village of Steventon, where her father was a Church of England clergyman. The household was large, creative, and deeply literary. This childhood shaped everything she would become as a writer. She began writing seriously as a teenager and spent the following decades crafting some of the most beloved novels in English, publishing them anonymously, identified only as "A Lady."

She accepted a marriage proposal once but changed her mind the following day. She never married. In 1809, she settled into a cottage in Chawton, Hampshire — offered by her brother Edward — where she spent her most productive years, writing, revising, and publishing all six of her major novels. 

In 1817, she fell ill, moved to Winchester to be closer to her doctor, and died on July 18 of that year at just 41 years old. The world didn't learn her name until after she was gone. Today, she is considered one of the most famous and influential writers in English literature, celebrated for her elegant style, dry humor, and timeless explorations of love, reputation, and what it meant to be a woman with a mind of her own. 

More info here:  https://janeaustens.house/jane-austen/jane-austen-a-life/

ABOUT THE SIDE QUEST BOOK CLUB PODCAST 
Reading is the ultimate side quest. Side Quest is a casual book club podcast full of literary adventures. Join Slava and Jonathan as they discuss the books they are reading, life, history, belief systems, and more. Explore world-building, characters, and story development, and share some laughs along the way.

New episodes drop every TUES.

LISTEN TO THE AUDIO VERSION 
This is a video version of our audio podcast. Want to listen on the go?
Find *Side Quest Book Club* on your favorite podcast app.

🎧 **Subscribe on Any Platform https://linktr.ee/asidequest 

JOIN THE GUILD 
🌐 Official Website / Quest Log:
https://www.thesidequestpodcast.com/ 

💬 Follow Our Adventures on Social Media:
Instagram: https://www.instagram.com/thesidequestpodcast 
TikTok: https://tiktok.com/@sidequestpodcast 

CREDITS 
Hosts: Slava and Jonathan
Podcast Hosting & Distribution by Transistor.fm https://transistor.fm/how-to-start-a-podcast/?via=slava 
Intro/Outro Music: HoliznaCC0v
Editing by: CharacterNorth6081
Reddit - https://www.reddit.com/u/CharacterNorth6081/s/k3mFE9aGqh  
Instagram - https://www.instagram.com/parasss.__

---
Boost your YouTube audience with vidIQ. Use this link to unlock 500 bonus credits when you upgrade to a premium plan: https://vidiq.com/r/?code=39eAGs

Creators and Guests

Host

Jonathan

Host

Slava

What is The Side Quest Book Club Podcast?

If you’re a reader looking for something deeper or an indie author working on your book, The Side Quest Book Club is for you. We skip the usual book reviews and ratings. Each episode turns fun side quests into real lessons, so you’ll leave not just entertained, but with a better understanding of why storytelling matters.

(0:00 - 0:45)
So what do you guys think about Darcy's secret intervention in all of this? He's the sweetest boy! The best part of the whole book is when he's telling Elizabeth, and Elizabeth is like, thank you so much, and he's like, I did it for you. Hey, welcome back to the SideQuest Book Club podcast. I'm Chiara, your host, and we are talking about Pride and Prejudice.

This is our third and last episode for the season, and we've got a special guest, our friend Lindsay, who is another Jane Austen fan, and let's jump right in. Sometimes I call her Jane for fun. Me? Actually, yeah.

(0:45 - 0:51)
Oh, okay, great. You're like, clearly he does that regularly. First time ever, but great.

(0:52 - 1:01)
I will from now on. Okay, perfect. I think fan might be a little bit of an exaggeration, because I think this is the only book I've ever read.

(1:01 - 1:08)
Oh, well. But it is a delight. I guess we didn't read the intake form.

(1:08 - 1:21)
You haven't read all of Jane Austen's books. You don't have a Jane Austen tattoo? There was no interview for this position. Apparently, the way to find out if you're truly a fan, if you know the time period it's written in.

(1:21 - 1:29)
I was just going to ask that, Slava, thank you. I don't even know that. I didn't read the Wikipedia page for this either.

(1:29 - 1:37)
Definitely not a real fan then. For those who've been following along, this is not Victorian period. This is Georgian period.

(1:37 - 1:47)
However, please go back to the record. Let the record show in episode one, where I make a strong argument that it doesn't matter. Yeah, and that's why I don't know, because it doesn't matter.

(1:48 - 2:00)
I was thinking this morning, I'm like, a lot of these problems that they had would really be solved by texting. It's fair. Go on, say more.

(2:01 - 2:12)
Well, a lot of the confusion. Okay, first off, the first half of the book, you guys probably already talked about this. The first half of the book is entirely gossip, okay? It's just- The whole book's gossip.

(2:12 - 2:23)
Yeah, but there's more conversations with people actually involved in the second half. The first half is all conversations about people not in the room. Absolutely.

(2:23 - 2:42)
And so it's all judgment. It's all these people agreeing on, oh, we feel this way about this person because they said this, and that means this. Where if you texted somebody, hey, you know- Elizabeth texting Mr. Darcy, witty comments.

(2:42 - 2:56)
Yeah, hey, what's your problem? And he'd be like, I literally don't know what you're talking about. This would have been solved. I mean, the chapters are really short, so it probably still would have been chapter 15, but it would have been solved way before chapter 60.

(2:56 - 3:01)
True. True, true, true. No letters, no mail.

(3:01 - 3:04)
You don't have to wait for the travel time. Exactly. So true, Lindsay.

(3:05 - 3:11)
So true. Lydia, where the heck are you? Yeah. You're destroying the family.

(3:13 - 3:17)
Find my friends. Find my friends. It wouldn't have taken as long as it did.

(3:17 - 3:20)
Yeah. Yeah, they would have found Lydia. Come on, Jane Austen.

(3:20 - 3:30)
Why didn't you put technology in here? What is the tracking app that parents use for kids? That's what Lydia needs. No. No, it's something else.

(3:32 - 3:34)
People snap at their kids. Oh, Life 360. Life 360.

(3:34 - 3:47)
Oh, right, right, right, yes. So true, so true. So we talked about this, I think it was last week, because we talked about the whole gossip is a huge part of the book.

(3:47 - 4:04)
It's the entire book, right? Yes, yes. Why do you think that gossip is so, like, it's such a big part of the book? Like, what would you say your theory is? Because we threw around some ideas. Well, I did.

(4:04 - 4:10)
Oh, yeah, and I didn't hear what your theories are. I mean, that's life. That's, isn't it like, gossip is fun.

(4:10 - 4:19)
That's why it's, you know, it's one of the, it really is. Whenever I'm looking for Lindsay, she's always in the gossip corner. I mean, I try not to.

(4:19 - 4:30)
We're called by God to not gossip, but it is very fun to indulge in. And it's so fun to talk shit about people. So that's why Slava and I started the podcast.

(4:30 - 4:33)
Right. The people, though, are the authors. Are the authors.

(4:33 - 4:37)
Right, so it's, everybody loves talking smack. China Mayville, looking at you. Yeah.

(4:37 - 4:46)
We should tag him in that. Everyone loves talking smack. And everyone likes to think that they're better than the other person.

(4:47 - 5:04)
So, you know, there's a lot of animosity that Darcy is so successful, attractive, rich, and literally everyone else in the room can't compare to him. So how do you tear him down? Words. And so, yeah, exactly.

(5:04 - 5:10)
So, oh, he's he's not as good as us. Okay. So it's.

(5:11 - 5:17)
Tell that to his 10,000 annual. Yeah. I see if he cares.

(5:17 - 5:29)
And and and we talked about this last week. You know, women didn't have jobs back then. All you had was the parlor room.

(5:30 - 5:42)
And you chatted with your girlfriends and your mom and your sisters. And you just like talked about what happened last week at the ball. And, you know, like it was all gossip.

(5:42 - 5:50)
That's all you could do. Other than, you know, playing the piano, reading some cross stitching, you know. That's still what we do.

(5:50 - 5:54)
Okay. That's what I do when I get together with my friends. Yeah.

(5:55 - 5:58)
Yeah. And I love to yap. So that is true.

(5:59 - 6:03)
Ladies and gentlemen can confirm. Yes. But that's how you connect with other women.

(6:05 - 6:15)
So exactly. So I don't know if yeah, I don't know if this book is as relatable to the men, but. I mean, I'm like, yeah, I've had conversations like this.

(6:16 - 6:35)
Well, what I mentioned in both episodes is this is a response to relatable to the men comment. I think it's a good story. And if you understand the context in which it's written and the commentary Austin is making, or even if you don't, the story itself is fun.

(6:35 - 6:47)
It doesn't matter that it's a bunch of women gossiping and pining over Darcy or hating Darcy. It's a fun story. I can see like some guys and even me hating this type of story.

(6:47 - 7:09)
If it's written poorly, if it's just trite, you know, if it's not put together well, but Austin hit it out of the park and I enjoyed the hell out of the story. So no, it's so fun because like you can see how the gossip gets people in trouble and they're like the prejudices, the pride gets people in trouble. And you're like, okay, I can see areas in my life where I've done that.

(7:09 - 7:24)
And the beautiful part of the story is that it still works out for everybody. The heroes of the story still get the happy ending. The people that are annoying, you know, still get punished to a degree, but not too bad.

(7:24 - 7:29)
Just enough that like, or they elope. Yeah. Like, oh, you're going to suffer a little bit, but not too bad.

(7:29 - 7:40)
So like the story has the ending that we want in real life. It's probably because they were all white. Everyone wants that ending.

(7:40 - 7:55)
Okay. Wow. Anyway, to Slava's point, like whether you understand the book or not, in the first two episodes, for those who've been following along, there's been an accusation from, you know, those who shall be named Slava, that I didn't understand the book.

(7:56 - 8:14)
And so therefore, you know, I didn't, I wouldn't have responded the same way because I didn't understand. So like, Lindsay, to catch you up, I, when I heard like Wickham's story of like, oh, Darcy stole from me my inheritance. I was like, oh, well, no one would give you that money.

(8:14 - 8:22)
Like when they have a son. And then Slava was like, he wasn't giving him all the money. He was giving him like 100 bucks a year or something like that.

(8:22 - 8:27)
And I was like, well, I don't care. That's the same to me. It's nothing compared to 10,000 pounds.

(8:28 - 8:31)
Yeah. 10,000, what is it, annum or annual? Yeah. Yeah.

(8:32 - 8:43)
So my retort to your retort is I didn't say you didn't understand the book. I said you misread or misheard what was going on in particular scenes. So that's vastly different things.

(8:44 - 8:51)
Well, you know, what's one side of the coin or the other? Still a coin. Yeah, right. This is how gossip starts, Jonathan.

(8:52 - 9:02)
I mean, I did hear the part where you guys were trashing Bridgerton. So guilty. That was like a long rant.

(9:02 - 9:08)
I didn't, I didn't even listen to all of it. I love Bridgerton. Skip.

(9:10 - 9:19)
Slava hasn't seen it. And I binge watched it like a couple weeks ago when it came out. I stayed up the night before last episode.

(9:19 - 9:25)
I stayed up till like five, five am watching it. I didn't know what time it was. I did hear that confession.

(9:26 - 9:33)
These are our confessions. I haven't seen the last season, but it's good. It's good.

(9:34 - 9:41)
People love stories where the girl gets the guy at the end. Absolutely. And those stories will never die.

(9:41 - 9:43)
Yeah. And it doesn't matter. Exactly.

(9:43 - 9:50)
It doesn't matter how bad the storytelling is. People are going to watch it because the hero wins. That's true.

(9:50 - 9:56)
Yeah, that's so true. That's so true. Some of your points, Jonathan, were valid, but people.

(9:57 - 10:02)
Let the record show. We're going to turn this into a short so that all the people can see. It is kind of trash a little bit.

(10:03 - 10:09)
Oh, it's super trash. But you still get what you want at the end. And for that, it's worth the scratch.

(10:10 - 10:33)
It's worth the scratch, but also there's a reason that the romance book genre is off the charts financially. And so take that, mix it with Jane Austen, and then boom, you've got two very large communities that you can monetize. And just so everyone knows, they're not making these shows because they want to let you enjoy it.

(10:33 - 10:40)
They want to make money off you. So let's just be clear about that. They want you to buy the books, the paraphernalia, the whatever, the swag.

(10:41 - 10:56)
Well, I like what you said, Lindsay, that sometimes it doesn't matter if the story's told well. People want an itch scratched. And the thing that popped into my head right away is one of my guilty pleasures is 80s diva pop.

(10:56 - 11:22)
I will go nuts for some Pat Benatar and that woman who sings Looking Out for a Hero, Bonnie Tyler, turn around. I go nuts. So in my playlist, in my playlist, yeah, hell yeah, my playlist on my Apple Music, there'll be Bach with all these four seasons, 3-6 Mafia, and like 16 divas.

(11:23 - 11:39)
And Pat Benatar. Pat Benatar and Pink. If we're going to go into our childhood, Pink, no doubt, and I know no doubt is not pop, but I love diva pop and female vocalists.

(11:40 - 11:45)
And Pink is actually pretty good. Some of her lyrics are great. But Turn Around by Bonnie Tyler.

(11:46 - 11:52)
It's not the quintessential song of our century, but it's freaking fun. I love it. A Tribe Called Quest, Bonnie Tyler.

(11:53 - 12:08)
Yeah, absolutely. And some of those things are related to everybody. Romance stories are really whether or not you enjoy them to the extent that the diehards do.

(12:08 - 12:13)
Everybody does love seeing the hero win. Absolutely. Absolutely.

(12:14 - 12:30)
And fall in love always. Let's talk about that first chapter in Volume 3, the last part of the book. Lizzie goes to Pemberley.

(12:30 - 12:47)
She takes a little break after all the craziness at Rosings Park. She decides to go with her uncle and her aunt to do some traveling across the countryside. And her aunt happens to be from the Pemberley area.

(12:48 - 12:56)
She knows about the family, although she hasn't met them. And she's like, Lizzie, you gotta come. We've gotta visit this house.

(12:56 - 13:04)
It's absolutely incredible. She's just turned down Mr. Darcy. And it was just an awful, an awful scene.

(13:04 - 13:17)
Um, he wrote her that long letter defending himself. And now she finds herself at his house. But she made sure first that he was not around because she doesn't want to bump into him.

(13:17 - 13:34)
Because how weird after you just like reject someone and then now you're checking out where they live. So she goes and she has this incredible experience. She's like looking at everything and she's like, I can't believe I could have been the mistress of this home.

(13:36 - 13:45)
And she starts talking to the lady that runs the home. And this lady is just saying all these incredible things about Mr. Darcy. And what a great boss he is.

(13:45 - 13:54)
And what good character he has. And there's these like huge paintings of Mr. Darcy and busts and just all kinds of stuff. Right.

(13:54 - 14:12)
And she's just in awe of all of this. And wondering, I think this is where you really start to see that she's like thinking about Darcy in a very different way. And contemplating whether like she was really wrong in how she treated him.

(14:13 - 14:21)
And starting to think maybe he's not as bad as I originally thought. Well, well, well. How the turns table.

(14:22 - 14:27)
Well, well, well. How the turntables. Lizzie.

(14:27 - 14:35)
Because he's the most sweetest tempered, most generous hearted boy. As Miss Reynolds tells us. Yeah, yeah.

(14:37 - 14:48)
The sweetest boy. And then she's on her way out and she bumps into Mr. Darcy and she's like, oh shit. And it's funny.

(14:48 - 15:09)
I love the scene where they bump into each other because she, Jane Austen like tells you he's having a hard time physically composing himself. That he doesn't know what to say and he asks her the same question several times because he doesn't know what other things to ask her. She's nervous.

(15:09 - 15:13)
He's nervous. She's blushing. Like, oh my gosh.

(15:13 - 15:18)
Talk about all the sweaty knees. Weak words are ready. They're nervous.

(15:18 - 15:23)
But on the surface, they look calm and ready. Thank you for that. Mom's spaghetti.

(15:25 - 15:32)
What would the equivalent be in the Victorian era of mom's spaghetti? Mom's turkey. Mom's bland turkey spaghetti. Boiled potatoes.

(15:33 - 15:46)
Boiled potatoes. There we go. Have you guys ever like denied someone and then like run into them unbeknownst and been like, I have to like interact with this person now at a public setting.

(15:46 - 15:51)
It's a little weirder in their own house. I still think that's strange, but. Yeah.

(15:51 - 15:54)
Yeah, that's happened. All right. Not just me.

(15:55 - 15:58)
No, no, no, no. It's happened. But it wasn't this awkward.

(15:59 - 16:03)
It was actually very pleasant. Well, yeah, because you weren't in their house like, hey, I'm sorry. I can't go out with you.

(16:04 - 16:11)
What are you doing in my house? We're taking a tour. I'm into you now, but I can see how rich you are. I only heard about it.

(16:11 - 16:19)
Now I can see it. Yeah, right, right. But it's like doing a Hollywood tour like, oh, hey, I'm sorry I turned you down.

(16:19 - 16:30)
But I just wanted to see like, this is a pretty big mansion. Yeah, would bang for this house. Lindsay, I don't think you could say that on TV.

(16:31 - 16:33)
You can say it on YouTube. It's fine. You can say it on YouTube.

(16:33 - 16:43)
Yeah, just not on TV. Have you guys ever denied anybody that went on a double date with that person? Oh, my gosh. And it turned out okay? Yeah.

(16:43 - 16:56)
So this is a long time ago. This girl was interested in me, and I was not that much interested in her. And it didn't work out because I never like people told me, hey, so and so likes you.

(16:56 - 17:09)
And I was like, okay. And then like three months later, like me and a girl and her and her boyfriend all went out to like a freaking theme park. And it was fine.

(17:09 - 17:14)
It wasn't awkward. Nothing happened. And then I drove everybody home and we all had a good time.

(17:15 - 17:33)
The most uninteresting story, but it answers your question. All right. Well, moving forward in the book, I do like at this point, I think it helps Lizzie a lot that her aunt and uncle have kind of a good perspective on things.

(17:33 - 17:55)
They're not really swayed by, you know, Lizzie's mom only cares about money and getting her daughters married. Her dad is too busy being pissed that he's annoyed with his wife all the time. That he he doesn't really have good judgment on things like he he just takes a passive backseat and her sisters are crazy.

(17:55 - 18:13)
So like she finally is out of the influence. Even Jane is like we love Jane, but she's, you know, kind of only thinking about her own emotions and, you know, her heartbreak and stuff. So Lizzie's out now with her aunt and uncle who have good advice.

(18:14 - 18:37)
And so like they offer a very balanced view of things that they're like, oh, it seems like Mr. Darcy has a really good reputation, but her uncle balances. Well, you know, I'm sure that the housekeeper is very well paid, like you'd say good things about the master, too, if you were paid well. So it just it offers a very balanced perspective that she definitely didn't get before.

(18:38 - 18:46)
That's so true. That is a really good point. I think the only person who really doesn't get any sort of like proper play in the book is the father.

(18:47 - 18:56)
He just like he he he he gets burned by the author, Jane. I think it's deserved, though. I think whoa, I think it's deserved.

(18:57 - 19:17)
Yeah, there's isn't there a part there's a part in volume three in that last volume where they talk a little bit about the dad and how disappointed he was when he realized that his wife was stupid. Yeah, basically that his wife is dumb. Yeah, but that he was influenced in his youth by like her beauty.

(19:17 - 19:27)
So she must have been a beautiful woman, but, you know, dumb as a rock. And he realizes that after he marries her and he's like, well, I guess now I have to tolerate her. Right.

(19:27 - 19:36)
He's rebelling against his own life rather than being like, hey, I'm the head of this household. I need to get you don't know how to control yourself. So that's my job.

(19:36 - 19:43)
He doesn't take that on. He no, absolutely not. He lets her embarrass herself and the whole family.

(19:43 - 19:55)
Yeah. So I think that the criticism of him at the end is valid. And it's I liked it, too, because you're kind of led to like the dad throughout the book because he loves Lizzie so much.

(19:55 - 20:04)
He loves Jane. You're led to really favor him and then you get this commentary and you're like, oh, you're right. Like he's part of the problem.

(20:04 - 20:10)
Yeah. Oh, yeah. I could see that from the beginning where it's like the daughters are acting up and he just like sits there.

(20:10 - 20:19)
Yeah. I'm like, bro. Say something literally a barrier in the road that has the mom is like Miss Bennett.

(20:19 - 20:31)
Mrs. Bennett is like, hey, we need to get these five daughters married because when you die, we lose everything. Yeah. And he's like, I'm not going to visit any young man like you're on your own.

(20:31 - 20:36)
Yeah. Like that is not what a loving husband and father does. Yeah.

(20:36 - 20:42)
He doesn't seem very concerned. That's true. He doesn't seem very concerned about the fact that he's rude.

(20:43 - 20:55)
The girls when he's gone, the girls, if they don't marry well. Well, they weren't sons. So what does he care? Yeah, I think he does care about them, but not enough to do something.

(20:56 - 21:04)
So what does he care? He just he wants to enjoy them while he's alive. And then afterward, he's like, well, so, yeah, I'm dead. You're on your own.

(21:04 - 21:25)
Yeah. Here's your here's your 50 per year or whatever it is to Lydia and Mr. Wickham. He isolates himself like he from everybody because, you know, what's he what does it says here that his wife is a weak understanding and illiberal mind and his girls are her.

(21:25 - 21:36)
Oh, yeah, he isolates himself. I have my notes here from his wife's, quote, ignorance and folly. And his younger daughters are silly and ignorant like other girls.

(21:36 - 21:44)
That's what he says. Calling Kitty and Lydia the two or two of the silliest girls in the country. So he's just like, I have to F this F you.

(21:44 - 22:02)
I'm going to go read my book, whatever the hell he does in his library. Probably read books. But he my my point, my point is he isolates himself because he's so disappointed in his unfulfilling marriage that not even the kids, one of which brings him a lot of joy.

(22:02 - 22:07)
But he still isolates himself. He should read David Goggins book. No, he shouldn't.

(22:09 - 22:31)
Please don't make him into the pendulum would swing to other douchebaggery. Did you guys review that book? And no, no, I just I find I think it's great. I find him unserious, not because he wrote a self-help book, which is in itself like, what the hell cares? Because everybody has a story.

(22:31 - 22:40)
You're not special. What I don't what what turned me off is him filming himself running. It's like, look at what I'm doing.

(22:40 - 22:43)
I'm running. What are you doing your life? It's like this. You're here.

(22:43 - 22:46)
Take this. And that's what I'm doing with my life. Shut up.

(22:46 - 22:56)
You're not that special. I want our editor to turn this into a clip. And I want to tag Goggins so that he listens to that.

(22:56 - 23:05)
I just don't hear runs. Make sure the middle finger is a thumbnail. Oh, my gosh.

(23:06 - 23:21)
One of my favorite videos on the Internet is a dentist videoing himself snowshoeing to work like in a snowstorm. And he's like, even David Goggins isn't out here right now. I like that person in Siberia or Serbia.

(23:22 - 23:25)
No, this is in the US. It's just like a ice storm. Yeah.

(23:25 - 23:29)
No big deal. Got to get those teeth fixed. Yeah.

(23:29 - 23:37)
He's like, go to a dentist that would do this for you. Here's my number. It's a marketing ploy.

(23:37 - 24:04)
Anyways. So what do you guys think about the change in Darcy's behavior? So they've bumped into each other at Pemberley, and now he's all kindness, polite, soft spoken. He's greeting her uncle and her aunt, and she's starting to notice that his behavior is quite different from the other interactions she's had with him.

(24:05 - 24:34)
He wants to introduce her to his younger sister, which seems very important because he was just rejected by Lizzie. And yet he's trying to include her in some family things, which means that he's trying to bring her into his intimate circle of people. And she starts to realize that he actually kind of cares about her opinion, which is quite different.

(24:35 - 24:44)
I think there's two things at play. The first thing is what I mentioned in the previous episodes is he's just over it. He does not care about these people.

(24:44 - 24:56)
And when he goes to Lizzie's town, he finds it all beneath him and boring. So he acts a little bit like an ass. So I think that's part of it.

(24:56 - 25:23)
And now he's in his own element in his house, the people he likes, so that the prickly carapace that he put on when he went to visit Lizzie's town is off. The second part of that is he really likes Lizzie, so he's probably trying a little bit harder than he would to make sure that he's attractive to her now. But why? This is what I find interesting.

(25:23 - 25:41)
He's already been rejected by her, something that probably would not have happened to him if he had proposed to literally anyone else. And yet he's still putting in the effort and treating her like nothing happened. Because we want what we can't have.

(25:41 - 25:58)
And when you're rich and attractive, if someone turns you down, you're like, well, that's not supposed to happen. I mean, listen, I'm rich and attractive and I'm just kidding. And if somebody rejects me, I'm like, you're dead to me.

(26:01 - 26:21)
I mean, this is how normal people would react. Yeah, the book kind of hinges on this. And I wish that we had some of Darcy's inner monologue because his behavior at Pemberley does not make sense to me because Lizzie has literally nothing to offer him.

(26:21 - 26:30)
She's already rejected his marriage offer. And so he already told her her family's trash, basically. Embarrassing.

(26:30 - 26:48)
The town she's from has nothing to offer him. Like she, besides the aunt and uncle who are virtually meaningless to Darcy, there's no reason for him to be so nice and to introduce her to Georgiana. So unless it truly is just his feelings.

(26:48 - 27:19)
But that's not how I react when I'm rejected. Well, you're also not a man with 10,000 annum and the handsomest man in all the land, the sweetest boy. Do you think that his response then is realistic? Like that his behavior is only because of his like affection for Lizzie? Do you think him like, oh, let me see if she'll get a second chance, like if she'll give me a second chance? I don't know if he's thinking she'll get a he'll get a second chance as much as he he from what we know, he's not a partier.

(27:19 - 27:32)
So like someone in his situation and status and standard of like being super attractive and being invited to these parties, he's like, I don't want to do this. And so he's looking for something else. He just doesn't know what it is.

(27:32 - 27:44)
And so when he when he finds it, he's like, oh, but I'm supposed to be able to have everything because he has his life privilege. Right. And so I think it catches his attention because he's never been treated this way before.

(27:45 - 28:04)
And so it stands out psychologically where you're like you get jarred and you're like. Well, it's like this is going to be a little crass maybe for the audience, but are you guys familiar with those pickup artist books? All right, so there's these books. Never needed one.

(28:06 - 28:10)
I'm serious. All right. Yeah, I'm comfortable on my own skin.

(28:11 - 28:21)
I am very comfortable on my own skin and I just women don't scare me so I can talk to them just fine. I don't need any help. But that's that's not the purpose of these things.

(28:21 - 28:37)
The purpose of these books is to I'm going to put this in real big quotes here so that I can't be misquoted. Help men who can't talk to women, get them to sleep with them. And so they use psychology on these women at these bars to get them to pay attention to them.

(28:37 - 28:46)
And the story ends the same every time. Let's put quotes over that too. OK, anyway, so these attractive women are then gone.

(28:47 - 28:56)
You know, they go, well, why is this guy, you know, nagging me? Why is he not attracted to me? I'm great, blah, blah, blah. And then they follow him around and he like kind of ignores them and he gets their attention. Right.

(28:57 - 29:32)
And then it always ends the same where it's like, oh, hey, you're not what you perceived to be because they were just trying to get a one night stand, whatever. So my point is, like, he didn't go to these parties and bars and stuff, and he didn't do these things because he's like, well, I didn't I don't want to be with these types of people. But when he has that moment of like, well, why am I being treated differently? I I'm equating it to be kind of the same thing, right, where he's had this life of luxury, this this status, this what's the word? Well, and thank you.

(29:33 - 29:39)
So when he's when he's rejected, he's like, oh, well, I want to find out more. Right. Like, we're curious.

(29:39 - 30:24)
It's when you get fired from your first job, you're like, well, why did that happen? You start asking questions and it's an open loop psychologically that you're like, well, I want to close this, you know, so Slava didn't have any trouble, but, you know, Darcy did. So the sweetest boy, maybe, maybe I I'm thinking now maybe he like sees her at his house and maybe in a way he's like trying to show her kind of like what Mr. Collins does when she visits. When she visits Charlotte and him at Rosings, where he's like trying to show her what she was missing out on by not accepting his proposal.

(30:24 - 30:37)
Maybe Darcy is doing some song and dance version of that, of like, you know, look at my beautiful family, my sister. She's so polite and my beautiful home. And I've I'm changed.

(30:37 - 30:48)
I can talk to people now and I'm trying to impress her. Maybe he's like she said no. And now I want her to see what she's missing out on.

(30:48 - 31:03)
And we do get that commentary at the end, too, where they're kind of like Darcy and Lizzie are reflecting on how they had their miscommunication earlier. And he does say that like, oh, you are right to call me out for my behavior. Like, yeah, you're right.

(31:03 - 31:12)
I was rude during the proposal. Like, so I think that's probably the best explanation we have, because that's corroborated by stuff he says later in the book. Yeah, that's true.

(31:12 - 31:13)
That's true. Absolutely. Absolutely.

(31:14 - 31:20)
But he's just trying to prove like, hey, I'm not who you think I am. I'm who my reputation says I am. Yeah.

(31:21 - 31:26)
Ditch your prejudice, Lizzie. Drop your pride. You are right about the pride.

(31:27 - 31:39)
And then we see that, you know, the so the Bingley's reappear and we love the Bingley sisters. I'm being sarcastic. We don't like the Bingley sisters at all.

(31:39 - 31:43)
They're annoying and stuck up. We love their pain. Yes.

(31:43 - 31:46)
They don't even go here. Yeah. Get in, loser.

(31:47 - 32:02)
Today we wear pink. And they're just like talking smack about Lizzie. And, oh, you remember, you know, they were trying to remember their experience when they visited Longbourn earlier in the novel.

(32:03 - 32:12)
And there you are. Louisa specifically is making fun of Darcy. Remember when you thought that she had beautiful eyes and remember this and remember that.

(32:13 - 32:21)
And he kind of puts her in her place. And he's like, actually, I think she's great now. And she just doesn't have a response to that.

(32:21 - 32:25)
She's just quiet. I love that part. I love that scene.

(32:25 - 32:33)
Because people don't put her in her place and they should. Yeah. And that's why we love the book is because the rich are getting what they deserve.

(32:34 - 32:43)
Lindsay over here, eat the rich. That's not my political stance, but. We're going to cut that out.

(32:43 - 32:46)
So it's fine. Okay. No, your note about it not being your political stance.

(32:46 - 32:53)
We want people to think. We have a thumbnail title now. Eat the rich.

(32:55 - 33:10)
I'm just going to say no, no, no, no. So Mr. Darcy and Lizzie have been hanging out. Sort of reacquainting themselves.

(33:10 - 33:24)
But now it's in a completely different environment. And Lizzie's feeling she's getting some vibes from Mr. Darcy for sure. And they have made plans for her to come to Pemberley for dinner.

(33:25 - 33:41)
To have dinner with Georgiana, his younger sister. And this is where she receives this letter from her sister. And she has been told the horrible news that Lydia has disappeared.

(33:41 - 33:53)
Remember in volume two, sort of at the end. Lydia gets invited to go to Brighton. And to be the companion of one of her friends.

(33:53 - 34:06)
And during that time, she runs away. And she runs away with Mr. Wickham. Which is just a huge shock, right? Because there's no indication at any other point in the book.

(34:06 - 34:12)
That there's anything going on between them. And we already can't trust Mr. Wickham. Because he's been deceitful.

(34:13 - 34:22)
And then we find out all this dirt on him from Mr. Darcy. And how he tried to seduce Georgiana. Who was very young.

(34:22 - 34:34)
And it was all for money, right? He's trying to get back at Darcy for the stuff that went down between them. And so it doesn't make sense. Because we know that Lizzie's family doesn't have any money.

(34:35 - 34:45)
So if they're trying to elope, what's the purpose of that? They're both broke. Neither one of them has money. He just wants the scraps that he can take.

(34:45 - 34:53)
He needs to get married. They're close enough to... They're high enough of standing for him. Because he's such in the dregs.

(34:54 - 35:09)
Well, and we find out later too that he had no intention of marrying her. He was running away. And so why not let a vulnerable young lady come with you for a little bit of fun? So that's... And that was... Yeah.

(35:09 - 35:13)
Yeah. He was just being slimy. Being slimy.

(35:13 - 35:16)
Exactly. So just being himself. Just being himself.

(35:16 - 35:19)
He was not trying to marry her. Yeah. That was not the intention.

(35:19 - 35:32)
He just wanted to have a fun weekend. And brought this 15-year-old girl along. And so we find out that Mr. Darcy, right? Mr. Darcy walks in as she's finishing up this letter.

(35:33 - 35:41)
And Lizzie is so distraught. She's broken down, crying. He is trying to figure out what's happening.

(35:42 - 35:53)
And giving her time so that she can tell him what has occurred. And she tells him. And she knows that giving him this information probably means that he will never reach out to her ever again.

(35:53 - 36:03)
So she's convinced that after this incident, they will never end up together. She won't see him again. And he just leaves.

(36:03 - 36:08)
And he's almost a little bit cold about it. I mean, he obviously feels sorry for the situation. And then he just looks back at her.

(36:08 - 36:13)
And he's like, okay, bye. And leaves. And yeah.

(36:13 - 36:20)
And so she is forced to rush home with her uncle and aunt. She gets there. Nobody knows what's going on.

(36:20 - 36:38)
It's chaos. Mrs. Bennett is on the edge. But also saying weird stuff like, you know, we have to make sure that Lydia doesn't go to the wrong warehouses to buy clothing for her trip if she is going to elope.

(36:39 - 36:40)
For her wedding. Yeah. For her wedding.

(36:41 - 36:52)
And it's just like, oh my gosh, you're so dumb. This girl is single-handedly ruining the reputation of your family. And you're concerned about where she's going to buy her wedding dress.

(36:53 - 36:59)
Because the mother's so detached from reality. Yeah. Outside and living in the cosmos somewhere.

(37:00 - 37:20)
Well, and something interesting about the scenes where the family is lamenting that Lydia's lost and stuff is that there's not that much reference to everyone who wanted Wickham to end up with Elizabeth. Like, that was a big chunk of the first part of the book. Yeah.

(37:20 - 37:25)
And so, okay, now Lydia's with Wickham. And this is the end. Like, they're going to be together.

(37:26 - 37:36)
Like, we need to pressure him to marry her. And there's no regard for, like, up to that point, everybody thinks that Lizzie still likes Wickham. She doesn't.

(37:36 - 37:47)
But, like, everybody else knows that. So that was interesting that there was no regard for how Elizabeth felt. Well, Elizabeth stopped sharing.

(37:47 - 37:57)
Right? She stopped gossiping, basically. She's, like, wrestling or processing her own feelings towards Darcy. And, like, oh, this could have been my house.

(37:57 - 38:05)
And, oh, his sister's pretty great. And, oh, maybe he's changing? Oh, my aunt and uncle. Right? Like, the stuff that you just mentioned.

(38:05 - 38:11)
And I think, like, months and months. I think almost a year has elapsed at this point. Yeah, some time.

(38:11 - 38:27)
At least six months from when Lizzie last saw Wickham. But I think, like, I think over a year since Bingley and Darcy were, like, in town. Space makes the heart grow fonder.

(38:27 - 38:36)
Which is another reason why this would have been solved faster with texting. It's years we're talking. Lindsay, it works.

(38:36 - 38:44)
You can send that letter. It's just a long text of him, like, vomiting out. Even worse.

(38:45 - 38:48)
But he does it wrong. And so, like, clips. He's, like, well, let me keep explaining.

(38:49 - 39:08)
And it's, like, an hour long of voice clips. So, one of the things that also is happening through all of this is Lizzie's feeling really guilty because she knew Mr. Wickham's character from Mr. Darcy. And she didn't warn anybody.

(39:08 - 39:23)
Of course, she could not have known that Mr. Wickham was going to be part of the group at Brighton. Again, no indication that there's anything going on between these two. But she is carrying some guilt about that.

(39:23 - 39:34)
Because she's thinking, well, if I would have said something, maybe my parents would have been on more alert. Because we already know that Lydia is dumb. And she'll just do whatever.

(39:35 - 39:40)
She felt sorry for Wickham in the beginning. So, maybe that's why she didn't say anything. But then she just let it drop.

(39:41 - 39:49)
So, your point stands. I'm just saying, initially, she didn't say anything because she's all, poor Mr. Wickham. And then, if a year did pass, I think she just let it drop.

(39:49 - 39:57)
And nothing ever came of it in her head. But something definitely freaking came of it in the real world. Slimey, sliming.

(39:57 - 40:08)
I think this is forgivable because Lydia is the dumbest character in the book. And the most ridiculous character. More than the mother? Yeah.

(40:09 - 40:15)
Well, she's a product of the mother. There it is. And the father, who drops the ball as a father.

(40:15 - 40:19)
Absolutely. So, she is the worst character in the book. Definitely.

(40:20 - 40:27)
And so, even if Elizabeth warned the family, I think Lydia would have done the same thing. Yeah. Yeah.

(40:27 - 40:41)
And I think she would have doubled down on it. I think she would have been even harder to find. Lydia is dumber than Miss Bingley? Mrs. Bennis? Mrs. Bennet? The mom? No, no, no.

(40:41 - 40:52)
Bingley, right? Like his sister, who was trying to get with Darcy? Oh, yeah. Miss Bingley? Because Miss Bingley is actually looking out for herself. She's trying to end up with Mr. Darcy.

(40:52 - 41:01)
Lydia is, like, endangering herself. Actually endangering herself. Her reputation and her physical well-being.

(41:01 - 41:06)
And the reputation of her family. So, during this time. She has no regard for herself.

(41:07 - 41:16)
Yes, or her family. During this time, if you did something like that, other people would find out. And now, nobody wants to be part of your family.

(41:16 - 41:30)
So, all the other girls that are now unmarried in that family have almost zero chances of marrying well. Which means they're going to have to settle for just anybody who's willing to marry them. Because now they have no money.

(41:30 - 41:40)
In terms of money, we have no money. And they don't have a good reputation. And this was really important during this time.

(41:40 - 41:49)
You had to be known for, like, good character. Being, you know, making good decisions. Lydia has shown the complete opposite.

(41:50 - 41:56)
She is impulsive. She's unmeasured. She's flirtatious.

(41:56 - 41:59)
She flirts with, we already know this. We've seen this. There are scenes of this.

(42:00 - 42:03)
And, yeah. She just doesn't care. She's just living it up.

(42:03 - 42:14)
And this event just speaks to her character. She doesn't care. She isn't thinking about the future.

(42:14 - 42:26)
She isn't thinking about how this is going to affect her family. Specifically, her sisters. They are the only hope for the two parents to survive financially.

(42:26 - 42:39)
They're relying on them to marry somebody who has at least some money. So that they have somewhere to live and can be taken care of. And Lydia has absolutely no concern.

(42:39 - 42:43)
She's just having a good time. She's just being a teenager. Yeah.

(42:44 - 42:52)
Even though, I mean, Wickham is the bad guy. Wickham is definitely the bad guy. But his motivations are understandable.

(42:52 - 42:57)
Not justifiable, but understandable. That he's motivated by money. He's a scammer.

(42:57 - 43:04)
Lydia is just being a stupid teenager. She's just being a stupid teenager. Well, Wickham is- For the sake of being a stupid teenager.

(43:04 - 43:07)
Yeah. Like, for sure, for sure. Wickham is motivated, let's be real.

(43:07 - 43:14)
In this case, with Lydia, he's motivated by sex. There's no money here for him with Lydia. He knows this.

(43:14 - 43:27)
This is one of the reasons why he dropped Lizzie so quickly. And then his attentions were on this other young lady. And didn't care that he had already- There was some affection between him and Lizzie.

(43:28 - 43:33)
So he's motivated. He just wants to have a good time. He just wants to have sex with a 15-year-old.

(43:33 - 43:36)
He's a predator. He's a predator. Yeah, absolutely.

(43:36 - 43:39)
He's probably on that list they haven't released. Epstein Island. Wickham files.

(43:43 - 43:47)
I don't think we can say that on TV. Yes, we can. On YouTube, we can.

(43:48 - 43:57)
It's on TV. You said to bring the saucy takes, Jonathan. Now all of a sudden- Now I'm getting in trouble? Yeah.

(44:00 - 44:14)
I will put my hand on a D&D book and swear the fifth or something. So what do you guys think about Darcy's secret intervention in all of this? He's the sweetest boy. Yeah.

(44:15 - 44:24)
So sweet. The best part of the whole book is when he's telling Elizabeth, like, finally they get to talk. Again, another situation that would be solved by texting.

(44:25 - 44:33)
Because they're like, for days Darcy's hanging around. And they don't get any time alone. Finally they do.

(44:33 - 44:38)
And Elizabeth is like, thank you so much for the intervention. Nobody else knows. But like, thank you.

(44:39 - 44:45)
And he's like, I did it for you. Whoa. That's the climax of this book.

(44:46 - 44:57)
So why don't they just like slip each other a note? That would ruin the tension. Oh, so texting's cool. Texting's cool.

(44:57 - 45:07)
But like a quick, hey, here's my post-it note. And like, she sees him looking at her. And she like, lifts up a vase and puts it underneath.

(45:08 - 45:21)
Because they're adults. And they can just talk about it. Plus, I think he wants the satisfaction of like, seeing her reaction when he tells her, look at this amazing thing that I just did for your family.

(45:21 - 45:30)
He's basically like, I saved your ass and your families. And I still like you. And I still want to be with you.

(45:31 - 45:35)
Even though Wickham is my brother-in-law for life. Yeah. Oh, yeah.

(45:35 - 45:46)
I'm never lending him money. We'll never be able to be in the same room. Georgiana and Lydia will never be able to be in the same room with Mr. Wickham.

(45:46 - 45:53)
Because there's history there. Like, what a mess that he has allowed himself to become a part of. All for Lizzie.

(45:53 - 45:56)
I don't get it. Well, that's why- I don't get it. Lady Bug.

(45:57 - 46:00)
Lady Bug. Oh, yeah. We haven't even talked about that.

(46:00 - 46:06)
Yeah. Comes by and goes, tell me the truth right now. You're not a respectable woman.

(46:07 - 46:24)
And she's just like, I don't have to tell you anything, actually. I couldn't believe that. That was one of the moments in the book where I was just shocked at how she was talking to this lady where she's just, like, not being forthcoming at all.

(46:25 - 46:33)
Lady Catherine de Bourgh knows about this, like, botched marriage of her sisters. Because now it's out. Everybody knows about this.

(46:33 - 46:50)
That they basically eloped. Which is, again, poor reputation for her family. And then she's confronting her and asking her, is it true that you're going to marry my nephew? And by the way, my nephew is actually supposed to be marrying my daughter, who's sickly.

(46:50 - 46:59)
And we know that he doesn't care about this cousin of his that he's supposed to be marrying. And Lizzie is tight-lipped. She says nothing.

(46:59 - 47:07)
She's like, it's none of your business. I'm not going to tell you if there's been a proposal or not. It's just, like, very confusing.

(47:07 - 47:13)
And she barges in in the middle of the day. Or what is it? The middle of the night or something? No, it was in the middle of the day. During the day.

(47:13 - 47:16)
Yeah. During the day. That would have been more scandalous.

(47:16 - 47:27)
She comes over at midnight with a candle. Hey, open up, Lizzie! You can't marry Mr. Darcy! Yeah. That's just wild.

(47:27 - 47:42)
And it just goes to show again, like, how unfit these two people are to marry each other in the eyes of society. Lizzie is, like, she has no money. So she's nobody, basically.

(47:43 - 47:51)
Yeah. And, you know, we are, the book kind of dresses up Lizzie to be like, we love her. She can't do anything wrong, basically.

(47:51 - 48:07)
But she turned down Mr. Collins and could have, like, rescued her family from destitution. Yeah. So, like, I think it is, you know, Lady Catherine is really annoying.

(48:07 - 48:23)
And she's really fun to dislike in the book. But she kind of does have a, I mean, I don't know how public Lizzie's refusal of Mr. Collins was, but Lizzie has proved that, like, she's also not going to, like, sacrifice for the family. Yes, that is so true.

(48:23 - 48:40)
She's not necessarily going to align with what, you know, the rules for society says that she should do, which would have been to accept Mr. Collins' proposal. So she turns down two men that could have taken care of her and her family. Yes, yes.

(48:40 - 48:48)
This is one of the reasons why I don't really like Lizzie. Yeah, I mean, I like her, but I'm like, girl, you're not really thinking. I, yeah.

(48:48 - 48:52)
You act practical. I don't like her. My favorite character is definitely Mr. Darcy.

(48:52 - 49:04)
But, yeah, I don't really like, I don't really like Lizzie. She's selfish. She's a little bit conceited, but it's kind of hidden under this, like, like, humble persona, but it's, like, not real.

(49:05 - 49:10)
We already know this because she's judgmental. She's a little self-righteous. She's got a lot of prejudice.

(49:11 - 49:17)
She's got a lot of prejudice. She's got some pride. And, you know, she's concerned.

(49:17 - 49:40)
Finally, when Mr. Darcy brings up the whole thing about her family and the poor decisions they make, Lizzie kind of falls into this, too, for the same reasons that you just listed, Lindsay. She is given two opportunities to take care of her family, which is at that time was a responsibility. It was an obligation.

(49:40 - 49:53)
It was a duty. And she says, no, I don't like either of these guys, so I'm just going to pass. And how much at this time, like, how much are you actually going to know about someone before you marry them? Like, very little.

(49:53 - 50:06)
So you're like, you're about to find out a lot more. So even somebody that you do like, you say yes to, it could end up being bad anyways. Yeah, there's no you can't collect enough information to actually know.

(50:06 - 50:13)
Yeah, that's what Charlotte says. Even she's like, don't know. Don't purposefully try not to know much about your you're married.

(50:13 - 50:17)
Yeah, yeah, yeah, sure. For sure. There's no guarantee in marriage.

(50:17 - 50:22)
The only guarantee is if you marry somebody with money that you will be taken care of. That's it. Right.

(50:22 - 50:31)
And that's on dad, too. That's on Mr. Bennett as well. Hey, children, like, we are going to be messed up when I die.

(50:31 - 50:39)
You're on your own when I die. So make sure that you like, take the steps you need to to make sure that you can survive. And Lizzie would rather be homeless.

(50:40 - 50:54)
I would I would like to. I would like to propose that at some point we make court cases against each character and give them different sentencing. Lizzie really gets lucky.

(50:55 - 51:03)
Because Mr. Darcy is persistent. And he's really interested in her. Why? I have no idea.

(51:03 - 51:15)
But he's the sweetest boy character. And he does have good character. Although I would argue that does he have does he? Because he's chosen Lizzie as his life partner.

(51:17 - 51:22)
And it's not looking good. And now we're building a court case against Mr. Darcy. Let's go Lizzie.

(51:22 - 51:26)
I like Lizzie. A lot of the stuff she does. I've done that.

(51:26 - 51:36)
I would do that. So I like Lizzie because I'm like, listen, I'm going to do what works for me. And I would rather be poor than marry somebody I don't like.

(51:36 - 51:47)
And here's the thing. Jane Austen does a good job at hiding the person that we're following narration lies. Lizzie, like Chiara said, Lizzie's not great.

(51:48 - 51:59)
But she's human. And we understand why if she's raised in a rowdy house by a father who doesn't care, even though he's like, well, I love Lizzie. The rest of them can kick rocks.

(52:00 - 52:09)
Which you probably shouldn't do that as a parent, I would think. But I was like, that's what we do. I was an only child.

(52:09 - 52:13)
So he's still not a good dad to Lizzie. Right. Right.

(52:13 - 52:22)
Exactly. But we understand why she made the decision. And the only person in this book that gets out scot-free is the servants.

(52:26 - 52:37)
Because they're paid well and need to speak well of their owners. I was wondering if anyone... Now that you can't say. Oh, on TV.

(52:41 - 52:56)
What you said, Lindsay, is on point. I think all these conversations we're having about which character we like or don't like. If you can see yourself in that character, you're automatically going to be attracted to the character.

(52:56 - 53:05)
You're going to like the character. And this has been a recurring theme on PsyQuest. There's two female characters that are kind of hated by the readers.

(53:05 - 53:15)
Or at least they're ambivalent towards them. I like the hell out of them. The way these characters respond to troubles in life is the way I respond to it.

(53:15 - 53:28)
With sarcasm and humor and wit. So you can find yourself attracted to an unlikable character. Because, oh, yeah, I did that.

(53:28 - 53:39)
And I think it's a natural response. I even like Miss Bingley because, yes, she's trash-talking Lizzie. She's like the letter she sent.

(53:39 - 53:48)
Yeah, the letter they sent to Jane. And I'm like, Miss Bingley is using the only weapon that she has. Her womanly wiles.

(53:48 - 53:53)
What's that? Womanly wiles? Her words. Her womanly wiles. Yeah, her words.

(53:54 - 54:06)
So she's trying to end up with Mr. Darcy. OK, well, I'm going to trick Mr. Bingley, like Jane Bennett, into thinking that Mr. Bingley is not into her. Keep them away from us.

(54:06 - 54:18)
From us and the Darcys. And then, you know, she's trash-talking Lizzie to Mr. Darcy. I'm like, she's using the only tools that she has as a woman in this society.

(54:18 - 54:23)
And I can respect that. Yeah, definitely. Lindsey's over here like, I get it, girl.

(54:24 - 54:28)
I get it. I get it. And maybe this is more relatable as a woman.

(54:29 - 54:43)
But there are things that we're not really allowed to do that men can. Like, we have to be a little more subtle in our, like, manipulation or control of the situation. Like, we have to address things differently.

(54:44 - 54:48)
Yes, definitely. Yeah. Especially in the time frame that this was written.

(54:48 - 54:53)
Oh, yeah, yeah, absolutely. That still happens today. Yeah, it looks a little different.

(54:53 - 54:58)
But there are, yeah, there's some things. There's nothing new under the sun. Yeah, no, exactly.

(54:58 - 55:08)
Exactly. I think that, as someone who has read all of Jane Austen's novels, A true fan. Looking at you, Lindsey.

(55:08 - 55:18)
True fan. A true fan. I think that Elizabeth Bennett is probably the most like Jane Austen.

(55:19 - 55:28)
Oh, probably, yeah. You know, just like, look at the writing. It almost feels like it's being, I mean, it's being written from Elizabeth's perspective, no doubt.

(55:29 - 55:39)
But the language is similar. They express themselves in similar ways. Elizabeth is sarcastic and funny and witty.

(55:39 - 55:59)
And Jane Austen was like that, too. And Jane Austen did the same thing that Elizabeth does in the novel, except Elizabeth has a happy ending in that she's able to marry well. In, for Jane Austen, that does not occur.

(56:00 - 56:18)
She also is proposed to at some point. And she refuses for the same reasons that Elizabeth Bennett refuses in the novel. And she doesn't get an opportunity to meet someone who meets her standards.

(56:18 - 56:38)
And so she never marries and she decides to write books instead. And so she follows, she has Elizabeth follow her own advice of like, you should marry for love, not for convenience. And that's really the theme of this.

(56:39 - 57:01)
That's really the theme of the book. There's the people that marry for convenience, the Charlotte Lucas, even Lydia, who has to marry Wickham out of convenience to not ruin her family's reputation. And then you have Elizabeth, who marries Mr. Darcy for love.

(57:01 - 57:06)
The money is nice. That's a bonus for her, though. Yeah.

(57:06 - 57:23)
And that's really a credit to Jane Austen as an author, is that, you know, she's writing Elizabeth as herself. Yes. But she's still able to vocalize Elizabeth's downfalls and her character flaws.

(57:23 - 57:49)
Yeah, absolutely. Even though it is a reflection of Jane Austen. So Chiara, which one of these characters is most like Jane Austen's sister? And which character is most like Jane Austen's brother or brothers? Um, I would say that Jane Bennett is the most like her eldest sister.

(57:51 - 58:01)
Um, there's the emotional. Well, um, not very deep. I would argue that that's not the case with Jane.

(58:01 - 58:16)
I would really argue that that's not the case with Jane. Jane is an emotional person. She's a sensitive person, but she doesn't overshare with anybody other than with Elizabeth in the novel.

(58:16 - 58:32)
She's very careful who she shares information with about her personal life. And then we hear time and time again that Jane is opposed to thinking ill of anybody. It takes a long time for her to realize.

(58:32 - 58:56)
So she's not a great judge of character, but she's a very humble person. And we know that Jane Austen's sister had a similar character. In fact, I think somewhere it's written that she modeled Jane Bennett after her eldest sister, whom she had a really great relationship with.

(58:56 - 59:04)
They took care of each other because they were both spinsters. Neither one of them married. And so they spent a lot of time together.

(59:04 - 59:23)
They wrote a lot of letters to each other back and forth. And Pride and Prejudice was, I believe, Jane Austen's first novel. And so a lot of it, you see a lot of similarities between the family in Pride and Prejudice and her own family.

(59:23 - 59:48)
But I would say, yeah, I would say Jane Bennett is very similar to Jane Austen's sister. And so I think that that's the connection there of Elizabeth Bennett and Jane. They sort of showcase this very strong relationship between these two sisters.

(59:48 - 1:00:08)
And that is certainly true in real life for Jane Austen. They say that when Jane Austen passed away, her sister had a ton of letters that they had exchanged. Intimate letters where they shared their inner thoughts and feelings about all these things.

(1:00:09 - 1:00:29)
And her sister burned them because at this point, Jane Austen was already recognized, even though she wrote under a pen name still. And so people in town or in her inner circle knew that she wrote these novels. And so to protect her personal intimate life, she burned all of these letters.

(1:00:29 - 1:00:47)
And so we really, there are parts of Jane Austen that we really don't know because we didn't have access. She somehow knew that Jane's novels would blow up. She was making enough of a living so that she could survive and didn't need to be married.

(1:00:47 - 1:01:12)
At that point, and so I think that is a really interesting thing that she did that and to protect her sister and didn't want to, again, overshare personal information about their relationship and about Jane Austen herself. And so she chose to get rid of them. Are there any living people who are related to Jane Austen still? There are, yes.

(1:01:13 - 1:01:38)
They say that Laura, I think it's Laura Linney. Laura Linney is a descendant of, she's an actress, a descendant of Jane Austen, but via her brother, her eldest brother, who got married and had children. And that's the only person that I know of.

(1:01:39 - 1:01:45)
I'm looking this person up to see if I've seen them in anything. You have. You don't know that.

(1:01:45 - 1:01:50)
You have. You don't know that. She might know that.

(1:01:51 - 1:02:07)
You don't know that either. If anybody would know it, it would be Chiara, hopefully. What do you say, Jonathan, about yourself? You're an enigma wrapped in a what? In an onion? I'm a mystery wrapped inside an onion.

(1:02:07 - 1:02:17)
Oh, yeah. Oh, I've seen this woman before. Really? Like they said, Chiara knows.

(1:02:20 - 1:02:27)
What's she been in here? I'm pulling it up, folks. Just for you. She like plays a mom on a bunch of stuff, doesn't she? I don't know.

(1:02:28 - 1:02:33)
She's an actress. She plays a lot. The Savages, The Big C, Kenzie, You Can Count on Me.

(1:02:33 - 1:02:40)
Never saw that one. She's a great actress. The Miracle Club, Wildcat.

(1:02:40 - 1:02:48)
Oh, she was in Ozarks. That's she's like the I think she's the wife in Ozarks. Making her great, great grandmother proud.

(1:02:48 - 1:02:54)
The Big C. Never saw that. John Adams. She was Abigail Adams.

(1:02:54 - 1:03:06)
Yes, that was a really cool show. The Nanny Diaries, Mrs. X. I've never seen any of these. It's one of those like I wouldn't call her like a B, you know, like a B actress.

(1:03:06 - 1:03:16)
But like she's a frequent face that you'd be like, oh, I've seen her in stuff. But not enough to be like, oh, hey, I know her name. That's, you know, Sandra Bullock.

(1:03:16 - 1:03:21)
Right. She was in The Exorcism of Emily Rose. She's Erin Bruner.

(1:03:22 - 1:03:29)
Who? Erin Bruner from The Exorcism of Emily Rose. I haven't seen her. She was in Frasier.

(1:03:31 - 1:03:36)
Yes, she was. She was in Frasier in 2003. Who did she play in Frasier? Charlotte.

(1:03:36 - 1:03:46)
She was she was she was the Charlotte. It was Charlotte. She played the matchmaker to Frasier that he winds up dating.

(1:03:47 - 1:03:49)
Oh, that's right. Okay. Mystic River.

(1:03:49 - 1:03:55)
That's Laura Linney. She was in The Mothman Prophecies. She's got a huge she was in King of the Hill.

(1:03:55 - 1:04:03)
She's got a huge this is a massive IMDb. This is like she's been acting for a really long time. She's been acting.

(1:04:03 - 1:04:09)
She was in Lorenzo's Oil. She was the young teacher in 92. Searching for Bobby Fisher.

(1:04:11 - 1:04:19)
School teacher. You guys have probably seen her in stuff. I haven't seen any of the things that you've listed.

(1:04:20 - 1:04:35)
Law and order. I believe you that she's famous. The only reason why I know of her connection to Jane Austen is because like maybe 10 years ago she did Masterpiece Theater.

(1:04:36 - 1:04:51)
She was the host for Masterpiece Theater for PBS. And they had the BBC had just done a few adaptations of some of Jane Austen's novels. And so she was presenting them.

(1:04:52 - 1:04:59)
And she shares her connection with Jane Austen. That's cute. As like a great, great, great, great aunt or something.

(1:04:59 - 1:05:14)
Kim, can you guys you're never going to get this in on her IMDb. Her alternative name is Laura blank Linney. And I just want you to take a guess at what the middle word is.

(1:05:15 - 1:05:23)
Bennett, Darcy, Lydia, Slava, Lucy, Jane. I'm not. I'm not kidding you.

(1:05:23 - 1:05:32)
It says alternative name. Laura Linney. That you can't say on the TV, it'll get.

(1:05:34 - 1:05:41)
That's hilarious. Why? I don't know. Maybe she came to her IMDb and was like, this is what they call me.

(1:05:42 - 1:05:47)
Yeah, maybe, maybe, maybe. I would do something like that for my IMDb. I have an IMDb.

(1:05:47 - 1:05:52)
It's not it's nowhere. Lady Catherine. So we yeah, we talk about Lady Catherine.

(1:05:54 - 1:06:05)
Um, barging into her home, being a rude old lady. Doesn't care, confronts Elizabeth. Elizabeth handles it.

(1:06:05 - 1:06:14)
I think quite well, although she is arguably a little bit rude. She handles herself well. I like it.

(1:06:14 - 1:06:19)
That's how I would handle something like that. But she wasn't rude until she had to be. That's true.

(1:06:19 - 1:06:27)
So was she rude or was she like, oh, defense is activated? Yeah, no, that's true. That's true. That's true.

(1:06:27 - 1:06:40)
I mean, Lady Catherine de Bourgh is really the rude one here. Who does that? Who does that? Lizzie? You can't accept a proposal. You can't marry my nephew.

(1:06:40 - 1:06:45)
Oh yeah. And she's trying to tell her what to do. She's like, if he does propose, you can't accept.

(1:06:46 - 1:06:50)
That's what really pisses her off. Really well. I mean.

(1:06:51 - 1:07:00)
My sickly daughter will marry that boy. They've been betrothed since birth. She's got weak eyes, but she still needs to marry someone notable.

(1:07:02 - 1:07:09)
Thanks, de Bourgh. Lady Catherine wants her cut of the Darcy fortune. Oh, absolutely.

(1:07:09 - 1:07:17)
Even though she's already rich herself, but yeah. Yeah, she ain't that rich though. Well, yeah, probably not as rich as Mr. Darcy.

(1:07:17 - 1:07:25)
She's trying to marry into the Rothschilds. She's middle of the road. She's middle class for that upper echelon.

(1:07:26 - 1:07:38)
Well, and she's also trying to set her daughter up, you know, because she knows that her daughter has no chances of being married. Will die from a sick death when the plague hits. And so this is like, this is her daughter's only hope.

(1:07:40 - 1:07:47)
Way to put, way to spend some hope on that. This is her last. And then Darcy will be widowed.

(1:07:47 - 1:08:00)
And then Darcy will be widowed. And then he'll go find Elizabeth and propose for a third time. Yeah, so after that happens, I think that's after.

(1:08:01 - 1:08:14)
No, that's before. So Bingley comes back to Netherfield, which is very exciting. At this point, it has been probably around a year since they were in that side of the country, in that area.

(1:08:14 - 1:08:22)
And he comes back and it's kind of like out of the blue. Nobody knows that they're coming back. And reappears at the house.

(1:08:23 - 1:09:01)
And he's also kind of acting, brings Darcy along with him, also kind of acting like nothing really happened a year ago. And finally, he proposes to Jane, which is exactly what we all wanted. Of course, she has never forgotten Mr. Bingley and says yes, of course, because why wouldn't she? And yeah, this kind of shows also that Darcy no longer objects to the marriage, obviously, because of Elizabeth, right? Otherwise, he would have intervened again, which he chose not to.

(1:09:01 - 1:09:34)
And maybe he helped convince Bingley to pursue this love interest of Mr. Bingley's. And go back to another field and do what he wanted to do a year ago. I love that this is like how their story ends, Bingley and Jane, because I feel like something that plays out today even, you know, in Darcy's letter, he's like, I knew Bingley was in love with her, but I didn't think she was interested.

(1:09:34 - 1:09:41)
Like, she was very, like, just reserved with it. I didn't think that she was interested. That happens today.

(1:09:41 - 1:09:59)
Yes, absolutely. Where like somebody is interested, both parties are interested, but everybody's scared to kind of say it. And so I think that, you know, people just need to be a little more forthcoming and then you can save yourself a lot of trouble and miscommunication and a year.

(1:10:00 - 1:10:17)
Yeah, they should be more forthcoming, but they're not because they're scared of rejection because of the state of society. Everyone's so sensitive. I was talking with somebody this last week and I was saying, you know, hey, you know, when you and I were growing up, it was like, hey, sticks and stones can break my bones, but words will never hurt me.

(1:10:17 - 1:10:39)
We got bullied a little bit in school, whatever. And this woman was like, I don't know, six, eight, ten years older than me. And she's like, yeah, that was the way it was, right? So like getting a little bit more comfortable with the harsh realities of the world would do society well, right? So then we can be, you know what? I just want to live my life the way I want to.

(1:10:39 - 1:10:44)
And so like, hey, I like you. Hey, we should try and go on a date and just like be. I'm with you, Lindsay.

(1:10:44 - 1:10:49)
Be a little more forthcoming. Take the risk. Go out there.

(1:10:49 - 1:10:59)
Live your life. Not everyone's going to say yes. And rejection is OK, because oftentimes it means that, you know, you've got something maybe better in store potentially, or you'll get swept up by a predator.

(1:10:59 - 1:11:09)
But how many chances do we miss? Because we're too chicken to like put ourselves out there a tiny bit. I mean, Jane, the deal with Bingley was as good as done. Yeah.

(1:11:09 - 1:11:21)
And she still wasn't convincing that she even was going to say yes or was interested or was interested in him and not just his money. Like the deal was as good as done. There was almost no risk for Jane.

(1:11:23 - 1:11:33)
We miss roughly 3.76 opportunities that we don't commit to per year. I'm surprised it's not more. OK, Wayne Gretzky.

(1:11:36 - 1:11:39)
If you know, you know. I don't know. Michael Scott.

(1:11:40 - 1:11:43)
Yeah, yeah, yeah. You miss 100% of the shots you don't take. Yeah.

(1:11:44 - 1:11:48)
Wayne Gretzky. Michael Scott. Thanks for explaining the reference.

(1:11:48 - 1:11:55)
Nobody got it. Lindsay didn't know. Well, I mean, but yeah, I knew the 100% of the shots you don't take.

(1:11:55 - 1:12:00)
But you made up the 3.6. Oh, yeah. OK. Yeah.

(1:12:00 - 1:12:09)
That's why I was confused. 3.76. Oh, I will remember the fake stats that I create. Thank you, because I'm going to have to re reference them.

(1:12:09 - 1:12:15)
I make marketing reports. I know how data works. Science.

(1:12:16 - 1:12:23)
Science. Yeah, this is this proposal. This is interesting to me because.

(1:12:26 - 1:12:45)
While we know that Jane is obviously interested in Mr. Bingley this entire time, I do wonder if Mr. Bingley was aware of her interest. Now. She did accept the attention that he gave her, which was pretty obvious.

(1:12:46 - 1:13:15)
During the time that they were at Netherfield. And so it is assumed that if a young lady is even accepting your attention as a male suitor, that you're likely interested because it was also it looked bad if you were giving too much attention as a woman, too much attention to your suitor. It would be misconstrued as like flirting, which really wasn't OK.

(1:13:15 - 1:13:23)
Right. This is the issue that Lydia bumps into of like she's overly flirtatious. Jane Austen would not have been capable of that, however.

(1:13:24 - 1:13:30)
But she is guarded in her behavior. And we know this because Jane or not Jane. Sorry.

(1:13:30 - 1:13:43)
Elizabeth talks about this with Charlotte Lucas before she marries Mr. Collins of like. Charlotte Lucas says, you know, Jane really needs to. Be.

(1:13:44 - 1:14:14)
Interact with Bingley more and make sure that he knows that she's interested to secure this proposal and. Elizabeth's argument is, well, she's just not like that, you know, she that's not what she would do. And so I think that this is one of the reasons why Mr. Bingley is easily convinced he's also like kind of confident, but kind of not and is easily convinced by Mr. Darcy that there's maybe not anything there.

(1:14:14 - 1:14:41)
And so he decides to not take the risk and propose to her because he thinks he might be rejected. And so I think this is a beautiful ending for them, because this whole time they've probably been suffering because they have similar temperaments, I think. Outwardly confident, but probably insecure on the inside and and then they wind up together and for Jane, it's actually really important to be close to family.

(1:14:41 - 1:14:55)
And so she knows that she will get to live at another field close to her family, unfortunately for her. But, you know, she thinks this is a great, a nice bonus. But yeah, I really love this ending for them.

(1:14:55 - 1:15:09)
And the proposal is is appropriate for these two characters who are sort of more subtle in their ways. What do you guys think? Yeah, I agree. I like that they ended up together.

(1:15:11 - 1:15:16)
I think there's a lot working against them. You know, Darcy's looking out for his best friend. His sisters.

(1:15:16 - 1:15:28)
His sisters. The letter that they sent to Jane when they left is so funny to me. Yeah, I just I love that so much that they're like, oh, Georgiana is going to marry Mr. Bingley.

(1:15:28 - 1:15:50)
There's so much conflict that that probably in real life, if this was real, like there's so much more conflict that Jane and Elizabeth are going to have to deal with after they get married. Like it doesn't just end here with like, great, we're married now. Happily ever after, right? The happy ending.

(1:15:50 - 1:16:01)
No, now Darcy has to deal with her family. Bingley, Mr. Bingley has to deal with their family. There's a situation with Lydia and Wickham and Georgiana, the Bingley sisters.

(1:16:02 - 1:16:23)
There's just so much stuff that they're going to have to put up with and it's going to be uncomfortable for everyone involved. But somehow there's still more moving forward. OK, as someone who's going through a little family drama, you know, being freshly married, like it honestly, it's something that me and my husband get to unite on.

(1:16:23 - 1:16:30)
And we're like, you know, we get to do the gossiping at home. Not really. You know, we're but we're united on it.

(1:16:30 - 1:16:34)
And it's like this is our decision. The deal is done. We're married.

(1:16:34 - 1:16:42)
And like these are our values. And this is what we're standing for. And like, you know, we can get along peacefully or we cannot.

(1:16:42 - 1:16:51)
Like that's it's your choice. So I think, yes, that is going to happen. But I think that that's just part of the adventure for them.

(1:16:51 - 1:16:53)
Yeah. Oh, yeah, definitely. Most definitely.

(1:16:54 - 1:17:01)
Part of the adventure. Part of the it's certainly been part of ours. So Chiara and I actually schedule when we're going to gossip.

(1:17:01 - 1:17:14)
We do like 15 minutes in the morning and then on Wednesday afternoons at 330, we take a coffee break to talk about all of you people. I'm teaching Dan to be better. I'm teaching Dan to be better at gossiping.

(1:17:15 - 1:17:19)
Yeah, because he'll go get. Wait, wait, wait. Yes, please.

(1:17:19 - 1:17:34)
Can you tell us more about what is what is he doing right now? And then what is he what is he getting better at? And then Slava can tell us about all the gossiping he does with his wife about me. So Dan will like very important. Go get coffee or dinner with a friend.

(1:17:34 - 1:17:43)
And then like he'll be like, oh, they said they were like starting to date somebody. I'm like, OK, who is it? He doesn't know. I don't know.

(1:17:43 - 1:17:48)
Like it's it's data collection. He's getting better at data collection. Yes.

(1:17:48 - 1:18:00)
Like, OK, you have to ask like who are the and sometimes even says like, oh, Lindsay's going to want to know. So like tell me I need to know more. Jonathan, I wish you thought about me more when you're collecting data.

(1:18:00 - 1:18:08)
I knew this was going to turn around on me. Yeah, so she's like, oh, are they going to get pregnant soon? Are they going to what? I'm like, I don't know. We didn't talk about that.

(1:18:08 - 1:18:25)
Like, what do you mean you didn't talk about that? Sometimes he hangs out with his friends and I'm like, did you talk about anything? What did you guys do? Play magic. But you have to get better at reading between the lines, too. So it's not just like, yes, like, are you just going to ask them straight up? Like, when are you going to have a baby? Guys don't really ask that.

(1:18:25 - 1:18:29)
But I would. I just you would. Jonathan doesn't.

(1:18:29 - 1:18:35)
You have to collect other information. It's not just conversation. It's vibes.

(1:18:35 - 1:18:46)
Yes, that gossip is vibes. OK, can I tell you how much I hate vibes? I love. Can we just communicate? Yes.

(1:18:47 - 1:18:53)
No, you can ask the direct questions, that's fine. But Dan doesn't want to ask direct questions always. I get that.

(1:18:53 - 1:18:58)
I get that. It's not his. It's not his M.O. Yeah, but this is what women are skilled at.

(1:18:58 - 1:19:08)
Yeah, but this is what women are skilled at. You know, this is something that I think separates us from men. It's like men go directly for the information head on or they don't.

(1:19:09 - 1:19:23)
Because they, you know, because they don't. And then and women piece together the the look, the the physical. What is that called? Oh, my gosh, I'm blanking out the body language, body language.

(1:19:23 - 1:19:37)
Thank you. And that's why we catch the conversation is an hour gossip of information, of information. You're pulling information from everything, what they said, what they didn't say, the look that they gave their other friend, this, that.

(1:19:37 - 1:19:42)
Right. You're just like putting it together, charting on board. And you're like, yes, I think this is what's going to happen next.

(1:19:43 - 1:19:57)
I would like to see the data of women reading all of that. And then also socially attuned men doing the same because I think I would win. No, not not.

(1:19:58 - 1:20:01)
Well, OK, I think I would. Not against me. I'm so good at it.

(1:20:01 - 1:20:09)
I'm good. I'm good at direct questions and just data collection. I bet I'm better at data collection than you.

(1:20:10 - 1:20:19)
I don't know. Jonathan, you couldn't figure out how much Wickham was getting for an inheritance. That's a story.

(1:20:19 - 1:20:25)
That's not data. If he was standing in front of me, I could do it. Sometimes I read the body language.

(1:20:26 - 1:20:31)
Sometimes you have to collect data through secondary research. Yeah. Secondary sources.

(1:20:31 - 1:20:35)
Yeah. I'm here for it. OK, so I'm throwing down the gauntlet, Lindsay.

(1:20:35 - 1:20:41)
What's the topic? What are who who in our community? Don't say it on the recording. We'll do some. We'll text about it.

(1:20:42 - 1:20:48)
We're game on. I don't say for the recording. No, it's not.

(1:20:49 - 1:21:01)
I just want to know who's dating and like what the you know. Oh, that's all you care about people. Well, I want to know people's annual salaries, what they're doing for career growth, how they're growing themselves.

(1:21:01 - 1:21:03)
Yeah. All of that. We care about different things.

(1:21:04 - 1:21:12)
But we're not the same. I'm teaching Dan how to like triangulate and be like, OK, well, they they've said this. So that might mean this.

(1:21:13 - 1:21:21)
Oh, my God. I'm teaching him. Do you also give him statistical probabilities? It might be in this at like a 30 percent confidence rating.

(1:21:21 - 1:21:28)
Well, this is a 95 percent confidence rating because of this list of six. That sounds very advanced. He might not be there yet.

(1:21:28 - 1:21:37)
I don't do percentages, but I'm like, OK, they said this. It could mean this or this. But based on their character and based on what else we know, it probably means this.

(1:21:39 - 1:21:49)
And he he's learning to love it. Sounds like he has to. At the very least, he's learning to collect more information.

(1:21:50 - 1:21:53)
Sure. So then there's less speculation. Yeah, yeah.

(1:21:53 - 1:22:02)
I want to be there with him now and just start dropping false information into your data pool. Just for my own entertainment. I'm going to spoil the data, the data research.

(1:22:03 - 1:22:07)
Why are you just out of yourself? So, yeah. Yeah. But then but here's the thing.

(1:22:07 - 1:22:21)
What if I don't drop anything and she's like questioning now and I poison the well just by my words? Well, I already know that you like to stir the pot. So who told you that, Dan? Jonathan. OK.

(1:22:23 - 1:22:27)
Dismissed. We need additional sources. Dan is still Dan.

(1:22:27 - 1:22:36)
So I'd still do have to draw out of him. He's better at, like, getting, you know, primary information, primary source information. Yes.

(1:22:36 - 1:22:49)
Primary source information. But, you know, I still we still work together to put it together. So, Slava, tell us how gossiping, you know, what that looks like for you and your wife.

(1:22:50 - 1:23:08)
Yes. Yeah. So, what I enjoy about my wife is that we are one of the things I enjoy about my wife is very, very much in tune where we're like in a room reading people or whether we're making character judgments, whatever.

(1:23:09 - 1:23:24)
Yeah, we are very in tune. And it's like to the point where even. This is just an example, but even the decor in our home, like we have the same like tastes and well, I wouldn't say music issue.

(1:23:24 - 1:23:48)
She likes different types of music, not TV, like different TV shows. But as far as our domicile and how we perceive the world, we're very much in tune, like two peas in a pod. So our gossip, it looks more like, you know, as you were talking, Lindsay, the thing that popped into my head was the SNL skit, two assholes at a nativity scene.

(1:23:50 - 1:23:57)
Oh, I don't think I've seen that. The premise is there's two assholes, very like annoying, douchey people. And it's a man, a woman, it's a couple.

(1:23:58 - 1:24:15)
And they're just totally alike in their assholeness. And again, not analogous to my wife and me, but it's just we're just so much in tune where we can read a room or read a person. And we're like, so, you know, Bill's an asshole, right? And we're like, yeah, Bill's an asshole.

(1:24:15 - 1:24:28)
And we can list out the reasons why we think Bill is an asshole. And about 80% of it will overlap. So does that answer the question? Yeah, I think so.

(1:24:29 - 1:24:36)
You guys catch the same vibes. That's what we catch the same vibes. I'm trying to bring Dan down to my level.

(1:24:36 - 1:24:44)
Yeah. So that we also can do that. I like how you said, I'm trying to bring him down to my level.

(1:24:46 - 1:24:55)
I appreciate your self-honesty, Lindsay. Yes. I know that you will never not be honest with yourself to me.

(1:24:56 - 1:25:04)
And to myself. Correct. Unfortunately, Jonathan and I don't catch the same vibes.

(1:25:04 - 1:25:14)
I've not trained him to gossip well. Like I said, he'll go out and I'm asking all these questions. And he's like, I don't know.

(1:25:14 - 1:25:16)
We didn't talk about that. I don't know. I don't know.

(1:25:17 - 1:25:25)
I was like making statements. What did you guys do? Did you talk at all? Were you guys just sitting there, like staring at each other? I don't know. You gave me zero information.

(1:25:25 - 1:25:29)
We looked deeply into each other's eyes. Yeah. Let me say positive reinforcement works really well.

(1:25:29 - 1:25:37)
When he comes back with information that I want to know. Good job, honey. What happens when there's zero information? This is the problem.

(1:25:37 - 1:25:45)
Positively reinforce me anyway. I'm literally working from, I have to set the foundation first. And then we can start the positive reinforcement.

(1:25:45 - 1:25:51)
Because as of right now, there's zero. I don't get anything. Okay.

(1:25:51 - 1:25:55)
Then you do it with guilt. You could try. So I should manipulate.

(1:25:55 - 1:26:05)
Why don't you know about this guy's dating life? Because I actually have said that before. That it honestly is important to him. And if you care about him, you would ask about it.

(1:26:05 - 1:26:08)
Wow. That's deep manipulation. It's not manipulation.

(1:26:09 - 1:26:15)
That's just straight up in your, it's not. If you cared about him, you would notice. I don't know.

(1:26:16 - 1:26:39)
I have said, I have said, um, oh gosh, what did you say? I have said it became a therapy session. I have said to him in the past, like, why don't you know this? Why didn't you ask this question? I have, I have made that comment, but I haven't used guilt yet. Maybe I'll say, I'm surprised you didn't want to know that.

(1:26:39 - 1:26:49)
I'm surprised you didn't ask that. And Dan is like, so, you know, you know, his person, he's so calm. And like, he's like, if they wanted me to know, they would tell me.

(1:26:50 - 1:27:01)
And I'm like, maybe they just need the invitation. Chiara, you're no longer allowed to hang out with Lindsay one-on-one. I ask the questions I want to know the answers to.

(1:27:02 - 1:27:12)
So actually it's funny you say that Lindsay, because I tell people, uh, don't ask questions you don't want to know the answer to. Cause I'm going to be honest. Yeah.

(1:27:12 - 1:27:19)
I ask the questions that I want to know the answer to. If you don't ask, it's always no. I can get behind that.

(1:27:20 - 1:27:28)
I can't get behind you teaching my wife to manipulate me, but. It's not manipulation. It's she wants you to know the people that you care about more intimately.

(1:27:29 - 1:27:37)
I can list off a bunch of things that are pieces of intimate information. Just fine. Slava is like, you better not.

(1:27:37 - 1:27:46)
You put that in the vault boy. No, I'm just, I'm joining the ladies here. I'm surprised you haven't asked me any questions about my life ever.

(1:27:46 - 1:27:50)
Oh my God. Or how I'm feeling. Ever.

(1:27:50 - 1:28:00)
Jonathan, you don't ask Slava how he's feeling on a regular basis. I think Max is at the door. Maybe this is cause Jonathan wants to influence.

(1:28:00 - 1:28:05)
He doesn't want to be influenced. Oh people. Here's the thing.

(1:28:05 - 1:28:09)
Lindsay, you know me. I'm not really influenced by other people. I'm just still going to do what I'm going to do.

(1:28:10 - 1:28:14)
Yeah. And you want other people to do what you want them to do. Absolutely.

(1:28:14 - 1:28:18)
Because it's good for them. And that's not manipulation. No, it's influence.

(1:28:19 - 1:28:27)
Because here's the thing. Manipulation involves like a, oh, well you have to do it. Right.

(1:28:27 - 1:28:38)
And it's like, look, hey, here's the thing. I'm going to, I'm going to pull this one out of hat. We've got friends in our community who like want to get married, have a wife, like have a house, whatever, but like, they're not doing anything for their career.

(1:28:38 - 1:28:45)
And I go, hey, I would love to sit down and help you like map some stuff out. And then we get together two or three times and they go, oh, well, I didn't do this stuff. You told me.

(1:28:45 - 1:28:51)
And I go, hey, that's cool. Uh, we don't need to meet then. Because like, you're not in a space to do this.

(1:28:51 - 1:28:57)
So that's influence, right? Like I'm not, I'm emotionally invested if you're going to show up. And if you're not, then like, we can just be friends. We'll hang out.

(1:28:57 - 1:29:06)
We'll get a beer or whatever. Like, but I don't, if you're not going to put time into your life, I did this in my 20s. I bent over backwards and pulled my 401k.

(1:29:06 - 1:29:19)
I stole hundreds of thousands of dollars from myself to try to help the artist community in our city. And all I did was got shat on. And so like, I'm not here to help people who aren't going to show up.

(1:29:19 - 1:29:26)
If you want to show up, I will absolutely try and help you. If you're not going to show up and you show me that, then I go, hey, it's cool. I'm not insulted.

(1:29:26 - 1:29:33)
But like, I dust my feet off. There's a, some lyrics in a rap song. I don't even know which one it is.

(1:29:34 - 1:29:38)
A triple quest. Well, it's, you can't save her. She don't want to be saved.

(1:29:41 - 1:29:48)
I need to find out what that's from. Why is it weekly? I think we don't have a Messiah complex over here. We tried to help people.

(1:29:49 - 1:29:53)
We used our money, our blood, sweat, and tears. People didn't want to be helped. Cool.

(1:29:54 - 1:29:59)
I'm just going to go get rich myself then. Right. Right.

(1:29:59 - 1:30:01)
She are. Yes. Oh, one day.

(1:30:01 - 1:30:08)
No role models. The modern Jane Austen, as they call her. Add that to your playlist, Slava.

(1:30:08 - 1:30:13)
It fit in really well. Heck yeah. Jake Hole, the modern Jane Austen.

(1:30:13 - 1:30:18)
You can't save her. She don't want to be saved. Seems relevant.

(1:30:19 - 1:30:26)
But I think you could give your wife some crumbs to, you know. My wife's a queen. She needs a full meal.

(1:30:27 - 1:30:38)
Okay. We heard, we heard it. Let's talk about Dorsey's proposal.

(1:30:38 - 1:30:44)
Second proposal to Elizabeth. And then they get married. Jane and Mr. Bingley.

(1:30:44 - 1:30:56)
Lizzie and Mr. Dorsey. We know that Lydia and Wickham are forced to get married. Which of course happens before.

(1:30:56 - 1:31:11)
But yeah, they have like, they have like this like double wedding situation. Which is interesting to me. But yeah, let's, let's talk about, let's talk about the proposal.

(1:31:11 - 1:31:21)
What did you guys think about Mr. Dorsey's proposal to Lizzie towards the end of the book? He could have tried a little harder. Brought some flowers or something. You know, maybe a small bag of coins.

(1:31:22 - 1:31:28)
I think he didn't know he was going to be proposing. I don't think so. No, I don't think he was prepared for that.

(1:31:28 - 1:31:34)
I mean, they were like, they hadn't had any time alone. Yeah, that's true. And then they finally do.

(1:31:36 - 1:31:43)
And like, you know, she's really, really grateful. And I think he's like, oh, does she like me? Yeah. Yeah.

(1:31:43 - 1:31:54)
Maybe his sister should have trained him. He does ask if his, her feelings have changed. And so that's him like checking in.

(1:31:54 - 1:32:14)
He's, he's seeing, he's noticing something in her behavior towards him that cues him in. And so now he's just confirming his suspicion that she might be interested now. Um, which I would hope that she would given everything that he's done for her.

(1:32:15 - 1:32:23)
She doesn't deserve it. But, um, no, but we want a happy ending. So have your feelings changed.

(1:32:23 - 1:32:40)
Let's not quarrel for the greater share of blame. Or do you feel the same way you did, you know, the first time that I proposed? And so this is his, his end. This is the segue into like this proposal.

(1:32:40 - 1:32:58)
And then she has to talk to her dad and let her family know. And so that's another interesting conversation where she has to share this incredible thing to defend him from all the trash talk. That she has previously, she's got to go back on her word.

(1:32:58 - 1:33:01)
Yeah. She hasn't shared her inner world with her family. Yeah.

(1:33:01 - 1:33:21)
Over the last, you know, 12, 14, 18 months. Or any redeeming qualities of Darcy. Yeah.

Because this whole time she's been trash talking him. So her family still thinks he's like this awful guy. And so she's got to backtrack and now tell them like, hey, actually, Mr. Darcy saved our family from destitution.

(1:33:22 - 1:33:26)
Literally. In multiple ways. That bastard.

(1:33:27 - 1:33:38)
Right? And so then her dad's like, oh, well, you know, I, yeah, okay. I guess you can marry him then. Thanks for the support, Pops.

(1:33:38 - 1:33:46)
And also you're saving us so much money because I can never repay him. I would have had to repay your uncle, but now I don't have to repay Mr. Darcy. Yeah.

(1:33:46 - 1:33:51)
Because he owes me because he's taking now. Yeah, yeah, yeah. We'll call it even.

(1:33:51 - 1:33:58)
Yeah. Yeah. So yeah, that's, that was interesting as well.

(1:33:58 - 1:34:18)
Having to watch her backtrack on all of that. And the only way that she can do Darcy any justice is by telling her dad what this amazing thing that he did for her family for no reason. He spent his own money for this in hopes that maybe she would reconsider how she felt for him.

(1:34:19 - 1:34:28)
This could have played out totally different in real life. This is a novel, right? So that, you know, there has to be a happy ending. But in real life, she might still have not accepted.

(1:34:29 - 1:34:50)
And now he did this incredible thing for no good reason, you know? There is a brief dialogue between Mr. Darcy and Elizabeth towards the end of the book after the proposal has been accepted. And they're like, oh, we like each other. Where they're like, oh, thanks to me, you got over your pride.

(1:34:50 - 1:35:00)
Like, thanks to me. And I'm like, I just love that so much because it's so ridiculous. And I've done that.

(1:35:00 - 1:35:06)
And it's very normal for married couples to be like, well, you can say you're welcome then. You can thank me. Yes, I just loved it.

(1:35:06 - 1:35:22)
I'm like, wow, this is so funny. Yeah, I enjoy couples that are not prim and proper with each other. They can take the mask off because sometimes in the real world, you know, man is a political animal.

(1:35:22 - 1:35:35)
So we all have to play some freaking game sometime or a the game sometime. But I've known people who play the game in their home. And it's just miserable being around them.

(1:35:36 - 1:35:56)
I don't know how that can even be like a thing that people do because it's miserable. But I enjoy couples and I'm one of those couples that can be, you know, direct with each other about anything and everything. And, you know, even something like this, which we could say, oh, you know, whatever attitude we want to put on this.

(1:35:56 - 1:36:04)
But even in stuff like this, I think it's fun to have that kind of relationship. It's healthy. It's good for you.

(1:36:04 - 1:36:25)
That's definitely true. That's definitely true. Slava, what's what's tell us about a little bit about your wife? What's what's your wife like? Well, first of all, how would you describe yourself? Are you the more assertive, dominant person in your relationship? Or is it about the same between the two of you? Like, how do you guys interact? Because you're telling me that you guys are pretty direct.

(1:36:25 - 1:36:39)
So I'm going to assume that assertiveness is maybe in the same general area for the two of you. I'm definitely a lot more blunt, assertive. But she she can carry her own weight.

(1:36:39 - 1:36:50)
She's not that far behind me. And what I appreciate most about her, she is not a damsel. Like, she's not like a Jane or the Bingley sisters or anything like that.

(1:36:50 - 1:37:00)
And they're not really damsels either. But she's just she she's feminine. She's a woman, but she cares herself, you know, well, in public settings.

(1:37:00 - 1:37:17)
And like everybody, like, you know, she has moments where she's, you know, unsure of herself, or she might be, you know, not confident in a given situation. But once she gets the lay of the land, she goes at it. So she attacks whatever thing she's doing.

(1:37:17 - 1:37:57)
Like she, like for the last seven years, she's been doing a master's program. And her master's thesis is on how female, theologically trained females, women in church, how they're, how to word this correctly, how they're treated in church. Are they used in church? Well, are they incorporated into church life? Well, or because they're theologically trained, are they pushed out, specifically in conservative spaces? She's traced that that was her master's thesis.

(1:37:57 - 1:38:13)
And that thesis got her a PhD candidacy at a school. And so here's a real life example of what I was talking about just 30 seconds ago. Yesterday, she's like, oh, well, shit, I guess I'm a PhD candidate.

(1:38:13 - 1:38:21)
And I'm like, yeah, eight years of research. Yeah, you can get a PhD candidacy like that. And in her mind, she's like, oh, okay, so now I'm a PhD candidate.

(1:38:22 - 1:38:29)
And that's it. So her mind is now set on the next step. I don't know if I answered your question.

(1:38:30 - 1:39:03)
No, no, I think I, yeah, no, I think I have a good sense of what you guys are like together. And I think that probably the reason why I understand is because I think Jonathan and I, there are some similarities of like, we tend to be pretty direct with each other, blunt at times. Jonathan is obviously very opinionated, shares his opinion openly.

(1:39:04 - 1:39:39)
I think that I am probably less opinionated but I'm Latina. So, you know, I gotta have my moment to just like put it out there and just let it drop. And Jonathan always does a good job at not getting upset when I, you know, say stuff that, you know, I think for other couples might be perceived as too blunt, too honest, maybe even rude.

(1:39:40 - 1:40:00)
I think a lot of those issues stem from the weird, weird gender role conversations that's happening in the conservative circles right now. Because like, man of the house, head of the house, a lot of stuff. Like, I understand it all.

(1:40:00 - 1:40:29)
I understand the arguments for it, but I'm so comfortable in my skin. I do not need a docile, yes sir, you know, anything you say to your wife, gag me, kill me, please stop. I need a grown ass woman to partner with me in life and do life shit and whatever it is we're doing, I need somebody who's like, you know, emotionally mature and able to put a 10th peg through, you know, some guy sleeping in our tent's head.

(1:40:30 - 1:40:39)
Like, we're going to be biblical womanhood. Like that's, you know, I don't want to carry you. I want you to be able to reload, you know, if there's a zombie apocalypse, I need you to reload the gun.

(1:40:39 - 1:40:52)
I don't need you cowering in the back screaming. And that's what I got in my wife. Well, and I think that this is, I'm glad that you mentioned this because I think that this is what Mr. Darcy finds in Elizabeth.

(1:40:53 - 1:41:01)
She's not a damsel in distress. She doesn't care really about his money. We already know this.

(1:41:02 - 1:41:19)
It's a nice, again, it's a nice bonus, but if that, if she cared about just the money, she would have accepted his first proposal, which she did not. So he knows who she is. He knows that she can handle herself and that she's going to be honest.

(1:41:19 - 1:41:45)
And she knows that he's, she's not just interested in his money, which I'm sure is also a bonus for him that she's interested in who he is as a person. And she's really gotten to know him very well, you know, based on some of the things that he has done for her that he, you know, like saving her family. And he's opened up about some of the mistakes he's made with Mr. Bingley and Jane.

(1:41:46 - 1:42:19)
And so there's a, I think that they have gotten to know themselves or each other better than most people would have during a courting period during this time, because they had a lot of conflict that they had to overcome. And for most couples during that time, you really wouldn't experience that probably till after marriage. But we get to see that play out before they get married, which is, you know, kind of fun.

(1:42:20 - 1:42:34)
Yeah. Since we're getting near to the end, can we talk about, have you guys watched any of the Pride and Prejudice film adaptations out there? I've seen the movie, but it's been a long time. Okay.

(1:42:35 - 1:42:40)
The one with Keira Knightley? Yeah. Yes. Yeah, I think that's the one I saw parts of.

(1:42:40 - 1:42:50)
Yeah. I watched the first episode with you two weeks ago or whatever of that. Which one was that? The Colin Firth one? The Colin Firth one.

(1:42:51 - 1:43:01)
The series, right? That's the series. It's like a four, five episode version from the 90s done by the BBC. Oh, I think I've seen that too.

(1:43:01 - 1:43:11)
Yes, which is very good. They change a couple details, but they stay very close to the dialogue in the book. It's incredible.

(1:43:11 - 1:43:28)
It really, to me, it feels like the characters come to life in this adaptation. I have less good things to say about the Keira Knightley version. Doesn't feel like Jane Austen at all.

(1:43:28 - 1:43:51)
She does, I think, a good job of representing the character, but she's almost too rustic. I just don't get that impression of Elizabeth Bennett from the novel. They don't have a ton of money, but they're not necessarily... They're not farmers.

(1:43:51 - 1:43:57)
They're not farmers. And they dress her, like everything from the costumes to the scenery. Some of the scenery is beautiful.

(1:43:58 - 1:44:19)
And I did appreciate that because we know that Elizabeth Bennett loves to take long walks and she loves nature. And so they try to incorporate some of that, I think, on purpose. But there are scenes where she's swinging and there's mud in the background and she looks like a farm girl.

(1:44:19 - 1:44:25)
And I'm like, this is not true to the character at all. It feels darker. The tone is a bit darker.

(1:44:25 - 1:44:32)
It feels more like a Bronte novel. It's not funny enough. It's not sarcastic enough.

(1:44:33 - 1:44:45)
You really don't get the sense that this is a satirical piece. Yeah, I just feel like they totally missed it. And yeah, I didn't really enjoy it.

(1:44:45 - 1:44:52)
Not as an adaptation of Pride and Prejudice. Yeah, it's entertaining. But it is.

(1:44:52 - 1:44:57)
And people loved it. People loved it. It's entertainment.

(1:44:57 - 1:45:04)
And it's... Yeah, but it's not... It's not Jane Austen. It's not a true representation. No, it's not Jane Austen.

(1:45:04 - 1:45:19)
I think that the BBC version from 95 does a much better job. I'm really looking forward to seeing the Netflix Pride and Prejudice series that was supposed to come out in February. They've pushed it back several times now.

(1:45:20 - 1:45:35)
So probably this spring or summer, we'll get to see that. And they made some really interesting... They casted some really interesting actors for these roles. Um, so I'm really interested in seeing what they did.

(1:45:36 - 1:45:55)
They last year, I think, or maybe a couple years ago, Netflix did Persuasion, which is also one of Jane Austen's novels. And it was absolutely awful. First of all, they cast an American actress who can barely do an English accent.

(1:45:55 - 1:46:04)
So it's just like embarrassing. There are so many great English actors and they pick an American actress. I just don't understand when they do that.

(1:46:04 - 1:46:17)
At minimum, like, teach them how to do the accent well. And it's almost done. So then there's the... What's that called, Jonathan, where they like speak to the camera? Breaking the fourth wall.

(1:46:17 - 1:46:29)
Yeah. They do that thing, which is just like... What is... Is this supposed to be like a reality TV in Georgian era? I just... They totally missed it. It's ridiculous.

(1:46:30 - 1:46:38)
It's a storyteller's choice, but it doesn't... It's stupid. It doesn't fit Jane Austen. It's not... It's not Jane Austen.

(1:46:38 - 1:46:57)
The story, the film is kind of like funny, making light of this whole thing. Persuasion is actually a really depressing novel. The main character in the book is sad because she wasn't able to marry the person that she loved and she was engaged to them.

(1:46:57 - 1:47:17)
And then her family forces her to break off the engagement because he's poor, because he's just a foot soldier. And so the whole... So then they meet somewhere on accident and they become reacquainted with each other. But now it's the tension of like, this is the person I used to love, but I can't be with them.

(1:47:18 - 1:47:27)
And so the whole novel is just drawing this out. And so it's very sad. And they just like made it into like this funny, quirky movie.

(1:47:27 - 1:47:31)
And it's just like, this is not Jane Austen at all. If you're going to do it like this, don't do it at all. Don't waste your money.

(1:47:32 - 1:47:36)
She's a purist. She is. Yes.

(1:47:36 - 1:47:48)
Well, I think when you are a Jane Austen fan, I mean, this is the truth. You know, and you guys, Slava and Jonathan, you guys have read a lot of stuff. You guys have books that you absolutely love.

(1:47:48 - 1:48:01)
Imagine if they brought your favorite novel to life and they absolutely ruined it for you. It's so disappointing to watch. They do that on a regular basis.

(1:48:01 - 1:48:38)
On a regular basis, right? And it's just so disappointing because you have an idea of what these characters are like, you know, the scenery and all this stuff. And while I think that it is hard to reproduce that, the 95 BBC version of Pride and Prejudice is so well liked that people are still watching it today. And the reason is because somehow they were able to manage to reproduce this and it matched people's expectations.

(1:48:39 - 1:48:51)
Colin Firth, this was his like breakout role. He became famous for playing Mr. Darcy in this BBC version. And then after that, people call him Mr. Darcy.

(1:48:51 - 1:48:57)
People say Colin Firth is Mr. Darcy. And he did an incredible job. He did an incredible job.

(1:48:57 - 1:49:04)
And so it's like it's possible to do a good job in an adaptation. It's possible. And the book is so good.

(1:49:04 - 1:49:14)
The book is so complete. It really doesn't need any like artistic interpretation. Like it's very good standalone.

(1:49:14 - 1:49:20)
And you just have to represent that. Yeah, I think you're right. It doesn't require much interpretation.

(1:49:20 - 1:49:44)
And even though, I mean, Jane Austen's writing is very direct. Even though there are scenes where she just tells you what happens and she doesn't give you the details of how that played out, it is well understood as the reader that this is what occurred. And she has developed each character to the point where like you know who these people are.

(1:49:44 - 1:50:03)
And so when you're reading this and you're not being given all the details of the scene, she's just telling you, you fully, like you can see it. You fully understand what's occurred. And so this is one of the reasons why there are people that actually don't like Jane Austen's style of writing because she's almost too direct.

(1:50:04 - 1:50:10)
And she doesn't give you enough detail. Why? Well, if you compare, if you compare like- You won't get it. Mr. Direct won't understand.

(1:50:11 - 1:50:18)
So- Wow, Lindsay dropped from the call. I don't know what happened. That's not a bad thing.

(1:50:19 - 1:50:33)
It's just that's your personality and that's what you appreciate. That's true. So let's compare Jane Austen to someone like, they're on like complete opposites of like writing style, right? To Charles Dickens.

(1:50:33 - 1:50:56)
Charles Dickens spends pages and pages describing one scene, every detail, the cobweb on the corner of the room and the candle that's dripping wax and just like all this stuff. I can't stand it. I actually, I'm not a fan of Charles Dickens because it takes him so long to set the stage and the room and the environment.

(1:50:56 - 1:51:13)
And some people love it. And maybe this is, maybe there's like a thing of like people that are more direct might appreciate Jane Austen's approach to storytelling because she just kind of tells you how it is and this is what happened and this is what she said and this is what he said in response. And then you move on to the next scene.

(1:51:14 - 1:51:32)
You know, Charles Dickens is like, wow, this is what the room looks like. And then Mrs. Havisham looked like this and her hair was this texture and her, you know, dress was, had a little hole right here on the side and like all these extra details. And I'm just like, who cares? Who cares about that? Just tell me what's happening.

(1:51:33 - 1:51:49)
I think it has to be done for a good reason. And I don't know Charles Dickens' reason. But what I mean by that is there's something in those, in that type of prose, there's something that is an artistry.

(1:51:49 - 1:52:00)
And if you're just filling up space because you want to talk about cobwebs and, you know, I don't know, doorknobs, fine. I don't care. Charles Dickens, he's published.

(1:52:00 - 1:52:22)
I'm not, I won't throw too much shade. But I read some books and I couldn't tell you which ones now, but I just filed them away over the last, you know, 20, 30 years that I've been actively reading. There are at times some authors who will describe like the intricacies of a doorknob and spend a page and a half of the guy opening the doorknob.

(1:52:22 - 1:52:32)
And it's done usually in speculative fiction or horror fiction. And that elicits a specific response that's done on purpose. So I think in those cases, I like it.

(1:52:32 - 1:52:46)
In Charles Dickens' cases, I'm not a fan. I don't hate it, but I'm not a fan. Like A Tale of Two Cities, it's a good book, but it, yeah, I'm just not like a super huge fan.

(1:52:46 - 1:53:07)
I like more direct writing. And I even like sometimes ambiguous writing where it's short, it's not described well, and you have to use your imagination to fill in the gaps. Where it's like a slice of life, you get one POV, one slice of life, and the narrator is either unreliable or obtuse on purpose.

(1:53:07 - 1:53:26)
And I enjoy that. But that's the artistry of that piece, you know, itself. Like if I'm reading Brandon Sanderson, for example, and Sanderson somehow misses three plot holes, and I'm like, well, I've spent, you know, 7,000 pages and the ending is just, it's all been a dream.

(1:53:26 - 1:53:38)
I will, I'll burn, you know, the whole house down. I will be, I'll be enraged. Can we get that for the record? His house? Or? No, don't answer that.

(1:53:39 - 1:53:44)
The proverbial house. The proverbial house. Oh, of course.

(1:53:44 - 1:53:49)
Arson is wrong. All right. Only you can prevent forest fires, Brandon Sanderson.

(1:53:50 - 1:53:56)
House fires. House fires, yes, house fires. Forest fires or house fires.

(1:53:56 - 1:54:09)
Yeah, yeah. Yeah, something I love about Jane Austen's writing is that there's a lot of dialogue. And so it almost is like, this is what I'm training Dan to come home and tell me.

(1:54:09 - 1:54:23)
I want to know, line by line, what you guys said to each other. Yes, and he's getting better at it. Okay, what did you say? What did he say? And Dan is good at like, well, this is, I think, what he meant.

(1:54:23 - 1:54:36)
And I'm like, no, I need to know exactly what he said. Where did he put the tonation on the words? Yes, then I get to interpret what it means. And so I think Jane Austen puts a lot of trust in her readers.

(1:54:36 - 1:54:46)
She doesn't, you know, she don't make you work too hard. But there's a lot of trust there that like, okay, when we're having this dialogue, we're seeing what the characters are like. We're seeing the character development.

(1:54:46 - 1:55:01)
We're seeing, you know, the inner monologues of each person, if they even have internal thoughts. So like, I think there's just a lot more that happens in dialogue than getting a description. Yeah, well, there should be.

(1:55:01 - 1:55:06)
Good authors make dialogue worth reading. Yeah. Right? Yes.

(1:55:06 - 1:55:13)
And I think that we've lost that a lot today. And look, if you're published, hey, congrats. That's like respectable.

(1:55:14 - 1:55:42)
However, when we compare something like an older writing piece, be it Charles Dickens, be it Jane Austen, writing is different back then. And like, they didn't have all the fanciness that we have today, for lack of a word, where we do these extra things and it's like, oh, well, it's this kind of story or whatever. It's just like, no, they just wrote dialogue really, really well, because that's where the majority of the story takes place.

(1:55:42 - 1:55:50)
And that's what life is, too. I mean, like, life is not action. Life is, I mean, you know, not, it's not car chases and stuff.

(1:55:50 - 1:56:09)
It's dialogue. And a lot of how we go through life is based on dialogue with the people we care about, with the people we interact with. And I think that today we have a much higher standard for being entertained, like what entertainment looks like.

(1:56:10 - 1:56:30)
And so, because we have competing forms of entertainment. Back then, you only had conversation and listening to music if somebody in your circle knew how to play music. And so, entertainment was simpler.

(1:56:31 - 1:57:00)
And one of the things that I know is highly valued during this time period is the ability to chat with people, to converse with people. And it is something that spoke well of someone if they could easily converse with someone, even if they didn't know them well. And I think it's mentioned in the novel a couple times how important this is.

(1:57:00 - 1:57:20)
And you see that across Gene Austen's novels of the importance of, like, knowing how to speak to someone, asking questions, engaging. And so, I think that that's one of the reasons why the dialogue is so important. And maybe something, and I don't know, I don't get to read a ton.

(1:57:20 - 1:58:04)
So, Slava and Jonathan, you guys that have read a ton of stuff, are the books where dialogue is really, really good, it's giving you a lot of information, like, are those the books that you consider to be better or compared to books where they really try to describe the scene or the action that is taking place that isn't focused on dialogue? I think a piece, a regular pattern in SideQuest is that we comment on dialogue. I think about Cradle. And it's like, oh man, Yeren has these one-liners that are just great.

(1:58:05 - 1:58:16)
Or like, Linden did blah, blah, blah. Same thing with the other fantasy books. Whereas more of the speculative fiction ones, to Slava's point, I think we're commenting less about the dialogue on.

(1:58:17 - 1:58:32)
I hate dialogue that's thrown in just for lazy exposition. That's the dialogue that will enrage me with the fury of a thousand suns. Because I want to be shown.

(1:58:32 - 1:58:39)
Like, if I'm reading a book, and again, there's different types of books I already explained. There's speculative, there's horror. So, I expect different things from different genres.

(1:58:39 - 1:58:48)
But your regular old book, The Paperboy by P. Dexter. I just discovered this book. It's amazing.

(1:58:49 - 1:59:06)
It's a first-person narrative about a guy and his brother. And the dialogue is there, but it's not extensive. The dialogue doesn't explain the world to you.

(1:59:06 - 1:59:14)
It's very just condensed. But it's a good story. So, I'm not focused on the dialogue as much.

(1:59:14 - 1:59:20)
Because I'm inside this guy's head. His inner monologue is more interesting to me. How he describes other people.

(1:59:21 - 1:59:25)
How he describes his dad. And, you know, dad's girlfriend and all that stuff. So, I find that interesting.

(1:59:26 - 1:59:34)
So, dialogue, I'll judge it based on the genre. And that's about it. Like, it dies there.

(1:59:34 - 1:59:43)
So, what I mean by that? I'm kind of talking in circles. In anime, which is not, you know, written. It's a visual format.

(1:59:44 - 1:59:50)
A lot of their exposition, a lot of their dialogue is exposition. And it's almost on the nose. But that somehow works for that medium.

(1:59:50 - 1:59:56)
And it's fun. But put that into a book. And you lost me.

(1:59:57 - 2:00:04)
You just absolutely lost me. Because I want to be drawn into the story. And I want the dialogue to be natural.

(2:00:06 - 2:00:14)
All right. Like, another book I'm reading now is Cipher by Keith Koja. And it's a horror.

(2:00:14 - 2:00:22)
It's a body horror book. And the dialogue is written very unorthodox. Like, so there's nothing like.

(2:00:22 - 2:00:27)
And he said, she said, she noted, she retorted. There's none of that. There's the piece of dialogue.

(2:00:28 - 2:00:33)
And then there's an action afterward. Or some kind of feeling. It describes a feeling.

(2:00:33 - 2:00:41)
And not even in a passive voice, in an active voice. It describes a feeling. So it's very unorthodox.

(2:00:42 - 2:00:47)
And I think that dialogue is fun. The whole book, I enjoy the dialogue more than the horror part of it. So.

(2:00:49 - 2:01:00)
What's a body horror? Body horror is. Possession? No, usually disfigurement. And, you know, things being done to the body.

(2:01:01 - 2:01:03)
Grotesque things. Hellraiser. Oh.

(2:01:04 - 2:01:07)
Yep. Okay. Noted.

(2:01:07 - 2:01:13)
I don't like that. Lindsay, coming back for that one? It's one about teeth. I don't do that.

(2:01:14 - 2:01:19)
I don't. I mean, yeah. I have enough horror in real life.

(2:01:20 - 2:01:22)
Enough blood. Bet. Yeah.

(2:01:23 - 2:01:28)
Well, Cipher is about this couple. They're on and off again. Couple.

(2:01:28 - 2:01:31)
And they're very dysfunctional. Relationship. Codependent.

(2:01:32 - 2:01:42)
Addiction. Also. And he, the guy, Nicholas, whose POV you're watching this from, lives in this shitty apartment building.

(2:01:43 - 2:01:47)
And there's a room that they find. It's a utility room. But nobody uses it.

(2:01:47 - 2:01:54)
And they discover a hole. And it's just a small hole. But inside it is vast darkness.

(2:01:54 - 2:02:03)
And it slowly possesses them. And they start doing things with the hole. Trying to explore, experiment with it.

(2:02:05 - 2:02:21)
And because he's the conduit, whatever is possessing the hole, whatever demonic forces, begins to transform his body and disfigure him. And they can't get enough. Like, his on-and-off-again girlfriend is obsessed with it.

(2:02:22 - 2:02:28)
And he tries very hard not to be the conduit. But he keeps getting pulled into it. And it's a whole mess.

(2:02:29 - 2:02:35)
So it's Dorian Gray meets Monkey's Paw in a horror book. They can't get enough. Monkey's Paw.

(2:02:36 - 2:02:40)
Dorian Gray. There's continual disfigurement throughout the book. Anyway, whatever.

(2:02:41 - 2:02:44)
Sure. Yeah. No, it's... They're broad strokes.

(2:02:44 - 2:02:49)
They're broad strokes, right? Like, I'm not... It's not... Yeah, I get it. I get it. But it was written in 1991.

(2:02:50 - 2:03:05)
And it won the Bram Stroker Award right off the bat because it was so unconventional in horror. And I recommend... I mean, if you're not into that kind of stuff, you're not going to enjoy it. But if you want a weird wild ride, Cypher.

(2:03:06 - 2:03:15)
A lot of glory in that hole? No? No, we know. We're just not responding to you. We're not going to give it to you.

(2:03:16 - 2:03:22)
I'm not... It's a gory... It's a gory hole. It's a gory hole. Not a glory hole, Jonathan.

(2:03:25 - 2:03:29)
Yeah, I'm the problem here. Yeah, because I said it. I'm the problem.

(2:03:29 - 2:03:43)
Right, because you're the one who associates a black hole with whatever the hell you just said. I'm telling you a story about a supernatural horror book and you're like, oh, it has to be sexual. You're the one who described it to us.

(2:03:43 - 2:03:53)
Audience, go back and listen to it. Just like... Anyway, congrats on the Bram Stroker Award. But you know what they call it in the book? Here we go.

(2:03:54 - 2:04:02)
It's called the Fun Hole. The Fun Hole? So then I'm not off base, Slava. They're being disfigured and it's the Fun Hole.

(2:04:04 - 2:04:18)
The subversion... It's a subversion of it. It's not... You're off base because the author is subverting your freaking interpretation of it. And it's called the Fun Hole and it was named by the female character.

(2:04:20 - 2:04:23)
Nakoda. Nakoda is her name. So it's Nicholas and Nakoda.

(2:04:24 - 2:04:44)
And Nakoda names it because of who she is. She's so obsessed with this thing and she wants to own it and she wants to learn more about it, but she can't because whatever entity controls the hole has taken a liking to Nicholas instead. Yeah, I'm not going to read that book.

(2:04:45 - 2:04:55)
Yeah. Next time on SideQuest... What book's not to read? That is not my style. No, yeah, that's totally fair.

(2:04:56 - 2:05:04)
I'm not trying to sell anybody on it. I'm just excited myself. Are you excited about your hole? By the Fun Hole? I didn't say what you said.

(2:05:04 - 2:05:13)
Oh, so Lindsey can say it, but I can't. I'm repeating... Yeah. There's a subtlety in the way Lindsey said it instead of being overtly like a 14-year-old boy with it.

(2:05:15 - 2:05:18)
I'm Lindsey. I'm the new hole breeding genus. SideQuest.

(2:05:20 - 2:05:34)
You know, this is a theme that happens a lot is that guests are like, wow, I guess this is my podcast now. It is a podcast takeover. Lindsey, you are welcome.

(2:05:34 - 2:05:50)
You're officially invited. Let the record show to do a podcast takeover at some point if you'd like to. So one last question that I have for all of you before we close out this episode.

(2:05:51 - 2:06:12)
Think about all the characters in this novel. Which one was your favorite character? And then which one do you relate to the most? Well, I relate to Mr. Darcy because I'm the sweetest boy. Yes, you are a special boy.

(2:06:12 - 2:06:16)
You can basically refer to me. Special boy. That's right.

(2:06:16 - 2:06:23)
Except when we go to live events. Galas, if you will. And I look like you're... Anyway, it doesn't matter.

(2:06:25 - 2:06:31)
Fashion's not my forte. We'll just say that. So I'm Mr. Darcy for my wife.

(2:06:31 - 2:06:42)
That's who you relate to the most? Or is that your favorite character? It's who I relate to the most. Of course. That's funny.

(2:06:43 - 2:07:01)
And my favorite character would be... Oh, what's the cousin's name that she didn't marry? Colin? Mr. Collins. Mr. Collins. Yes.

(2:07:02 - 2:07:12)
Yeah, he's my favorite character because he's such a putz and he has no idea. Yeah, he's an idiot. He doesn't have... He's like, oh, well, let me share with you these fine details.

(2:07:12 - 2:07:23)
Yeah. And everyone's just like, you... Oh, that's really sweet because you don't know you're an idiot. How could you let Lydia back in the house? I would disown her forever.

(2:07:23 - 2:07:30)
Yeah, yeah. Yeah. Well, she's still your cousin, so I guess you can't.

(2:07:30 - 2:07:47)
I did say in the first episode that I understand Darcy and sort of relate to him based on him just going like, I'm just over this. I don't care about any of this. That's why he comes off as an asshole in the beginning.

(2:07:49 - 2:08:08)
So this might be a cop-out answer, but I didn't think that hard about it. So I think Darcy would be the one that I relate to the most. And as far as liking, I can't say one character stands out amongst them all that I like the best.

(2:08:08 - 2:08:22)
I like them all for different reasons. Lizzie for her own reasons, even some of the more unlikable characters that I find some of the stuff they do funny. Just like you, Lindsay, said, at least I understand what they're doing.

(2:08:23 - 2:08:48)
So I don't know if I can answer this question for this book because they all had their own little thing that I enjoyed. The story itself was just fun to read and each character played their part well, you know? It's a bit of a cop-out, but I just can't pinpoint a character that I liked more than anybody else. Yeah, too many silly characters in this one.

(2:08:49 - 2:08:58)
Yeah, I think I already said that. I related most to Elizabeth. The stuff that she does, the stuff she says, I'm like, yes, I've been in that situation.

(2:08:59 - 2:09:19)
I've had to eat my words many times. And I hope that I handle it with grace like she does. Some of the stuff she's not repentant of, but I think some of it she is willing to make corrections where corrections are due.

(2:09:19 - 2:09:24)
And I'm like, I hope I do that. I hope I do that. Yeah, exactly.

(2:09:26 - 2:09:35)
Yeah, as far as a favorite character goes, I'm kind of with Slava. I mean, there were so many that I enjoyed. Even Lady Catherine is so fun to hate.

(2:09:35 - 2:09:47)
Everything that comes out of her mouth, you're like, oh, you deserve how much I don't like you. And that's... Yeah. What's that, Lindsay? Eat the rich? That's not how I feel about it.

(2:09:48 - 2:09:58)
I don't even think she's that rich. I mean, she's richer than most of the people in the book, but she's not as rich as Mr. Darcy. She's the equivalent of like making 500k a year, but like she's hanging out.

(2:09:58 - 2:10:06)
She wants to hang out with billionaires. It's like, well... Yeah, yeah, exactly. So there are just so many of the characters I enjoyed.

(2:10:06 - 2:10:27)
I do love how like admirable Mr. Darcy is throughout the whole thing. Like he, even though he comes off as rude at the beginning, like he does make choices like purely out of ethics rather than like based on what other people are going to find out or see. So I do like that.

(2:10:27 - 2:10:32)
I really like that about him. I love his character. You just, you see so much growth.

(2:10:33 - 2:10:52)
I mean, we do from Elizabeth as well. But because I'm already biased towards Elizabeth, I just like don't like her. I am, I admire Mr. Darcy's growth through the entire thing.

(2:10:52 - 2:11:09)
He values Elizabeth's opinion for some reason. And then he makes changes accordingly to appease her. Um, but not, but at the same time, I think he, like you said, Lindsay, it's based on his own ethics.

(2:11:09 - 2:11:19)
I think because he also just knows it's right. It's the right thing to do. And you just see him make these adjustments and then he takes action, he takes initiative.

(2:11:21 - 2:11:48)
Whereas like Elizabeth, her mind has to be slowly changed and it's with new pieces of information that she starts to adjust her opinions on Mr. Darcy and, you know, Mr. Wickham. But it's not really the same story for Mr. Darcy. Mr. Darcy takes to heart what she has shared with him about who he is perceived to be.

(2:11:48 - 2:11:56)
And then he's like, well, I think I have to write this wrong. And so I really love that about him. I admire that about him.

(2:11:56 - 2:12:03)
I would say the character that I would relate to the most. I can't wait. Oh boy.

(2:12:04 - 2:12:07)
We don't even. I don't even know what I guess would be. We don't even know what's coming.

(2:12:09 - 2:12:18)
Um, I would say it's Charlotte Lucas. The character that marries Mr. Collins. That's not looking so good for Mr. Darcy.

(2:12:18 - 2:12:24)
John, Mr. Jonathan Darcy. Jonathan. Lindsay, Lindsay suddenly left the room.

(2:12:24 - 2:12:32)
I don't know what she dropped is probably the Internet. Out of desperation and practicality. I appreciate Charlotte Lucas.

(2:12:34 - 2:12:37)
Practicality. Practicality. The accusations here.

(2:12:37 - 2:12:42)
All right. Practicality. Look, she's she knows that she doesn't have a lot of options.

(2:12:42 - 2:12:50)
She does the smart thing. She does the wise thing. And then we see her in her new environment as a married woman to Mr. Collins.

(2:12:50 - 2:13:07)
And she knows how to manipulate the situation in a way that she gets to have some peace. Because we know that Mr. Collins is super silly man. And she finds him annoying.

(2:13:07 - 2:13:16)
This is so good. And I think you're right. You know, she did what she had to do.

(2:13:16 - 2:13:22)
She needed to get married. She was getting dangerously close. Becoming a spinster.

(2:13:24 - 2:13:35)
And she and she she she gets what she wants in the end. And that's a prudent marriage. She gets some of what she wants.

(2:13:35 - 2:13:42)
But at least someone makes it look like she gets all of what she wants. She makes it look. And so she's she's good at that.

(2:13:42 - 2:13:50)
She's good at that. And and again, she's just a practical a practical woman. She's not interested in the romance.

(2:13:51 - 2:14:05)
You know, she just wants to get out of her parents house. You know, and she will inherit Longbourn. And she will inherit Longbourn, which means that she will now have the status that the Bennetts do.

(2:14:06 - 2:14:15)
You know, with with a stable income, because we know that Mr. Collins is a clergyman. They're not rich people. But it comes with some status.

(2:14:15 - 2:14:27)
And so I think she played her cards right there. She saw an opportunity when Elizabeth turned down Mr. Collins. And she's like, well, this is my last chance.

(2:14:28 - 2:14:54)
Interesting enough, Jonathan and I, if you guys know anything about how we got together, I as as a practical woman, I years before we got together, I we made an agreement. I proposed this to Jonathan. And and I think in telling you the story, you will see why why Charlotte Lucas resonates the most with me.

(2:14:55 - 2:15:13)
And with Jonathan, you know, I kind of had a crush on Jonathan for years. But when when we first met, I was shy and very reserved. And Jonathan was just like what he is today, but like times 10 plus tie dyed shirts and long hair.

(2:15:13 - 2:15:25)
And thank goodness I met him after the dreadlock era. And he was just like so out there. And I couldn't handle it.

(2:15:26 - 2:15:50)
Years later, he chops his hair off. Things are starting to look a lot better. And I we hang out and I tell him, listen, if by the age of 40, we aren't in significant relationships, and I was like 50 50 kidding here and serious, why don't you and I get together? And he said, OK, he probably thought it was a joke.

(2:15:51 - 2:16:14)
But a few years later, when we started dating, he's the one that brings this up. And he's like, hey, remember that time where we made this agreement? I was just being a practical woman and setting up a backup just in case I am not able to marry in a timely manner. Then I still got my backup because I'd already lost my first backup years before Jonathan is.

(2:16:14 - 2:16:22)
And so second backup, he was my second backup. Yes, but it was before I met him. It was before I met him.

(2:16:23 - 2:16:28)
So good that he's not here to hear this. Yeah, he heard this story. He's listening.

(2:16:28 - 2:16:36)
He's listening. And so when we get together again, he had just broken up with his girlfriend. I'd broken up with the person I was with.

(2:16:36 - 2:16:44)
And he was like, hey, remember that like agreement we had made years back? And I was like, I don't know what you're talking about. I don't remember this. He's like, yeah, yeah, yeah.

(2:16:44 - 2:17:00)
We said that we would get together by 40 if like we didn't have, you know, another if we weren't in another relationship. And he's like, well, you know, we're like 35 now. What do you say we just like do it now instead of waiting till we're 40? Because, you know, I want to have some kids.

(2:17:00 - 2:17:16)
And I was like, oh, yeah, OK, that sounds good. And, you know, the rest is history. I set up I set up the trap early on and then waited till he was tired with the dating scene and just like willing to say yes.

(2:17:16 - 2:17:29)
And so what I'm hearing is that Jonathan is Mr. Collins. Mr. What? Lindsay's got beautiful. I don't know where he's doing.

(2:17:30 - 2:17:35)
You know, he's going into Longbourn. I'm going to marry a Bennett girl. As a favor.

(2:17:37 - 2:17:57)
If if there comes a time, Lindsay, where I tell you all of the different women that I beat off with a stick to keep them away from me, there might be two women. And the other was Chiara at 32 and it's two and a half. It's two and a half, actually.

(2:17:58 - 2:18:05)
Two and a half. That's funny. I didn't plan on the audience learning that much about my life, but I suppose that we're here now.

(2:18:05 - 2:18:15)
Well, you brought you brought your wife on to a podcast takeover, babe. That's a big risk. Apparently there was a flight risk I wasn't aware of.

(2:18:15 - 2:18:31)
Yeah, but yeah, so obviously Charlotte Lucas and I are very practical women. She has a lot of good characteristics, too. Like she's she's very honorable, realistic, practical.

(2:18:33 - 2:18:45)
Yeah, yeah. And she's very respectful towards her. She's not she's not she's respectful and she's not she's not unrealistic, you know, she's not searching for, you know, the fairy tale ending.

(2:18:45 - 2:19:08)
She just is aware of the situation she is in life and she's making the right decisions for her. And this is very different from the other characters in the book, right? Because Jane and Elizabeth, they get to marry for love. They're a bit younger and so they can they have the benefit of being able to do that.

(2:19:08 - 2:19:23)
Charlotte Lucas, we know, is like getting closer to 30, which back then you're a spinster by 26, 25 if you haven't married yet. Elizabeth is 21. Jane is only a year older than her.

(2:19:23 - 2:19:31)
There's still a risk of it. And Elizabeth turns down two guys with no regard. Yeah, just turn guys down.

(2:19:31 - 2:19:49)
Yeah. And so, yeah, I love Charlotte Lucas. And in the end, you know, she gets her little house and she loves a peaceful life and she makes sure that Mr. Collins is distracted with gardening and other things to get him out of the house so that she can just chill at home.

(2:19:49 - 2:19:56)
I love that for her. Watch out for these strategies, Jonathan. Thank you.

(2:19:56 - 2:20:12)
Thank you. Do you want to take up gardening this summer? You can be outside all day if you want. Need I remind you that I wore jeans and a thick flannel on a boat ride in the middle of summer.

(2:20:13 - 2:20:29)
You think I enjoy being outside? That sun is vicious. Lindsay knows. Anyway, so any final thoughts before? I'm going to make Dan watch the movie or the series and see what his perspective is as a English-born man.

(2:20:31 - 2:20:36)
Hey, yeah, that's right. You should also make him watch this episode. I mean, yeah, so we'll see.

(2:20:37 - 2:20:48)
I think he's going to watch it because I want him to, but I don't know if he'll really be entertained by it. I'll let you know. I guess we'll find out.

(2:20:49 - 2:20:56)
Perfect. I expect to see a review come in. Dan, the woman who was a guest was okay.

(2:20:56 - 2:21:05)
Oh, on the episode. Two stars. Please bring on better guests.

(2:21:08 - 2:21:22)
Well, thanks to Jonathan and Slava for letting me do this podcast takeover. This was so fun. I'm overjoyed that you liked Pride and Prejudice as much as you did because, honestly, I thought that you would hate it.

(2:21:22 - 2:21:43)
I thought that you would think that it was just very frivolous like many of the characters in the book. But yeah, it's a great book. I think everyone should read it, and I'm so grateful to have had these episodes to chit chat about probably my favorite book of all time and one of my favorite authors.

(2:21:43 - 2:21:52)
Sorry, Jesus. Favorite novel? Favorite. Yeah, definitely my favorite novel, for sure.

(2:21:54 - 2:21:57)
So yeah, thanks for having me on. Absolutely. Thank you.

(2:21:58 - 2:22:02)
This was awesome. And thank you, Lindsay, for joining us for a season finale. Thank you.

(2:22:02 - 2:22:05)
It's very fun. Of season five. Yeah, season five.

(2:22:06 - 2:22:21)
Thanks for tuning in, audience, for this final episode of season five. We will be back in the fall, per usual, with another collection of great books, great guests. Again, we're doing more indie authors.

(2:22:21 - 2:22:31)
We're going to add even more indie author interviews. We might get Jane Austen interviewing on this. She's dead, if you don't get the joke.

(2:22:32 - 2:22:39)
She's coming out of the fun hole for this one. Be sure to... Oh my gosh. Excellent.

(2:22:39 - 2:22:47)
Yes. Be sure to subscribe on YouTube to make sure that you never miss a SideQuest. See you in season six.

(2:22:48 - 2:22:59)
I have a favor to ask you. If you like what we're doing, the simplest way to support the show is to hit subscribe. In return, we'll keep leveling up, and we'll listen to your feedback, and read authors that you suggest.

(2:23:00 - 2:23:05)
And of course, we'll take SideQuests along the way. Thank you for joining us, and we'll see you next time.