[Music] in a 1962 conversation with French director Fran truo Alfred Hitchcock called his 1927 silent film The lodger the first true Hitchcock movie of course it opens with a screaming blonde the lodger was adapted from a novel of the same name by Marie belloc louns it's a Jack the Ripper style mystery in which a cloaked stranger stalks London murdering young women in Lou's novel The Killer targets women of ill reute in Hitchcock's film adaptation he targets blondes thus begins a fixation that would continue throughout Hitchcock's career according to author Steven Smith half of Hitchcock's 53 films feature blonde protagonists he cast them so often and in such consistent ways that these characters formed an entirely new archetype the Hitchcock blond one that immediately conjures names and images in the mind of any Hitchcock fan Birds swooping down on Tippy hedrin Grace Kelly modeling the latest fashions for a wheelchair bound Jimmy Stewart Eva Marie Saint hanging off the side of Mount Rushmore Janet Lee screaming in the shower Kim Novak emerging from the glow of the Empire hotel's lights although the logger established Alfred Hitchcock's fixation on blondes it took a while for the Hitchcock blonde to become a recognizable stereotype in interviews later in his career Hitchcock was often quite candid about roles he felt were miscast or films that he felt fell short often because they were handed to him directly by a studio or producer he needed time to not only hone his craft as the master of suspense but also to build a reputation and accumulate the power to cast and execute his films as he pleased or at least as close to his wishes as sensors would allow so while he considered meline Carroll in the 39 steps the first Hitchcock blond it wasn't until the 1950s and significantly until after he started consistently working in college that the perception of Hitchcock as a director who favored blondes truly began to take shape so what did Hitchcock see in blondness that made the sythetic a desirable feature for his leading ladies and if he preferred blondes and used them in a specific way what about the other women in his films if by limiting his brunettes to certain roles did he by default also create an archetype for them of course all of these characters are unique in their own ways the archetypes to discuss have exceptions but the trends definitely exist and that's what I intend to explore in today's video before we get started I want to give a huge thanks to mie for sponsoring this video mie is a curated streaming service dedicated to elevating great Cinema from around the globe get a whole month free at movie.com beind rewind in 1955 screenland magazine ran a story titled the two Grace Kelly to the press and public she has often seemed aloof wrote Tom Burton yet occasionally they have caught a tantalizing glimpse of a warm human Grace which is the real Kelly this is the essential tension Alfred Hitchcock liked to explore with his leading ladies women who appear worldly and sophisticated whose glamour seems entirely unattainable but who might just reveal an affectionate vulnerable voracious personality if one were Savvy enough to unravel her Mysteries when asked about his taste in leading ladies Hitchcock gave a consistent answer which in Blunt terms boiled down to we want a lady in the street but a freaking the sensuality of Bombshells like Marilyn Monroe and Bridget BAU whose clothes hugged all the right places and who seemed to flirt with every line didn't interest him sexuality so obvious would feel out of place for the master of suspense Hitchcock's women were crafted to fit into his world of Secrets misdirection and violence his leading ladies would be like his films puzzles to be solved in a 1962 essay titled Elegance above sex Hitchcock wrote I prefer a woman who does not display all of her sex at once one whose attractions are not falling out in front of her I like women who are also ladies who hold enough of themselves in reserve to keep a man intrigued on the screen for example if if an actress wants to convey a sexy quality she ought to maintain a slightly mysterious air that same year he put it in more explicit terms in a conversation with Fran turo you know why I favor sophisticated blondes in my films we are after The Drawing Room type the real ladies who become in the bedroom an English girl looking like a school teacher is apt to get into a cab with you and to your surprise she'll probably pull a man's pants open in her biography of frequent Hitchcock collaborator Joan Harrison Phantom lady Christina Lane perfectly describes the director's approach to female characters as a seemingly unending process of withholding and revealing or a game of hide-and seek first impressions of the Hitchcock blonde almost never turn out to be correct because crucial information is usually withheld from the audience take for example Eva Marie Saint as Eve Kendall in North by Northwest the film's protagonist played by Carrie Grant is on the run from the police falsely accused of murder he sneaks aboard a luxury train where he meets Eve the attraction is immediate between the two of them as they banter Eve's dialogue is spare one-word answers asking questions never revealing too much of herself or her true intentions George believes he's found a kindred spirit a woman Enchanted by his Outlaw status and adventurous enough to assist him in his Escape he becomes so enamored he fails to consider how unbelievably lucky a chance encounter like this might be no wonder then he is surprised when she turns out to be not just a kindred spirit but part of the larger plot from which he cannot escape and To Catch a Thief Grace Kelly plays Francis who at first appears the rigid silent type when her mother's Brazen drunken flirting with Carrie Grant's character finally goes too far she decides the night is over for the group sorry I ever sented that finishing school I think the finished her there come on mother having betrayed no sexual interest in him thus far in the night she nevertheless plants a passionate kiss on him for closing the door the iceberg has suddenly unexpectedly melted before him how might this strange beautiful girl surprise him next again her aloof demeanor masks a secret she knows Grant's character is in Disguise that he's not a Timber man from Oregon but an Infamous cat burglar and she's not only clever enough to piece together the clues but also deviant enough to find his criminality erotic Kelly in my mind is the quintessential Hitchcock blonde in her short career Hitchcock was the only director either perceptive or capable enough to notice the undercurrent of eroticism in her and exploit it even the Pres of the time noted how only Alfred Hitchcock was shrewd enough to see the woman underneath he directed her in the realistic kissing scenes with Jimmy Stewart in rear window and started her off on an entirely different vein seduction as Hitchcock so Brusly explained was key even if he couldn't say or show that these women weren't the type to wait until marriage he found other unsettle ways to Signal it that process of withholding Lane wrote about applies not only to the plot minations that reveal these characters for who they are but also to the performance style of the Hitchcock blonde although these women are brought ly strong willed passionate and in many cases Brave they're not played as energetic or vibrant personalities adding to the impression of them as aloof and sophisticated they move economically reduce anything extraneous simple streamlined seduction a storm brewing internally even Marie Saint explained how Hitchcock directed her performance in North by Northwest as for what direction he gave her during filming Saint recalled the following instructions lower my voice don't use my hands and look directly at Carrie Grant in my scenes with him look right into his eyes from that I conjured up in my mind the kind of lady he saw this woman as Kim Novak recalled a similar experience working on vertigo with Hitchcock directing her to hold her body a certain way and control the intonation of her voice meline had the complication and the excitement and energy underneath it was all very very held back on the outside but underneath there were so many things going that I think that's part of what fascinated Jimmy Stewart caused him a compulsion to want her to possess her there's a reason for example that Carol Lumbard isn't considered a Hitchcock blonde despite starring in Mr and Mrs Smith for Hitchcock not only is the film a rare comedy from the director but her performance style remains all her own as screw ball and zany as anything else she starred in at the time Hitchcock blond shared other traits beyond their a of mystery for one thing many of them were financially well off some hold jobs that situate them in a world of cultural Elites Lisa in rear window Works in Fashion Joe and The Man Who Knew Too Much is a famous singer Alicia in Notorious and Eve in North by Northwest are spies recruited to maneuver in upper class circles others are simply members of the idol Rich Melanie's father owns a newspaper in the birds Francis and a thief is an ays to an oil Fortune their wealth means these characters can become mannequins for some of the most beautiful garments ever put to screen Hitchcock and legendary costume designer Edith headed began working together in 1946 on notorious and continued their collaboration over the next 30 years on 11 films headed loved working with Hitchcock because he created such a clear framework for what his leads should and should not wear simp simple shapes expertly tailored never too clingy or revealing nothing so eye-catching that it would drown out the actress the's a Wakefield quotes head in Sight and Sound as saying that working for Hitchcock was an education in Restraint head herself later wrote I was well aware of his feeling about garish colors he didn't like anything bright unless it made a story point he preferred nature colors as he called them beige soft greens and delicate turquoise he had strong feelings that color should never be so strong that it overpowered the scene or the actress if the script called for a girl in a red dress that's one thing but to put her in a red dress for no reason was out of the question in a Hitchcock film a character's garments should not only signify class and Beauty but also help underline the unattainable quality and subtle sensuality Hitchcock sought for his leading ladies for example here's how headed described costuming Grace Kelly for rear window Hitchcock told me it was important that Grace's clothes help establish some of the conflict in the story she was to be the typical sophisticated Society Girl magazine editor Who falls in love with a scruffy photographer he's insecure and thinks that she thinks he isn't good enough for her hitch wanted her to look like a piece of dresed in China something slightly Untouchable so I did that her suits were impeccably tailored her accessories looked as though they couldn't have been worn by anyone else but her she was perfect it's worth noting that the definition Hitchcock gives is particularly true of his leading ladies in the 1950s and Beyond the female protagonists of his films in the 1930s and 40s Rebecca suspicion and Spellbound for example play more active roles in the narrative in each film her psychology is foregrounded as opposed to Being Framed as something for the male protagonist to investigate and interpret and the audience joins her on her journey to uncover the truth the unnamed lead of Rebecca is thrust into the Mysterious World of manderlay where the past haunts the present like a ghost she must confront what happened there for her marriage to survive Gregory peek plays more of a Hitchcock blonde and Spellbound than ingred Bergman she plays a psychoanalyst who must go deep into her lover psyche to recover his lost memories after a traumatic event in suspicion Joan Fontaine again appeared as an inexperienced young woman navigating a new romance soon she comes to realize that she may not have known her new lover as well as she thought she did is he just a cheat or is something more malicious going on as a side note I recently spoke to doctor Josephine Bing a curator at the British Film Institute about her research on Hitchcock's wife and creative partner Elma Revel and we spoke a lot about how Elma and screenwriter Joan Harrison may have influenced the sensitive complex characterization of women in these earlier films that interview is available to listen to for free on my patreon if you'd like to learn more so the Hitchcock blonde is broadly characterized as a sophisticated wealthy woman with an air of mystery a woman whose voracious sexual appetite is masked by a proper exterior there's an obvious problem with this archetype though right which is what does all of this have to do with being blonde really it's not as if a blonde woman were exclusively capable of combining those traits a role like that could be played by anyone with the right skill set Jee tyy could play that ID Lupino could play that Deborah Carr could definitely play that it would be disingenuous not to point out that clearly Hitchcock personally found blondes more sexually attractive which influenced his casting decisions quite a bit but it's also true that Hitchcock wasn't approaching this topic in a vacuum he wasn't alone in his ideas about blondness in Hollywood in fact blonde fetishism goes back thousands of years in her article the politics of blondness Amy laka explains how blonde hair as we know it formed in northern Europe about 11,000 years ago it wasn't the first hair color that people had so it was rare and it's being rare made it sexually desirable it became so desirable that ancient civilizations went to Great Lengths to replicate it going so far as to rub pigeon and horse urine in their hair light hair with fair skin became became a beauty standard for women of status in Western Europe accepted even promoted by the church the state and the medical community Marina Warner writes in her book from the Beast to the blonde blondness and Beauty have provided a conceptual rhyme in Visual and literary imagery since the goddess of Love's Tresses were described as Zan Golden by Homer the color fulfills a symbolic function it was the imaginary opposite a foul it connoted all that was pure good and clean we see this conceptual rhyme all over art history and throughout literature all the blonde angels and Saints in Renaissance art the fairy tale princesses like Rapunzel even the early Disney Princesses leaned heavy on blonde as pure and beautiful Mor continues only in the 1930s and 40s under the influence of Hollywood did the word blonde emerge as a noun and acquire its hot vampish overtones based on the JY ironical reversals of meaning cultivated by popular media in the 20th century it's this archetype the pure good clean blonde that Hitchcock would have been interested in weaponizing for the purposes of suspense when a blonde experiences something harrowing it's taken more seriously because something good and pure has been tarnished Michael Walker points out in his book Hitchcock's motifs such thinking is not just confined to Hitchcock because of the overvaluation of the blonde and popular mythology it would seem that there's more of a free song in putting a blonde in danger in the famous Monster films of the early 1930s for example the heroin is usually blond Helen Chandler in Dracula May Clark in Frankenstein Miriam Hopkins in Dr Jackal Mr Hyde and F Ray in King Kong to be clear I am in no way personally advocating or endorsing these beauty standards rather I think it's important to step back and recognize how incredibly loaded a term like blonde can be particularly when it comes to aesthetic ideals Warner continues blondness is less a descriptive term About Hair pigmentation than a blazen and code a piece of a value system that it is urgent to confront and analyze because its implications in moral and social terms are so dire and are still so unthinkingly embedded in most or ordinary popular materials of the imagination as sociologist tresy McMillan cotum put it when you think of a blonde you aren't thinking about Beyonce or Jennifer Lopez no matter how blonde they are at the moment it isn't because their hair color is unnatural almost all of the world's blondes get that way through chemical intervention but a blonde is a body with a cultural history of Purity power and inheritance when Pop Culture leverages blonde it is always as an unmarked racial identity blonde is code for white that code channels oppression and desire beckoning us only to exclude most of us Hitchcock may not have used the word white to describe what he looked for in a leading lady but that is what he meant after all he explicitly thought of this subject in terms of ethnicity remember that quote about the school teacher who will pull a man's pants down in the back of a cal this is what he says right before that I think the most interesting women sexually are the English women I feel that the English women the swedes the northern Germans and Scandinavians are a great deal more exciting than the Latin the Italian and the French women sex should not be advertised most of Alfred Hitchcock's female supporting characters are brunettes redheads or if they are blonde their hair will almost certainly be dyed a darker shade than the leads as a result hitch hoc's non- blondes constitute a far more diverse and to me interesting group than his blondes nevertheless I'd argue it's possible to organize them into three categories the non-blonde leads like Shirley mlan in their trouble with Harry Sylvia Sydney in sabotage Jane Wyman in stage fright Etc the character actors thma Ritter and rear window Judith Anderson and Rebecca and the rivals Suzanne plette and the birds Diane Baker and Marne Etc obviously these characters vary greatly from person to person but there are some common threads that connect these groups where Hitchcock depicts his blondes as wealthy and worldly as Walker points out his brunettes are often members of the working class or tied to a domestic space where Melanie is a socialite living off her father's money in the birds Annie is a teacher Margaret Leighton plays a housekeeper to ingred bergman's Aristocrat in under Capricorn Judith Anderson as Mrs Danvers runs the Mander estate in Rebecca thma Ritter tends to the injured Jimmy Stewart as Stella in rear window and even in a chamber drama like rear window Hitchcock finds clever ways to accentuate class differences in his female characters all credit to John Michael Hay's truly perfect screenplay Lisa the blonde beautiful girlfriend brings Jeff a lobster from the trendy 21 Club Stella the brunette domestic employee makes him a modest lunch of coffee and a sandwich character actors often play these roles meaning that although the characters share an economic class this category varies greatly in characterization Stella one of my favorite Hitchcock characters has the same folksy charm and wit we see in many of Ritter's best remembered roles while Anderson is menacing as the manipulative Mrs Danver anchored to the home less like a family member and more like a ghost while Mildred natwick makes a marry Homemaker in the trouble with Harry offering blueberry muffins to neighbors and hoping that her romantic life is not yet closed off to her while Hitchcock tends to portray his blondes as unknowable or mysterious and therefore intriguing his brunettes often make themselves entirely available and therefore sexually uninteresting to his male protagonists this is a especially true for the rivals supporting characters who patiently wait for the male protagonist's romantic attention only to lose out to the blonde lead in the end at least two of them tell the male lead directly to his face that they love him in Marne Diane Baker plays Lil the sister of Mark's late wife who lives with him at his estate she's in love with him and Views Marne as an intruder who might disrupt her plans to marry Mark herself how dare Mark fall for Marne when she had been there all along she goes to Great Lengths to discover marne's secrets in an effort to expose her as a throd I mean if if you are in some kind of trouble I I have absolutely no Scruples I'd lie to the police or anything Mark Clearly sees her more like little sister while Lil is wealthy and seemingly a member of the idol Rich she is nevertheless trapped by her home and Domesticity upon marne's first visit to the estate Mark entertains her by bringing her to his stable wanting to be alone he insists Lil stay with his father they'll have all the fun while she is consigned to a service role Li I'm sure your sturdy young wrist has recovered sufficiently to pour dad another cup of tea mij from vertigo played by Barbara Bel Gettys May technically be a blonde but she functions like the quintessential Hitchcock brunette mij is a working woman early in the film we see Jimmy Stewart at her humble apartment chatting with her while she sketches a new bra design revolutionary uplift no shoulder straps no back straps but does everything a bazer should do works on the principle of the Cal bridge to me this scene is a genius encapsulation of how the blonde brunette Dynamic functions within a Hitchcock film in discussing a bra this way mij has taken the Mystique and allore out of an erotic object by showing it for what it really is a functional practical garment mij offers no Illusions or fantasies something meline offers in Spades later we see mijch console and care for Stuart and rather than see her as a potential mate she becomes a maternal figure domesticized and therefore un alluring in his eyes just as for mij honestly what a queen this is the funniest moment in a Hitchcock film he never knew what he had you deserve better mij he's a freak Hitchcock's non blonde leads tend to inhabit less glamorous worlds than his blondes as well in sabotage Sylvia Sydney and her character's husband own a movie theater that caters primarily to the working class when she's taken to a nice restaurant she indicates that she's never been able to afford a meal at such an establishment all this is very expensive isn't it in stage fright Jane Wyman plays a drama student who is overtly framed as ordinary in comparison to the diva played by the blonde Marina dietr at one point she cosplays the help as part of a murder investigation let's just say one person on this set was going to get all of the Glamour and her name was not Jane Wyman now get me out of these weeds I'm beginning to feel sad and I shouldn't feel sad it's so depressing Charlie McLean's screen debut in the trouble with Harry casts her in a dreamy domestic atmosphere a small town in Vermont where the residents discover a dead body and debate amongst themselves what must have happened to him this is one of Hitchcock's few comedies although it's a characteristically dark one and McLean's Jennifer in turn escapes the suffering Hitchcock's leads typically experience she's not shot at threatened held hostage or even attacked by an animal Teresa Wright personifies the sympathetic non-glamorous brunette in shadow of a doubt Wright had become the go-to actress for the sweet girl next door in Prestige dramas in the 1940s and Hitchcock cast in kind as photoplay put it upon the release of the film she's not gorgeous like a petty peach or voluptuous olenus she's just a pretty dainty typical American Girl Alita Vol in the paradine case is probably the closest a brunette comes to playing the blonde archetype as an enigmatic woman who was accused of murder it will not Shock you I assume to learn that I am a woman what would you say a woman who has seen a great deal of life but perhaps unsurprisingly Hitchcock never actually wanted her in that role in the first place he told truo unfortunately snik had already signed up Alita Valley he thought she was going to be another Bergman so I had to use her and this miscasting was very detrimental to the story to Hitchcock's point this film really would have benefited from ingred Bergman later in his career Hitchcock experiments with putting the blonde brunette Dynamic within the same character at New Dimensions to these archetypes at the beginning of Marne we're introduced to a black-haired woman making her Escape she's just robbed her most recent employer and returns to her hotel room to abandon her disguise she puts aside the fraudulent ID for Maran Holland and washes the black dye out of her hair hair color we come to learn is marne's primary disguise as she moves from job to job stealing money she doesn't change her wardrobe she doesn't wear Prosthetics she just dyes her hair when she becomes her self again she returns to blonde and yet is that the true Marne when she returns to her childhood home to visit her mother her mother suggests that this blonde isn't exactly natural either I see that you've lighted up your hair Marne a little Marne may be a Hitchcock blonde but this one doesn't actually know who she is she's on the run from the law from herself from her past marne's blondness unique from the other Hitchcock blond is revealed as just another one of her ruses an illusion she may have grown up in poverty but as an adult woman who has come into money the kind of woman who can afford her own horse she lightens her hair to play that role vertigo also explicitly conceives of blondness as an illusion as you most likely already know Jimmy Stewart plays an ex police officer who was hired to follow an old friend's wife to monitor her declining mental health and to explore potential Supernatural connections meline is the fantasy Hitchcock blonde her Platinum Tresses are woven into a bun symbolizing the tightly woven repression Stuart must untangle as part of the mystery she Sports an stunningly muted tailored wardrobe Novak has spoken in the past about how she didn't like wearing that iconic gray suit because it made her uncomfortable but that in hindsight she realized how right it was for the character it was right for her to work because she it made her uncomfortable it was right that she looked tormented by being it it made her uh feel out of place something was wrong you could tell that he could tell it meline is also withholding admissions or confessions are hardfought and Novak plays her with restraint speaking in melodious low tones as she wistfully looks into the distance and yet as the film continues meline is revealed to have been alive in reality Judy was hired to play meline as part of a murderous scheme she is not the unknowable blonde but a regular brunette who reads decidedly lower class than meline her makeup is overdone her jewelry Gody her clothes more outrageous colors with far less elegant tailoring the opposite of garments head describes Hitchcock wanting for his leads her days aren't spent wandering at museums or picking out flowers but at work Novak's delivery as Judy is much more naturalistic and animated she uses slang I suddenly felt je but I want to drive you home are you all right oh yes yes I'm fine no After Effects like me mhm is that the best you can do come here oh no you must me this is a real woman but Stuart cannot let go of his memory of meline there's no shortage of interpretations of vertigo as a film there are a million ways to unpack it but for the purposes of this essay I find the potential autobiographical components most compelling Stuart plays a man Enchanted by an unreal woman who becomes so obsessed with the image that he must resurrect her from the dead Walker writes mateline is Novak as glamorous movie star and the Very fact that the film foregrounds The process of Construction and building up her image is also a comment on the operation of the star system the manufacturing of the female star to satisfied male fantasies it is only to be expected that meline remains ungraspable elusive Novak herself would appear to agree with this analysis having spoken extensively about how she saw herself and Hitchcock represented in the film I think the role appealed to me because it was the resistance of Judy who was in a sense me trying to become from the Hollywood person trying to be meline needing to be loved and willing to be made over and I I remember when I played it it was I mean I felt absolutely stripped naked you know I felt so vulnerable the facade was everything to him if if the hair was off in any way he was calling the hairdress over constantly fix that in the back the bun is twisted wrong he would notice that he was obsessed with it I would say obsessed with the look it was as if he was Jimmy Stewart being making sure that she was dressed exactly the way meline was he was playing the part of Jimmy Stewart the desire to mold a star to his own fantasies took fright turns in real life too perhaps the greatest example of this comes from the story of Tippy hedrin plucked from obscurity by Hitchcock who saw her in a [Music] commercial he went about the process of turning this relative unknown into his idea of the Hitchcock blonde but her experience of star making was far from a Hollywood fairy tale watch any interview with hedrin and you'll understand that Hitchcock blondes sometimes suffered offscreen as much as they did on screen I don't know if uh any of you uh have uh women have had U uh the horrible experience of being uh the object of someone's Obsession if you have you would know exactly what that is is like and it is oppressive and um frightening and you find out that you've been followed and you find out that your handwriting has been analyzed and you find out that you're being spied upon it was at that time when he made the demands on me that were just so offensive to me that it was right then and there that I stopped all of it I just said I I am not going any further with this when Marne is over I am going to be out of your this contract he said I'll ruin your career I said do what you have to do I'm gone and um he did he did ruin my career he kept paying me my $600 a week and um uh after I got out of the birds in Marne I was as the expression goes um hot actress and um I would later learn how many directors and producers wanted me for their films and uh but in order to get me they would have to go through him and all he said it was so easy all he said was she isn't available while researching this video I kept coming back to this David finer quote in the 2015 documentary Hitchcock truo if you think that you can hide what your prant interests are what your Fascinations are if you think you can hide that in your work as a as a film director you're nuts Hitchcock was an exacting director a master of suspense and like many of his characters deeply flawed important to keep in mind as we analyze these films obviously I didn't cover every Hitchcock blonde and brunette and redhead and whatever else in between hair color in this video but let me know in the comments who your favorite Hitchcock character is And subscribe for more videos like this in the [Music] future thank you again to movie for sponsoring this video mie is a curated streaming service showing exceptional films from around the globe from Iconic directors to emerging art tours there's always something new to discover it's like your own personal Film Festival streaming anytime anywhere as I've said before movie is an essential streaming service for C files their selections are handpicked by curators who want to surface unique interesting things not just whatever that you can keep on in the background while you do something else on movie you'll find things like Grand Theft Hamlet Shakespeare filmed entirely in the virtual chaos of Grand Theft Auto the fall a cult classic that rarely streams anywhere and who could forget the substance which might just win some big awards at the Oscars this year movie is interested in film culture as a whole whole which is why I also want to talk about notebook notebook is a printon magazine devoted to the art and culture of Cinema created prepared and published by movie each issue comes with an exclusive gift a surprise just for subscribers and shipping is free wherever you are issue six of notebook titled in the moment of match strike is devoted to different expressions of Youth on film exploring what it means to be young in cinema manifestations of youth culture and how artists look back at their young El my favorite part of his issue was this conversation between Karen disher Tracy Grandstaff and Wendy Hoops key figures in the making of Daria a representation of Youth on screen that I definitely appreciated growing up I'm obviously a fan but didn't really know very much about how the show was developed so that conversation was really enlightening to me and hey talk about a Brunette blonde Dynamic Issue 6 is available via subscription and intellect stores around the world subscriptions cost $40 for two issues annually you can find out more about notebook at movie.com magazine and don't forget to check the link in my bio for a whole month of great Cinema free on movie [Music]