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Modern movies continue to be problematic, promoting twisted popular agendas to young audiences and slipping past adult audiences. How can Catholics respond to movies and television that pose such grave moral challenges?
Marie Bates:
So, Cy sends me an email about Focus episode ideas, and it just says, “Is Enola Holmes the most evil movie to ever be made?” I stormed into his office, I sat down, and here we are. We’re about to have a great discussion about it. Next on Catholic Answers Focus.
Hello, and welcome to Catholic Answers Focus, a podcast for living, understanding, and defending the Catholic faith. I am Marie Bates, your host, and today I am joined by the real host, Cy Kellett, to discuss the movie Enola Holmes. Don’t forget to subscribe to Catholic Answers Focus wherever you get good podcasts, and please rate and review our podcast. Enjoy.
It’s movie time.
Cy Kellett:
Marie, I’m really glad that you’re here to talk about the most evilest movie ever made. Thank you for being here for that. You’ve seen in Enola Holmes.
Marie Bates:
I have. I watched it.
Cy Kellett:
So you watched it after I told you I thought it was the most evilest movie ever made.
Marie Bates:
Yeah, and I was actually worried that, sometimes when you hear from somebody their opinion of a movie or something, it forms your own opinion before you even see it. And so, I was really trained to go into it unbiased and open to it being better than you were suggesting, but I was really disappointed. Fantastic movie, though.
Cy Kellett:
Okay, that’s part of its evilness. This is what we Catholics call-
Marie Bates:
Okay, let’s jump into it.
Cy Kellett:
At Easter, when we do our rejection of evil, we reject the glamor of evil, and that’s what this … It’s a very glamorous movie, in the sense that it’s an extremely well-made piece of film.
Marie Bates:
It’s beautifully shot. The colors are amazing in it. The costumes are amazing. When they go from scene to scene, they have all of these very Sherlock Holmes-feeling transitions and everything. It’s really a fun movie.
Cy Kellett:
And it moves very fast, the way modern movies do. I mean … And you have to say the star of it, Millie Bobby Brown, I looked her up, Millie Bobby Brown, so I would say the right name. She’s brilliant. She’s just a brilliant actor. She’s magnificent.
Marie Bates:
She is, yeah.
Cy Kellett:
There’s not a wrong step that she makes. It’s just beautiful.
Marie Bates:
Yeah, I agree.
Cy Kellett:
Henry Cavill, Superman, a superstar. He kills it. Oh, wait, now I’m going to forget her name. Helena Bonham Carter, always great. Brilliant actors. Great-
Marie Bates:
There’s no lack of talent in this movie.
Cy Kellett:
No, right. But here’s my problem with it. As I watched it, it is the sickest view of women I have ever seen portrayed on film, portrayed in a way that is meant, intentionally meant, to attract young girls.
Marie Bates:
I was really hoping you were going to be wrong about that. But as I watched it, I realized that there’s clearly an agenda behind the movie. I mean, we’re not surprised by feminism anymore, but it’s almost so extreme that it-
Cy Kellett:
It’s a brutal form of feminism.
Marie Bates:
Very brutal.
Cy Kellett:
The heroine is a heroine in part because she abandons her daughter. This is part of the attraction of her is that she’s on a more noble quest than being a mother, and that everything about this movie is designed to actually denigrate motherhood and any kind of traditional kind of femininity. The idea that the feminine is different than the masculine is utterly attacked. And I mean attacked. It’s intentional. The background of the movie, behind everything, all the action, is the suffragette movement. So the women are trying to get … As a matter of fact, this is an important part of the plot of the movie is-
Marie Bates:
They’re trying to get the right to vote.
Cy Kellett:
… women are trying to get the right to vote, and evil people are trying to stop them, which is true, which did happen. And women getting the vote is a great civil rights advance that we can celebrate.
Marie Bates:
Yeah, absolutely.
Cy Kellett:
So that’s what I mean. There’s all these good things.
Marie Bates:
But my problem with that was that she’s trying to achieve it by horrible means. Like, the ends do not justify the means.
Cy Kellett:
I can’t tell. Is the mother a terrorist? It seems like maybe she’s-
Marie Bates:
Yeah, there’s a lot implied in the movie that is quite concerning.
Cy Kellett:
But never resolved.
Marie Bates:
I mean, she literally finds this bed of bombs in the middle of London.
Cy Kellett:
She’s kind of the hero that you don’t see in the movie. She’s like the MacGuffin. She’s the missing mother, and she’s apparently willing to blow people up to get the vote. She’s clearly willing to be violent and to abandon her daughter. And she just teaches her daughter horrible things. And all this is presented to us as good. That’s what I don’t like about this movie, is this why I think it’s the evilest movie ever made. It’s beautiful. It’s entertaining. The star, Millie Bobby Brown, is brilliant.
Marie Bates:
But that’s what’s going to draw people into this.
Cy Kellett:
It’s all used to give you a twisted view of what men and women are and how men and women relate to one another.
Marie Bates:
I think that when it comes down to it, you can’t, Like, great, you want to achieve the vote. You need to do it honestly, and you can’t sacrifice other people to do it. I thought one thing that was funny, though, that I think went against them, it was not in their favor, was that the agenda behind this movie was so extreme that I think they actually failed to represent both sides. What I mean-
Cy Kellett:
Boy, did they.
Marie Bates:
what I mean is that in the end … and this whole episode is spoiler alerts, so stop-
Cy Kellett:
If you want to watch the movie and be surprised by anything, forget it. We’re going to reveal whatever we want in this podcast.
Marie Bates:
Yeah. So stop listening if you don’t want to. No, but in the end, the grandmother of the future parliament member, right? What’s his name in the movie?
Cy Kellett:
Of the very feminine, love interest man.
Marie Bates:
Yes. Yeah. The very feminine-
Cy Kellett:
Who needs rescuing constantly.
Marie Bates:
Right. Yeah, the roles are reversed. He’s the one who needs rescuing. His grandmother is trying to murder him in order for him not to cast his vote in parliament for women’s rights. Correct?
Cy Kellett:
Exactly.
Marie Bates:
Okay. So on both sides of this issue, we have psycho women who are willing to sacrifice their children and grandchildren for what they believe to be the most important cause. Well, sorry, neither one is believable. Because when you throw like the dignity of life out the window and you say, “I’m going to sacrifice my kid for this, I’m going to, for the good of all.” Well, sorry. You just sacrificed your kid. Now they don’t have this future. I mean, I just found that to be-
Cy Kellett:
Women sacrificing their kids. That doesn’t sound like our modern world. So you have the evil woman willing to kill her grandson. And what is her evil? The evil is, she’s a traditionalist. She believes in traditions. So-
Marie Bates:
Yeah, she’s the huge antagonist of the whole story.
Cy Kellett:
Anyone who believes in anything traditional, anyone who has a modicum of old fashioned-ness about them is evil in this movie, especially the grandma, who’s willing to murder her grandson.
Marie Bates:
And we see this. It’s very twisted in her education, and I’m sure you noticed this as well. They show her education in these like flashing scenes in the movie. And she’s taught archery. She’s taught how to fight. It looks like judo or something. She reads every book in her library. She does all of these crazy science experiments. She does everything that a boy at that time, probably would’ve done, except for the judo. I don’t know if anybody was learning judo then.
Cy Kellett:
Oh, it’s huge in England. British of the 19th century were huge into judo.
Marie Bates:
Yeah. But I think what they’re trying to … they’re trying to show a balanced education, right? And they’re breaking these boundaries. She’s not being taught needlework. She’s being taught all of this stuff. And yet, her mom abandons her when she’s still a kid. I don’t care if there’s all of this sexualization of teenagers, they’re still kids.
Cy Kellett:
And her mom raises her isolated from other people as well. It’s this weird-
Marie Bates:
Exactly.
Cy Kellett:
Like, this is a good education, to hide you from the world, in this secret education, where I give you all this resentment towards other people-
Marie Bates:
And almost like forming her up to be an assassin or something.
Cy Kellett:
I know.
Marie Bates:
Like, what do you want for your daughter? Do you want her to be able to vote? Or do you want her to be able to attack people? And then like on the flip side of that, her brother, Mycroft, is seen as this horrible person, because he wants her to go to school with other girls. And honestly, there were a lot of bad things about boarding schools in England. I mean-
Cy Kellett:
There’s bad things about every single school in the history of the world.
Marie Bates:
If you look at great writers from the 20th century and their experiences in boarding school, they had bad experiences too.
Cy Kellett:
It’s awful, yeah.
Marie Bates:
But she shouldn’t be alone in a house, with one maid there, to make sure she stays alive.
Cy Kellett:
And the women-
Marie Bates:
She’s a kid. She’s not supposed to be figuring out her own life yet.
Cy Kellett:
Right. And these women who have dedicated themselves to educating the girls, of course they’re evil, because they’re just trying to …
Cy Kellett:
Here’s my fundamental problem. I think this is a good point, to get to my fundamental, and why I said to you, “I think this is the evilest movie ever made, and I want to talk about it on Focus.”
The fundamental root thing that’s happening here is adults. Two men, the man who wrote the movie and the man who directed the movie, have created a work of propaganda, which is designed to attack children with anxiety about, “Am I really a girl? What is girlhood? What is womanhood?” So that they will be propagandized, not so that they will be educated, not so that they’ll experience something beautiful, but so that they will experience anyone who tries to tell them that motherhood is valuable, that community is valuable, that being a good citizen and not being this isolated-
Marie Bates:
And not committing crimes, to be honest.
Cy Kellett:
Enola is educated to be antisocial. That’s what she is. Like your real womanhood is rooted in being suspicious of everybody else’s motives and doing whatever the hell you want to do. That’s what real womanhood is. And it’s vicious that little …
Cy Kellett:
And I believe this is in less obvious ways. Part of the reason why this movie struck me is there’s not a single example of an any tradition, whether it’s Mycroft, or the mother, or the headmistress at the school, or the grandma. Nobody who’s a traditional person who has-
Marie Bates:
Was a good person in the movie.
Cy Kellett:
Yeah, is good. They’re all evil. They’re all secretly evil. And everybody, no matter how cruel they are, like the mother abandoning the child, who adopts this kind of radical self, self, self attitude is good, is secretly a good person. And all of it is sold because little girls love romance. And there’s a little Prince Charming in this for the little princess in the movie, and he’s very feminine and he’s very kind of harmless and safe. And so, he has this …
To me, it’s poison for little girls. You’re going to take what is normal, our romantic attractions to one another and our desire for one another, and you’re going to use that as the tool to say, “Don’t trust anybody, be isolated, be a nasty little piece of work. And that’s what makes you a true woman.”
Marie Bates:
Yeah. Yeah. And I kind of want to go back and say something about what I said about her education. I don’t think there’s anything wrong with women learning archery-
Cy Kellett:
Of course not.
Marie Bates:
… or chemistry, or any of that. My point was that they eschewed everything that was feminine about her.
Cy Kellett:
Like girls having friends. Like a girl wants to have friends. She has no friends.
Marie Bates:
And they act like the mom can be the friend and that’s sufficient, but the mom’s crazy. And honestly, she’s willing to do so many things. She was planning to abandon her from the beginning, because they say in the movie, she told the brother, “I just need 16 years with her.”
Cy Kellett:
Yeah. So my plan is-
Marie Bates:
It’s like, “Great. Later, girl. Good luck in the world.” Also, there was a line in the middle of the movie that really bothered me. She’s trying to find her mother. And honestly, there was this moment that I thought was really genuine and Millie Bobby Brown just rocked it. She’s looking for her mother, and she’s distressed about it. She needs her mother. She’s looking for her mom, and then the moment kind of passes. She’s in tears about it a little bit. And then the moment passes, and it’s like, “No, I’m fine.”
So anyway, she follows a clue. She finds this woman who teaches judo secretly to women upstairs above a tea shop,
Cy Kellett:
Which is actually kind of cool, in a weird way. Like-
Marie Bates:
That part I liked.
Cy Kellett:
And that woman is … well, she’s African-American … she’s not African-American, but she’s a woman of African descent in England, which I see what they’re trying to do, but that’s not what 19th century England was like. But they’re trying to give us an example of, “Okay, this is not just a white, totally white.” But they’re scared of that. But also, she’s a brave, tough, good character.
Marie Bates:
Yeah. But that character says to Millie Bobby Brown “Don’t come to London and try to make it in London to find your mom. Don’t do this for that reason. Do London for yourself.”
Cy Kellett:
Self, self, self.
Marie Bates:
And it’s like, excuse me, she’s 16. She’s scared. [crosstalk 00:14:33] mom.
Cy Kellett:
She was abandoned by her mother.
Marie Bates:
She shouldn’t be doing London by herself. She should be in school still, and she should have people who love her, who can support her and make her feel secure. Why does she need to be a 30-year-old?
Cy Kellett:
No. The abandonment of the child is presented as a heroic act in this movie, and the child is not fully actualized until they accept that their mother abandoning them was a heroic thing. And they have to be a person like that. They have to be this kind of person,
Marie Bates:
Worst spoiler alert. When she sees her mom again at the end of the movie, she abandons her again.
Cy Kellett:
I know. [inaudible 00:15:11].
Marie Bates:
She sees her for a couple minutes and then it’s like, “All right. Later, girl. I got more to do. I hope you’re okay. If you ever need me, drop me a line in the newspaper, and I’ll try to be there.”
Cy Kellett:
Yeah. Right. “But I made you fierce, so that’s the main thing.” And I think this fierceness of among girls, this is all the rage now is this, and it has been for about 20 years. And everyone thinks they’re … all of these innovators in Hollywood selling a new thing. I’m sorry, it’s not new. It’s not brave. It’s the same old trash you’ve been selling, and it hurts girls. They end up brokenhearted and hurt.
Marie Bates:
And the truth is that women were incredibly strong before they started selling this. Women have given childbirth for all of human civilization. Women have done amazing things for all of time. They’re incredibly strong. We don’t need to make them men to make them appear strong.
I mean, if we look at the Blessed Mother and everything that she went through and seeing her son go through the Passion and then die in agony on the cross, that’s a strong woman. She was keeping everybody together at that moment. I think that it’s such a shame that a huge focus of the movie and what they make sound evil is that they’re preparing her for marriage. That’s like a big-
Cy Kellett:
Oh, I know.
Marie Bates:
… focus of the movie. Right?
Cy Kellett:
Right. Right.
Marie Bates:
And as-
Cy Kellett:
In a traditional romance, marriage is the end that we’re all working towards. There’s a great conspiracy towards the end of marriage, because marriage is the greatest good, because family is the most important thing in the world. But we’re having a romance without marriage here.
Marie Bates:
Yeah, absolutely. And I think that’s such a shame. And the way that they do present marriage, like obviously marriage shouldn’t be forced. I don’t believe marriage should be forced on people.
Cy Kellett:
I’m just going to-
Marie Bates:
You don’t believe that either.
Cy Kellett:
I just want to get on board with that. Like, it’s not like your particular personal view-
Marie Bates:
No, no. I know.
Cy Kellett:
… Marie.
Marie Bates:
Well, I’m just thinking, like some cultures do arranged marriages. It’s a different thing. Like-
Cy Kellett:
But that’s different than forced marriage.
Marie Bates:
Right, right, right.
Cy Kellett:
Like in India, it’s common to have arranged marriages that are not forced, but then there’s also places where forced marriage is very common.
Marie Bates:
Well, my great grandmother in Lebanon had an arranged marriage. So anyway, there are different views on how marriage happens, but they did a really horrible picture of painting marriage. And they made the woman who ran the boarding house the pinnacle of traditionalist manners and way of living and conduct and all of that.
The woman slaps her in the face. Do you remember that?
Cy Kellett:
Yeah.
Marie Bates:
And also, she’s ridiculous and has a crush on Mycroft, who she’s never going to marry. And so, oh, great. You have an unmarried woman trying to somehow convince these young girls that they want to be married someday, and that this is the path for them.
They’re not presenting any of the beauty of marriage, any of the great good that it does, like how it transforms your life and makes you a better person, and how it like takes you outside of yourself. None of that is present here. And so, then we have-
Cy Kellett:
No, there is no heroism in marriage in this. Marriage is the heroic act for the normal person. Most of us, the most heroic thing we do is get married and stay married in our life. And that’s a service to our children, it’s a service to the world. But in this way of conceiving marriage, there’s no heroism in at all. It’s just a surrender of identity.
Marie Bates:
And it kind of leaves us lost at the end of the movie, because an Enola Holmes has the interaction with her little love interest, and then she walks away and leaves him. And she’s like, “I’ll let you know when I’m going to see you next.” And it’s like, okay, great.
And so, we end the movie feeling like we don’t know what her future is going to be. We don’t know if she’s going to be safe. We don’t know if she’s going to end up exactly like her mother, but she’s probably not-
Cy Kellett:
But she’s fierce.
Marie Bates:
… going to get married and have children.
Cy Kellett:
She’s fierce though.
Marie Bates:
She is fierce. It’s such a shallow kind of fierceness though, because it’s trying-
Cy Kellett:
It’s so dumb.
Marie Bates:
… to be something that it’s not.
Cy Kellett:
Yeah. I agree with you entirely. And here’s the deal, I have already raised my children. And so, I don’t get a chance to this, but your children are entirely in your future. And so, I think that parents have to be honest about this stuff. They have to look at Netflix and go, “Netflix is selling propaganda.” Whether it’s in the adult shows or the kids’ shows, there’s a certain propaganda there. And if you can’t look at this and go, the writer of this movie, the producers of this movie, the director of this movie, they all had an agenda in mind, which was to present what they see as a very elevated view of womanhood, which in fact is a grotesque kind of imitation of womanhood that means the world does not have to change to become fit for women. Women have to change, to become fit for the world.
And they think that’s good. And that’s not good. That’s evil, that the world is unjust to these 19th century women. So the great suffragettes, they went out and changed the world. They didn’t change their nature. “I don’t want children. I don’t want husband. I’ll abandon. I’ll become violent.” They don’t change their nature. They say, “My nature is good, as a woman. I should be voting.”
Marie Bates:
That’s why I should be able to vote. Yeah.
Cy Kellett:
Yeah, right. But there’s a sense that this is just so calculated, propagandistic, and it’s sold as art. And it’s very well-made. It’s like a TV commercial. It’s very well-made. But this is why I’m really happy to be talking with you about this. Because as a person who’s raised my children, I realize, we didn’t expose them to a lot of media. We didn’t have cable TV and all that. They still saw all this stuff. I mean, they find a way to see it. And you need to be able to go, “Okay. After the Enola Holmes, did you like that movie?” “Yes. She’s great.” “Okay. So what did they say about moms? You know, what did they say about romance?”
Marie Bates:
We have to be critically assessing these movies.
Cy Kellett:
And you have to tell your children that all of television is essentially … I mean, I’m an advocate of. I truly believe this. I believe it should be illegal to advertise to children. And people go, “Well, then you wouldn’t get any children’s TV, if you couldn’t.” That’s exactly right. You wouldn’t get any children’s TV. It should be illegal to advertise to anybody under 16.
Marie Bates:
Yeah. Stop using them for money.
Cy Kellett:
But this is what you’re doing when you put your child in front of the TV set. You’re turning them over to people who are professionals at creating stories that tempt them away from just being a normal person, that tempt them into this, “I’ve got to do this, and I’ve got to do that.” And then they get to be in their early 20s. And that like, the heart wants marriage and family, because almost every human heart wants marriage. There’s nothing wrong with that. It’s not twisted-
Marie Bates:
It’s a natural desire.
Cy Kellett:
For a young woman or a young man to want marriage and family. “But I’m also supposed to be a superhero, like a Enola Holmes. And I’m not a superhero yet. And I got to go work on my judo, and I got to do this, and I got to do that.” And you end up with a generation of young women who are batty with anxiety, just terrorized with anxiety.
Marie Bates:
Well, what you said reminded me of G.K. Chesterton talks about in one of his Father Brown mysteries. Like, the great criminal in the beginning of those stories, Flambeau, he commits all of these artful crimes. They’re incredibly ingenious. They’re creative. He picks crimes for seasons. Like his last crime that he committed was a Christmas crime, and he calls it a cheerful, cozy English, Christmas crime.
Anyway, Father Brown tells him at the end of that story, which was one of the points of his conversion, like basically, art is not always good. Something artful-
Cy Kellett:
[crosstalk 00:23:13] isn’t that beautiful?
Marie Bates:
… is not always good. And you can do something evil that is still art. And that it’s like, you can do something masterful, even, that is not good and shouldn’t be done just for the sake of doing art. And I think that’s a concept that’s lost on our world today as well, in the art world.
But I think that this movie was a real missed opportunity, because mystery stories are some of my very favorites to read and some of my favorite stories to watch in movies. And I think they tried to make Enola Holmes too much Sherlock Holmes 2.0, but-
Cy Kellett:
Yeah, I see.
Marie Bates:
… but a girl.
Cy Kellett:
Yeah. Right.
Marie Bates:
And it’s like, a girl can partake in a mystery and not be this character.
Cy Kellett:
Yeah. Right, Right. And not be abandoned by her mother and forced to think of her mother … not even allowed to feel the sadness of abandonment. And this is at a time when many, many children are abandoned by a parent, either through divorce or through neglect. Children are … And this movie is, instead of saying, “That’s horrible what happened to you.” Is saying, “Get over it, get out there and be fierce. You just get out there and be fierce.”
Marie Bates:
Yeah. Instead of her being sent to a school where she finds friends who lift her up and make her feel loved and make her feel like you went through something really difficult, but now you have a community around you, and … No, none of that happened. And she doesn’t find community in her love interest family either. She’s not accepted there. The grandmother wants to kill. It’s nuts. I mean, the grandmother tries to kill both of them, actually.
Cy Kellett:
Right. Yeah. That sweet, evil grandma. You know?
Marie Bates:
And they make it-
Cy Kellett:
Which is designed-
Marie Bates:
They just make it-
Cy Kellett:
… to make children suspicious of older people.
Marie Bates:
And tradition.
Cy Kellett:
It’s on purpose. They’re trying to teach children to be suspicious of the people who are there to help them in their life.
Marie Bates:
She looks them in the face and picks up a gun. And that is not a good message to send to kids.
Cy Kellett:
Right. Because they’re not defending tradition the way she is. So tradition is evil, family is evil. It’s all evil. And these people who made this movie are evil, and they don’t know it, but they’re involved in evil. I don’t mean that they are personally evil. I mean, they are involved in a profound evil of deceiving children.
Cy Kellett:
So I want to ask you now, before we end this, do you agree with my email, that Enola Holmes is the evilest movie ever made? Is it?
Marie Bates:
I think so. I think so. No, I don’t know. I haven’t seen every movie, but I would say-
Cy Kellett:
Yeah. Probably, Leni Riefenstahl made some worse. Okay. Fine.
Marie Bates:
It’s a profound problem, and I think it is an evil movie.
Cy Kellett:
But-
Marie Bates:
I would never let my daughter watch it. I would never play it in my house.
Cy Kellett:
Yeah. And that’s why keep your daughter away from Disney movies, keep your daughter … I mean, unless they are like … I don’t know, I could go on and on about Disney movies.
Marie Bates:
I know. we could-
Cy Kellett:
But Disney movies have become very elaborate, beautiful, attractive propaganda and for very bad things. Although every now and then, they make one that’s great and you go, “Oh, well.” You know? Sorry if-
Marie Bates:
Dang it. I loved that one. Yeah.
Cy Kellett:
Yeah, I loved that one. Yeah. I mean, just to say some … like the depiction of a grandmother in the movie, Coco. Did you ever see it?
Marie Bates:
Yeah, I did.
Cy Kellett:
That’s beautiful.
Marie Bates:
I know.
Cy Kellett:
Like the old woman is a, is a great good and a beauty, even though the movie is crazy.
Marie Bates:
And a great matriarch of their family. Yeah, the movie-
Cy Kellett:
So I don’t want to be totally anti-Disney.
Marie Bates:
The theology in Coco isn’t quite right.
Cy Kellett:
No, but it’s possible to make a children’s movie in which a child comes to understand that a grandmother, even when she can’t function very well anymore, is a beautiful gift to the whole family. That’s something that I really did appreciate.
Marie Bates:
I’m going to say that movie happened because people don’t want to … I think that when people are making movies about other cultures like-
Cy Kellett:
Oh, they’re more respectful.
Marie Bates:
… Hispanic people-
Cy Kellett:
Oh, yeah.
Marie Bates:
… or black people, or Asian people, or whatever, they don’t want to come across as racist. And so, they make a greater attempt to model whatever value that culture actually has, which is in Hispanic families, is like family is really important.
Cy Kellett:
That would imply a great deal of self-hatred in our culture, that we secretly hate ourselves.
Marie Bates:
Oh, no.
Cy Kellett:
No. I wouldn’t want to imply that. No. All right, Marie, you get the last word. Go ahead. Do you want the last word? You don’t have to have the last word if you don’t want. Not everybody wants the last word.
Marie Bates:
No. I don’t want the last word, but thank you so much for having me on. This was really a great-
Cy Kellett:
There’s nobody else I could’ve done this-
Marie Bates:
… great opportunity to talk about it with-
Cy Kellett:
… with. Yeah.
Marie Bates:
… with you.
Cy Kellett:
Don’t let your children watch these terrible movies.
Marie Bates:
Yeah.
Marie Bates:
Watching movies nowadays is really difficult. And it’s good to have friends and coworkers on hand who can discuss them with you. This conversation with Cy today really revealed some deep illnesses in our society, in the fabric of our society. And it’s going to be incredibly important for us, as we move forward, to be careful of what our children are watching, to be careful of what we are watching, because we’re impressionable as well, and to stand up for what is right and just in this world.
I hope you really enjoyed this episode today. We enjoyed making it for you. If you want to get in touch with us, you can email us at focus@catholic.com. We would love to hear from you. And please subscribe on YouTube. We post all of our episodes there with video. If you want to donate, to help us to continue to make this podcast, you can go to givecatholic.com.
I’m Marie Bates, and we’ll see you next time on Catholic Answers Focus.