Jadis the White Witch

But the thing that like blew me away was was the connections that I was making with my kids, like the inside jokes, how like the kids could be squabbling or I could be, we could be, you know, not seeing eye to eye.

And then we would sit down to read whatever it was, The Lion, the Witch and the Wardrobe.

And all of a sudden we're both like holding our breath when the White Witch comes on the scene, you know, or like cringing at this moment when you know that Edmund's making a bad decision.

And it just reminded us that we're like for each other.

And then that happened over and over and over again with our read-alouds.

The only place they're going to get it, and the other pieces, they can read it, like they can read grammatically correct, sophisticated language.

But the better they get at reading, the faster they get at reading, the more that your eyes skip over things.

It's why, like if you and I were both to pull open The Lion, the Witch, and the Wardrobe since I already brought that one up.

Okay.

Um, Aslan and the White Witch.

Do you have

anybody that you just love between

That's a voice with some power to it.

Yeah, I love that.

And then White Witch.

I mean, to me, it maybe almost feels too on the nose.

Because we're also doing silly horse shit on the show.

I mean, we just had Goldberg as the Witch of Narnia and drag Muhammad Queen Story Hour as a sketch.

Like, we do parodies and sketches.

Like, we have our foot in both camps because we want it to be an entertaining show.

It kind of does that, but... well and seeing different worlds and infinite stuff and things like that I think it's really cool and really imaginative especially from a child's perspective it gives that you know that's what I need as well in the kind of portal world sense but the visuals and stuff I can almost like shrug and be like sure like if those are the kind of visuals you want to do and you want to have that kind of rock opera sense to it whatever.

I might not like the White Witch's look in this, because I think it just looks too disco, I mean, what are we doing? I think Emma Mackey's a great actress, I think she'll do well, but I'm not sure about the cautionary choices, but I can live with that.

But when you're changing things like the time zone of the story, I just don't understand what creative choice you could possibly be doing to that.

I've got a small idea.

and that angle could potentially be problematic

I think there's stories to tell in that kind of sense I've no issues with those kind of stories but I feel like when you've got the story and you're you're just changing it but there's even things in this like I mean, spoilers, but in this, they go back to like 1900s and they go through into these other worlds.

They bring the White Witch or Jadis to to earth and 900s and stuff and she's fighting police officers and as part of that she yanks up a lamppost and using that as a weapon and then that goes and is transported back with Antonania and that's what becomes a lamppost then So that's a very much...

It looked like a Victorian...

is.

It is a really funny kids, really funny adults, really funny evil Jadis, a really evil queen.

She's salty and saucy.

Yeah, yeah.

All good.

I think the other thing, though, about that creation through song that I find interesting, like, there's two pieces of that.

One is that there's this group of Diggory, Polly, Uncle Andrew, this cabbie, Frank, and, you know, the evil queen witch, Jadis, that all show up, and then Strawberry the horse, of course, who all show up in Narnia before it's been created, and they're just there in the dark, and, like, there's nothing there.

And they're just chit-chatting a little bit about what's going on.