Nov. 4, 2025
Nia DaCosta, Tessa Thompson, Tom Bateman & Nina Hoss (Hedda)
What if a classic tale could be reshaped with modern twists and turns that leave you questioning everything you thought you knew? Join me, Kyle McMahon, as I sit down with visionary director Nia Da Costa (The Marvels, 28 Days Later: The Bone Temple), superstar Tessa Thompson (The Avengers: Endgame, Creed) Nina Hoss and Tom Bateman to explore how the new Prime Video film 'Hedda' reimagines Henrik Ibsen's iconic play with electrifying creativity.
Unearth how Nia DaCosta’s visionary adaptation amplifies the timeless stakes of 'Hedda Gabler,' with Tessa Thompson breathing new life into the titular character. With Nina Hoss portraying a gender-swapped Eileen Loveborg and Tom Bateman tackling the complexities of George Tessman, this episode promises a deep dive into the innovative storytelling that challenges societal norms and character dynamics. Nina opens up about the liberating challenge of stepping into a reimagined role, enriching the narrative with existential undertones that speak volumes about contemporary issues. Meanwhile, Tom reflects on George Tessman’s internal battle with power and understanding, shedding light on his character's tumultuous relationship with Hedda. Get ready for a thought-provoking conversation that not only celebrates the daring vision behind this adaptation but also offers a fresh perspective on a literary classic that continues to resonate. Tune in for an insider’s look at 'Hedda,' where tradition meets transformation and storytelling reaches new heights.
If you dig the show, subscribe, rate, and share—and tell your mom; she and Kyle would absolutely get along.
📍 Watch now on YouTube or listen on your favorite podcast platform
🎧 Subscribe for more celeb interviews, streaming picks and pop culture deep dives!
🗣️ Want to be featured on the show? 📱 Leave a voicemail here!
📧 Join the newsletter to get exclusive content, interviews & more once a week! Subscribe here!
--------------------------
Kyle McMahon's Death, Grief & Other Sh*t We Don't Discuss is now streaming. Listen here!
--------------------------
Get all the Pop Culture Weekly podcast info you could want including extra content, uncut interviews, photos, videos & transcripts at Podcast.PopCultureWeekly.com
Watch celebrity interviews at Pop Culture Weekly's YouTube!
Read the latest at PopCultureWeekly.com
Get Social with Kyle on:
Kyle McMahon Facebook
Kyle McMahon Instagram
Kyle McMahon TikTok
Pop Culture Weekly YouTube
Kyle McMahon Website
WEBVTT
1
00:00:00.200 --> 00:00:02.759
I'm back and in this episode of pop Culture Weekly,
2
00:00:02.879 --> 00:00:06.440
it's all about the brand new prime video film Ahead
3
00:00:06.480 --> 00:00:09.800
up and I've got Nia DaCosta, Tessa Thompson and more.
4
00:00:10.039 --> 00:00:10.519
Let's go.
5
00:00:12.439 --> 00:00:16.600
Welcome to pop Culture Weekly with Kyle McMahon from iHeartRadio,
6
00:00:17.079 --> 00:00:21.760
your pop culture news, views, reviews and celebrity interviews on
7
00:00:21.920 --> 00:00:26.000
all the movies, TV music and pomp culture you crave weekly.
8
00:00:26.480 --> 00:00:28.399
Here's Kyle McMahon.
9
00:00:30.160 --> 00:00:34.560
Nett no no, no, Hello, and welcome to pop Culture
10
00:00:34.560 --> 00:00:38.240
Weekly with Kyle McMahon. I of course am Kyle McMahon,
11
00:00:38.280 --> 00:00:42.359
and this is the show where you get all of
12
00:00:42.439 --> 00:00:46.000
the deep dives into the movies, TV music and pop
13
00:00:46.039 --> 00:00:49.079
culture moments we're all obsessed with. That's why you're here
14
00:00:49.200 --> 00:00:53.520
right today, we're talking about one of the most anticipated
15
00:00:53.600 --> 00:00:57.840
new films of the fall, Heada. It is the latest
16
00:00:57.840 --> 00:01:02.679
reimagining of Henrik Ibsen's classic head of Gabbler and this
17
00:01:02.880 --> 00:01:08.400
version it's dark, it is elegant, and it is completely electrifying.
18
00:01:09.439 --> 00:01:12.400
This version of Heada comes from the brilliant mind of
19
00:01:12.480 --> 00:01:17.040
Nia DaCosta, who I love and you know from Candy
20
00:01:17.120 --> 00:01:21.599
Man and the Marvels, and it stars the absolutely incredible
21
00:01:21.640 --> 00:01:25.680
Tessa Thompson as the title character Heada. So we'll be
22
00:01:25.760 --> 00:01:30.239
talking with them later and how they brought this bold
23
00:01:30.480 --> 00:01:34.000
vision to life. But first we've got two of the
24
00:01:34.040 --> 00:01:38.439
film's phenomenal co stars joining us, so let's talk with them,
25
00:01:38.560 --> 00:01:42.920
Nina Hass and Tom Bateman, who play Eileen Loveborg and
26
00:01:43.000 --> 00:01:47.239
George Tessman and Heda. Here they are, Nina Haas and
27
00:01:47.280 --> 00:01:49.799
Tom Bateman.
28
00:01:51.840 --> 00:01:54.200
Thank you both so much for joining me. I really
29
00:01:54.239 --> 00:01:58.040
appreciate it. Hi nice to meet too. Nice to meet
30
00:01:58.079 --> 00:01:58.519
both of you.
31
00:01:58.840 --> 00:02:02.359
First of all, congratulations on the film, Mina. I'd like
32
00:02:02.439 --> 00:02:06.359
to start with you. Your character is kind of this
33
00:02:06.560 --> 00:02:13.199
gender swapped version of, you know, a very classic character
34
00:02:13.400 --> 00:02:17.039
in literature. How did you feel stepping into this kind
35
00:02:17.039 --> 00:02:19.759
of reinterpretation of this character.
36
00:02:21.000 --> 00:02:25.360
Well, I knew the material very well because back home
37
00:02:25.439 --> 00:02:28.400
in Germany, I was on stage as header for several
38
00:02:28.520 --> 00:02:33.080
years and I was as header dealing with all these
39
00:02:33.159 --> 00:02:36.599
men around me, and I was having questions about the
40
00:02:36.680 --> 00:02:40.039
character Islet louisbog and I always thought that it's such
41
00:02:40.080 --> 00:02:45.520
an interesting thing of how we interpret this man or
42
00:02:45.599 --> 00:02:49.719
both of the men actually, and I was so glad
43
00:02:49.759 --> 00:02:52.639
that Nia took this material and just put it upside
44
00:02:52.680 --> 00:02:57.319
down by sticking being truthful to it but kind of
45
00:02:57.520 --> 00:03:01.360
just charging up the how do you say, the stakes
46
00:03:01.639 --> 00:03:05.319
they're much higher, you know. But by this gender reversal
47
00:03:05.800 --> 00:03:11.599
because everything that islet goes through and now Eileen is
48
00:03:12.599 --> 00:03:15.840
the struggle is so much more existential all of a sudden,
49
00:03:16.080 --> 00:03:19.360
you know, And it becomes so much more existential for
50
00:03:19.439 --> 00:03:23.800
the other two women because there is an Eileen, because
51
00:03:23.840 --> 00:03:26.639
you kind of see she's not really a role model,
52
00:03:26.680 --> 00:03:31.319
but you see there is a possibility to lead another
53
00:03:31.400 --> 00:03:36.280
life and to try to not go the easy way.
54
00:03:36.560 --> 00:03:38.639
It's not such an easy way that had her chooses,
55
00:03:38.680 --> 00:03:43.680
but nevertheless the one that you're you're comfortable with maybe
56
00:03:43.719 --> 00:03:49.719
more so. And so that was something I was working
57
00:03:49.759 --> 00:03:53.000
on to just basically take it, look at it from
58
00:03:53.039 --> 00:03:57.039
a fresh point of view, and create something completely new
59
00:03:57.120 --> 00:04:00.639
with Eileen. And that is to be all To do
60
00:04:00.719 --> 00:04:04.240
that with such a classic material which is in the
61
00:04:04.319 --> 00:04:07.439
cannon and lots of people know it and you have
62
00:04:07.520 --> 00:04:13.240
the highest respect for the writing and the characters that
63
00:04:13.319 --> 00:04:16.160
you just feel it makes so much sense to do
64
00:04:16.199 --> 00:04:19.439
it this way was very liberating and freeing.
65
00:04:19.759 --> 00:04:22.920
Yeah, I love that, And Tom, for you, if you
66
00:04:22.959 --> 00:04:28.000
could ask heada one question about George. What would that be?
67
00:04:28.279 --> 00:04:30.120
And what you know? What do you think her answer
68
00:04:30.279 --> 00:04:30.560
might be?
69
00:04:32.000 --> 00:04:36.519
Why don't you like me? Head God? That's a really
70
00:04:36.560 --> 00:04:39.519
good question. I think it's a really good question. I
71
00:04:39.560 --> 00:04:43.360
think because George at his core would never think to
72
00:04:43.439 --> 00:04:47.680
ask heada anything of her opinion. Really, he's a man
73
00:04:47.720 --> 00:04:50.000
of his time who just believes that his wife is
74
00:04:50.040 --> 00:04:52.800
there to serve him effectively in whatever way. You know
75
00:04:52.839 --> 00:04:57.519
that he sees her almost is his property. But should
76
00:04:57.600 --> 00:05:00.800
he ever get the opportunity it? Really because he spends
77
00:05:00.800 --> 00:05:03.600
the whole piece trying to work out this woman. He's
78
00:05:03.639 --> 00:05:06.040
trying to control this woman, fit her into the mold
79
00:05:06.040 --> 00:05:08.040
that he wants her to be, and when she kicks
80
00:05:08.040 --> 00:05:12.040
against that, he just doesn't understand it. George even has
81
00:05:12.040 --> 00:05:15.800
a scene with Eilid saying, Eileen saying, how do you
82
00:05:15.879 --> 00:05:16.800
control this woman?
83
00:05:16.879 --> 00:05:17.680
How can you make her?
84
00:05:17.720 --> 00:05:17.759
Do?
85
00:05:18.160 --> 00:05:20.720
I don't understand how do you control a woman like this?
86
00:05:20.959 --> 00:05:22.959
What an awful thing to say about the woman that
87
00:05:23.000 --> 00:05:26.120
you love, I'm supposed to respect and admire. How can
88
00:05:26.160 --> 00:05:29.600
you control this person? So yeah, I'm not sure other
89
00:05:29.639 --> 00:05:34.399
than you know, header what's up? What's up?
90
00:05:35.000 --> 00:05:36.519
What's going on? Well?
91
00:05:36.639 --> 00:05:37.000
Thank you?
92
00:05:37.079 --> 00:05:37.920
Both so much.
93
00:05:38.000 --> 00:05:40.279
I can't wait for everybody to see this. You both
94
00:05:40.399 --> 00:05:43.120
are so awesome in it and everything you do. Thank
95
00:05:43.160 --> 00:05:45.040
you for speaking on so much.
96
00:05:45.439 --> 00:05:46.600
Have a great day you do.
97
00:05:47.160 --> 00:05:55.120
Thanks Nino Hawsen, Tom bate Man, You've got to watch Header.
98
00:05:55.240 --> 00:06:00.439
It is really, really great. It's like riveting. It's creepy
99
00:06:00.480 --> 00:06:05.839
in a way, it is about empowerment in other ways.
100
00:06:06.160 --> 00:06:09.319
It's very layered, and that's why Nia DaCosta is like
101
00:06:09.360 --> 00:06:14.560
the perfect director and creat a vision behind it. But
102
00:06:14.639 --> 00:06:16.439
I can't wait to hear what you think about it.
103
00:06:16.480 --> 00:06:20.079
But we're gonna be right back after this quick break,
104
00:06:20.120 --> 00:06:23.480
so don't go anywhere, because coming up. Nia DaCosta and
105
00:06:23.480 --> 00:06:26.600
star Tessa Thompson joined me to talk about creating Heada
106
00:06:27.040 --> 00:06:31.240
and reimagining one of literature's most complex women for a
107
00:06:31.319 --> 00:06:33.120
whole new generation.
108
00:06:33.480 --> 00:06:33.959
Be back in.
109
00:06:34.000 --> 00:06:43.639
Sixty Welcome back to Pop Culture Weekly with Kyle McMahon,
110
00:06:44.120 --> 00:06:48.480
and we are continuing our deep dive into Heta with
111
00:06:48.600 --> 00:06:56.040
two powerhouses, the visionary Nia DaCosta and the incredible Tessa Thompson. So, Nia,
112
00:06:56.079 --> 00:07:02.079
of course, you know from Little Woods, The Marvels Candy
113
00:07:02.199 --> 00:07:07.360
Man Now Heda coming soon twenty eight years later, The
114
00:07:07.399 --> 00:07:11.319
Bone Temple and Tessa Thompson, who you know from the
115
00:07:11.399 --> 00:07:19.279
Creed trilogy, the Marvel Cinematic Universe, Men in Black, International, Selma,
116
00:07:19.800 --> 00:07:23.720
and like I said, the MCU movies Thor and Avengers
117
00:07:23.759 --> 00:07:27.399
and All where she played Valkyrie, where she plays Valkyrie,
118
00:07:27.399 --> 00:07:30.560
I should say, all right, without further ado, here they
119
00:07:30.680 --> 00:07:34.399
are Tessa Thompson and Nia DaCosta.
120
00:07:37.120 --> 00:07:37.600
Sank you.
121
00:07:37.680 --> 00:07:39.319
Nice to meet you. Nice to meet you.
122
00:07:39.360 --> 00:07:40.240
I love you both.
123
00:07:40.279 --> 00:07:44.120
Congratulations on HEADA. Nia, I'd like to start.
124
00:07:43.879 --> 00:07:48.399
With your So much of your work has dealt with identity.
125
00:07:48.480 --> 00:07:53.959
I was talking to Elvira Cassandra Peterson amazing, and we
126
00:07:53.959 --> 00:07:56.600
were talking about, you know, the Oscar so White thing,
127
00:07:56.920 --> 00:08:00.160
and how you have been a voice, especially in horror,
128
00:08:00.519 --> 00:08:01.279
for h.
129
00:08:01.680 --> 00:08:09.120
For strong black characters, strong women. This I feel comes
130
00:08:09.319 --> 00:08:11.040
comes across in Heda as well.
131
00:08:11.639 --> 00:08:15.959
How has identity been important for you in your.
132
00:08:15.800 --> 00:08:18.360
Film in general, films in general, but especially in HEADA.
133
00:08:19.120 --> 00:08:20.759
First of all, what I think you said is that
134
00:08:20.759 --> 00:08:24.519
Cassandra Peterson knows who I am, which is crazy. So
135
00:08:25.560 --> 00:08:27.600
I don't know. I'm gonna move to the day now.
136
00:08:27.680 --> 00:08:33.120
That's a good secondly to answer your question, Yeah, identity
137
00:08:33.159 --> 00:08:35.200
is important to me. Insofar as I would like to
138
00:08:35.240 --> 00:08:40.440
expand the boxes that our identities put us in. I'm
139
00:08:40.480 --> 00:08:44.039
really interested in getting into the muck with with with
140
00:08:44.080 --> 00:08:46.600
who we are as people, and you know, as a
141
00:08:46.639 --> 00:08:48.559
black woman, I know what it's like to grow up
142
00:08:48.559 --> 00:08:50.519
being told like this is what's expected of you, this
143
00:08:50.559 --> 00:08:52.639
is who people think you are, or people telling me
144
00:08:52.759 --> 00:08:54.840
this is who you are because of the body you're in.
145
00:08:55.799 --> 00:08:58.639
And I really want to always challenge and expand that
146
00:08:58.679 --> 00:09:02.559
because I really want to. I want people to see
147
00:09:02.600 --> 00:09:04.879
themselves in my films and also to feel a freedom
148
00:09:04.919 --> 00:09:06.879
to be more than what they're told they can be.
149
00:09:07.559 --> 00:09:09.639
So when Heada, especially, she that girl doesn't know what's
150
00:09:09.639 --> 00:09:12.759
going on sometimes, but she's really I think I think
151
00:09:12.799 --> 00:09:18.200
she's really searching for for freedom and because of her identity,
152
00:09:18.440 --> 00:09:20.960
you know, being a black woman and a mixed race woman,
153
00:09:21.000 --> 00:09:24.879
a queer woman, I think she's she's really struggling to
154
00:09:24.879 --> 00:09:26.120
figure that out in the way I think so many
155
00:09:26.159 --> 00:09:28.759
of us are so so seeing her in her way
156
00:09:28.799 --> 00:09:31.159
and act her freedom no matter what that looks like,
157
00:09:31.200 --> 00:09:34.919
I think is quite quite liberating. Hopefully for people watching.
158
00:09:35.600 --> 00:09:39.120
I love that, and and Tessa, for you, you know,
159
00:09:39.279 --> 00:09:43.600
this is such it's a. It's a take on kind
160
00:09:43.639 --> 00:09:47.240
of a canonical, canonical thank.
161
00:09:47.039 --> 00:09:53.519
You uh text, you know work? Did did any of it?
162
00:09:53.600 --> 00:09:56.679
Like, were you nervous going into that? Did you totally
163
00:09:56.720 --> 00:10:00.240
go like I'm doing my own version of her? How
164
00:10:00.279 --> 00:10:02.200
did you you know balance that?
165
00:10:03.039 --> 00:10:03.279
Yeah?
166
00:10:03.279 --> 00:10:07.759
I was extraordinarily nervous. Uh.
167
00:10:07.960 --> 00:10:08.440
I was.
168
00:10:10.039 --> 00:10:10.720
Definitely afraid.
169
00:10:13.000 --> 00:10:13.600
I couldn't tell.
170
00:10:13.600 --> 00:10:16.600
I was definitely afraid. But but but this is kind
171
00:10:16.600 --> 00:10:19.120
of not new. Like I like to be afraid, you know,
172
00:10:19.200 --> 00:10:21.840
Like I like I like to have at least one
173
00:10:21.919 --> 00:10:25.519
element of the thing that I'm doing feel like, oh wow,
174
00:10:25.799 --> 00:10:27.399
this is this is something, this is going to be
175
00:10:27.399 --> 00:10:31.080
an undertaking. The difference I think with something like Heta
176
00:10:31.200 --> 00:10:34.120
and this canonical work is you have such a storied
177
00:10:34.240 --> 00:10:36.879
history that's come before you, and such a collection of
178
00:10:36.919 --> 00:10:40.879
illustrious humans that have taken on the material, and then
179
00:10:40.960 --> 00:10:44.639
the material is beastly, you know, the material is like
180
00:10:45.000 --> 00:10:50.559
is big. So I felt like the for me, it's
181
00:10:50.679 --> 00:10:53.879
requisite to have some energy of like ah, but I
182
00:10:53.919 --> 00:10:57.240
felt that times a thousand in approaching this, And I
183
00:10:57.240 --> 00:10:59.279
think the only way that I knew how to do
184
00:10:59.360 --> 00:11:02.480
it was to to deal with it head on. So
185
00:11:03.039 --> 00:11:05.320
I had never seen had a Gabbler on stage. I
186
00:11:05.360 --> 00:11:07.159
was like, I just have to see every version that
187
00:11:07.200 --> 00:11:08.840
I can see so that I can put it to bed,
188
00:11:08.919 --> 00:11:12.960
because otherwise I will think the performances will loom so
189
00:11:13.120 --> 00:11:16.480
huge for me actually if I don't see them, you know,
190
00:11:16.600 --> 00:11:19.600
like if I'm imagining what Keith Blenchett did, it's going
191
00:11:19.679 --> 00:11:21.759
to actually freak me out more than if I just
192
00:11:21.879 --> 00:11:24.759
engage with it and look at it. And also I
193
00:11:24.799 --> 00:11:27.000
wanted to understand the text. I wanted to be like,
194
00:11:27.080 --> 00:11:30.440
why has this text compelled us for centuries? Why does
195
00:11:30.480 --> 00:11:33.360
the play work as well as it does? And also
196
00:11:33.399 --> 00:11:35.559
because I knew we wanted to make something we were
197
00:11:35.639 --> 00:11:37.879
gonna we were going to take it apart, or Nia
198
00:11:37.919 --> 00:11:40.120
already had with her script and take it apart and
199
00:11:40.159 --> 00:11:42.960
put it back together. I kind of wanted to understand
200
00:11:43.000 --> 00:11:45.240
the original construction. It's sort of like you have to
201
00:11:45.600 --> 00:11:48.360
you have to understand the rules to break them in
202
00:11:48.399 --> 00:11:51.759
a way. So so I think in my inquiry and
203
00:11:51.799 --> 00:11:54.679
looking at all of the past productions, I realized like
204
00:11:54.799 --> 00:11:59.840
I was safe because A when you take in ideas,
205
00:12:00.159 --> 00:12:03.000
you always put it through your funnel. It's always moving
206
00:12:03.080 --> 00:12:08.279
through you and your own humanity. So it's it's gonna
207
00:12:08.320 --> 00:12:10.720
it's gonna be yours. And then b I think I
208
00:12:10.759 --> 00:12:14.200
was supported by this new construction that Nia made where
209
00:12:14.279 --> 00:12:17.080
I was like, we're just making a new a new beast,
210
00:12:17.120 --> 00:12:19.480
and I can be set free. And then also just
211
00:12:19.559 --> 00:12:23.080
doing work in other more spontaneous, doing dream work and
212
00:12:23.120 --> 00:12:26.279
working with the subconscious and just like allowing myself to
213
00:12:26.960 --> 00:12:30.320
really free up myself so that I wasn't approaching it
214
00:12:30.720 --> 00:12:33.919
as academically as maybe I began. And in funny ways,
215
00:12:34.240 --> 00:12:35.840
I feel like that tension, it's sort of the tension
216
00:12:35.840 --> 00:12:38.120
in the movie. There's like one part of me that
217
00:12:38.279 --> 00:12:40.480
was like very academic and studious, and the other part
218
00:12:40.519 --> 00:12:43.320
of me it was like, wow, we're just making something
219
00:12:43.840 --> 00:12:47.559
in that And I think that that like internal tension
220
00:12:47.600 --> 00:12:51.440
actually is what the film. It is the film. So
221
00:12:51.519 --> 00:12:53.200
it felt like the right approach for me.
222
00:12:54.080 --> 00:12:57.200
Well, well it works. Thank you both so much for
223
00:12:57.240 --> 00:12:59.120
this work and all that you do. I love both
224
00:12:59.120 --> 00:13:01.120
of your work, I really really do, and I can't
225
00:13:01.159 --> 00:13:03.879
wait for everybody to see you. Head Thank you so much.
226
00:13:04.200 --> 00:13:06.799
Thank you have a great day.
227
00:13:07.759 --> 00:13:14.559
Tessa Thompson and Nia da Costa. Love love love them both,
228
00:13:14.960 --> 00:13:17.279
and I love Heada. Like I said, I can't wait
229
00:13:17.399 --> 00:13:20.720
till you watch it because I can't wait to talk
230
00:13:20.759 --> 00:13:23.720
about it with you. So once you watch it prime video,
231
00:13:24.600 --> 00:13:29.480
hit me up either on socials, email messages, whatever, carrier pigeon,
232
00:13:30.200 --> 00:13:33.960
and let's dive in to this incredible film.
233
00:13:34.519 --> 00:13:36.720
That's it for this episode of pop Culture Weekly.
234
00:13:36.840 --> 00:13:40.320
Huge thanks to my guest Nina Haas, Tom Bateman, Nia DaCosta,
235
00:13:40.399 --> 00:13:43.120
and Tessa Thompson for diving into the world of heada
236
00:13:43.240 --> 00:13:46.679
with me. If you enjoyed this episode, make sure to subscribe, rate,
237
00:13:46.759 --> 00:13:49.519
and share it with your fellow pop culture lovers. You
238
00:13:49.519 --> 00:13:53.799
can get ch pop Culture Weekly on iHeartRadio, Apple Podcasts, Spotify, YouTube,
1
00:00:00.200 --> 00:00:02.759
2
00:00:02.879 --> 00:00:06.440
3
00:00:06.480 --> 00:00:09.800
4
00:00:10.039 --> 00:00:10.519
5
00:00:12.439 --> 00:00:16.600
6
00:00:17.079 --> 00:00:21.760
7
00:00:21.920 --> 00:00:26.000
8
00:00:26.480 --> 00:00:28.399
9
00:00:30.160 --> 00:00:34.560
10
00:00:34.560 --> 00:00:38.240
11
00:00:38.280 --> 00:00:42.359
12
00:00:42.439 --> 00:00:46.000
13
00:00:46.039 --> 00:00:49.079
14
00:00:49.200 --> 00:00:53.520
15
00:00:53.600 --> 00:00:57.840
16
00:00:57.840 --> 00:01:02.679
17
00:01:02.880 --> 00:01:08.400
18
00:01:09.439 --> 00:01:12.400
19
00:01:12.480 --> 00:01:17.040
20
00:01:17.120 --> 00:01:21.599
21
00:01:21.640 --> 00:01:25.680
22
00:01:25.760 --> 00:01:30.239
23
00:01:30.480 --> 00:01:34.000
24
00:01:34.040 --> 00:01:38.439
25
00:01:38.560 --> 00:01:42.920
26
00:01:43.000 --> 00:01:47.239
27
00:01:47.280 --> 00:01:49.799
28
00:01:51.840 --> 00:01:54.200
29
00:01:54.239 --> 00:01:58.040
30
00:01:58.079 --> 00:01:58.519
31
00:01:58.840 --> 00:02:02.359
32
00:02:02.439 --> 00:02:06.359
33
00:02:06.560 --> 00:02:13.199
34
00:02:13.400 --> 00:02:17.039
35
00:02:17.039 --> 00:02:19.759
36
00:02:21.000 --> 00:02:25.360
37
00:02:25.439 --> 00:02:28.400
38
00:02:28.520 --> 00:02:33.080
39
00:02:33.159 --> 00:02:36.599
40
00:02:36.680 --> 00:02:40.039
41
00:02:40.080 --> 00:02:45.520
42
00:02:45.599 --> 00:02:49.719
43
00:02:49.759 --> 00:02:52.639
44
00:02:52.680 --> 00:02:57.319
45
00:02:57.520 --> 00:03:01.360
46
00:03:01.639 --> 00:03:05.319
47
00:03:05.800 --> 00:03:11.599
48
00:03:12.599 --> 00:03:15.840
49
00:03:16.080 --> 00:03:19.360
50
00:03:19.439 --> 00:03:23.800
51
00:03:23.840 --> 00:03:26.639
52
00:03:26.680 --> 00:03:31.319
53
00:03:31.400 --> 00:03:36.280
54
00:03:36.560 --> 00:03:38.639
55
00:03:38.680 --> 00:03:43.680
56
00:03:43.719 --> 00:03:49.719
57
00:03:49.759 --> 00:03:53.000
58
00:03:53.039 --> 00:03:57.039
59
00:03:57.120 --> 00:04:00.639
60
00:04:00.719 --> 00:04:04.240
61
00:04:04.319 --> 00:04:07.439
62
00:04:07.520 --> 00:04:13.240
63
00:04:13.319 --> 00:04:16.160
64
00:04:16.199 --> 00:04:19.439
65
00:04:19.759 --> 00:04:22.920
66
00:04:22.959 --> 00:04:28.000
67
00:04:28.279 --> 00:04:30.120
68
00:04:30.279 --> 00:04:30.560
69
00:04:32.000 --> 00:04:36.519
70
00:04:36.560 --> 00:04:39.519
71
00:04:39.560 --> 00:04:43.360
72
00:04:43.439 --> 00:04:47.680
73
00:04:47.720 --> 00:04:50.000
74
00:04:50.040 --> 00:04:52.800
75
00:04:52.839 --> 00:04:57.519
76
00:04:57.600 --> 00:05:00.800
77
00:05:00.800 --> 00:05:03.600
78
00:05:03.639 --> 00:05:06.040
79
00:05:06.040 --> 00:05:08.040
80
00:05:08.040 --> 00:05:12.040
81
00:05:12.040 --> 00:05:15.800
82
00:05:15.879 --> 00:05:16.800
83
00:05:16.879 --> 00:05:17.680
84
00:05:17.720 --> 00:05:17.759
85
00:05:18.160 --> 00:05:20.720
86
00:05:20.959 --> 00:05:22.959
87
00:05:23.000 --> 00:05:26.120
88
00:05:26.160 --> 00:05:29.600
89
00:05:29.639 --> 00:05:34.399
90
00:05:35.000 --> 00:05:36.519
91
00:05:36.639 --> 00:05:37.000
92
00:05:37.079 --> 00:05:37.920
93
00:05:38.000 --> 00:05:40.279
94
00:05:40.399 --> 00:05:43.120
95
00:05:43.160 --> 00:05:45.040
96
00:05:45.439 --> 00:05:46.600
97
00:05:47.160 --> 00:05:55.120
98
00:05:55.240 --> 00:06:00.439
99
00:06:00.480 --> 00:06:05.839
100
00:06:06.160 --> 00:06:09.319
101
00:06:09.360 --> 00:06:14.560
102
00:06:14.639 --> 00:06:16.439
103
00:06:16.480 --> 00:06:20.079
104
00:06:20.120 --> 00:06:23.480
105
00:06:23.480 --> 00:06:26.600
106
00:06:27.040 --> 00:06:31.240
107
00:06:31.319 --> 00:06:33.120
108
00:06:33.480 --> 00:06:33.959
109
00:06:34.000 --> 00:06:43.639
110
00:06:44.120 --> 00:06:48.480
111
00:06:48.600 --> 00:06:56.040
112
00:06:56.079 --> 00:07:02.079
113
00:07:02.199 --> 00:07:07.360
114
00:07:07.399 --> 00:07:11.319
115
00:07:11.399 --> 00:07:19.279
116
00:07:19.800 --> 00:07:23.720
117
00:07:23.759 --> 00:07:27.399
118
00:07:27.399 --> 00:07:30.560
119
00:07:30.680 --> 00:07:34.399
120
00:07:37.120 --> 00:07:37.600
121
00:07:37.680 --> 00:07:39.319
122
00:07:39.360 --> 00:07:40.240
123
00:07:40.279 --> 00:07:44.120
124
00:07:43.879 --> 00:07:48.399
125
00:07:48.480 --> 00:07:53.959
126
00:07:53.959 --> 00:07:56.600
127
00:07:56.920 --> 00:08:00.160
128
00:08:00.519 --> 00:08:01.279
129
00:08:01.680 --> 00:08:09.120
130
00:08:09.319 --> 00:08:11.040
131
00:08:11.639 --> 00:08:15.959
132
00:08:15.800 --> 00:08:18.360
133
00:08:19.120 --> 00:08:20.759
134
00:08:20.759 --> 00:08:24.519
135
00:08:25.560 --> 00:08:27.600
136
00:08:27.680 --> 00:08:33.120
137
00:08:33.159 --> 00:08:35.200
138
00:08:35.240 --> 00:08:40.440
139
00:08:40.480 --> 00:08:44.039
140
00:08:44.080 --> 00:08:46.600
141
00:08:46.639 --> 00:08:48.559
142
00:08:48.559 --> 00:08:50.519
143
00:08:50.559 --> 00:08:52.639
144
00:08:52.759 --> 00:08:54.840
145
00:08:55.799 --> 00:08:58.639
146
00:08:58.679 --> 00:09:02.559
147
00:09:02.600 --> 00:09:04.879
148
00:09:04.919 --> 00:09:06.879
149
00:09:07.559 --> 00:09:09.639
150
00:09:09.639 --> 00:09:12.759
151
00:09:12.799 --> 00:09:18.200
152
00:09:18.440 --> 00:09:20.960
153
00:09:21.000 --> 00:09:24.879
154
00:09:24.879 --> 00:09:26.120
155
00:09:26.159 --> 00:09:28.759
156
00:09:28.799 --> 00:09:31.159
157
00:09:31.200 --> 00:09:34.919
158
00:09:35.600 --> 00:09:39.120
159
00:09:39.279 --> 00:09:43.600
160
00:09:43.639 --> 00:09:47.240
161
00:09:47.039 --> 00:09:53.519
162
00:09:53.600 --> 00:09:56.679
163
00:09:56.720 --> 00:10:00.240
164
00:10:00.279 --> 00:10:02.200
165
00:10:03.039 --> 00:10:03.279
166
00:10:03.279 --> 00:10:07.759
167
00:10:07.960 --> 00:10:08.440
168
00:10:10.039 --> 00:10:10.720
169
00:10:13.000 --> 00:10:13.600
170
00:10:13.600 --> 00:10:16.600
171
00:10:16.600 --> 00:10:19.120
172
00:10:19.200 --> 00:10:21.840
173
00:10:21.919 --> 00:10:25.519
174
00:10:25.799 --> 00:10:27.399
175
00:10:27.399 --> 00:10:31.080
176
00:10:31.200 --> 00:10:34.120
177
00:10:34.240 --> 00:10:36.879
178
00:10:36.919 --> 00:10:40.879
179
00:10:40.960 --> 00:10:44.639
180
00:10:45.000 --> 00:10:50.559
181
00:10:50.679 --> 00:10:53.879
182
00:10:53.919 --> 00:10:57.240
183
00:10:57.240 --> 00:10:59.279
184
00:10:59.360 --> 00:11:02.480
185
00:11:03.039 --> 00:11:05.320
186
00:11:05.360 --> 00:11:07.159
187
00:11:07.200 --> 00:11:08.840
188
00:11:08.919 --> 00:11:12.960
189
00:11:13.120 --> 00:11:16.480
190
00:11:16.600 --> 00:11:19.600
191
00:11:19.679 --> 00:11:21.759
192
00:11:21.879 --> 00:11:24.759
193
00:11:24.799 --> 00:11:27.000
194
00:11:27.080 --> 00:11:30.440
195
00:11:30.480 --> 00:11:33.360
196
00:11:33.399 --> 00:11:35.559
197
00:11:35.639 --> 00:11:37.879
198
00:11:37.919 --> 00:11:40.120
199
00:11:40.159 --> 00:11:42.960
200
00:11:43.000 --> 00:11:45.240
201
00:11:45.600 --> 00:11:48.360
202
00:11:48.399 --> 00:11:51.759
203
00:11:51.799 --> 00:11:54.679
204
00:11:54.799 --> 00:11:59.840
205
00:12:00.159 --> 00:12:03.000
206
00:12:03.080 --> 00:12:08.279
207
00:12:08.320 --> 00:12:10.720
208
00:12:10.759 --> 00:12:14.200
209
00:12:14.279 --> 00:12:17.080
210
00:12:17.120 --> 00:12:19.480
211
00:12:19.559 --> 00:12:23.080
212
00:12:23.120 --> 00:12:26.279
213
00:12:26.960 --> 00:12:30.320
214
00:12:30.720 --> 00:12:33.919
215
00:12:34.240 --> 00:12:35.840
216
00:12:35.840 --> 00:12:38.120
217
00:12:38.279 --> 00:12:40.480
218
00:12:40.519 --> 00:12:43.320
219
00:12:43.840 --> 00:12:47.559
220
00:12:47.600 --> 00:12:51.440
221
00:12:51.519 --> 00:12:53.200
222
00:12:54.080 --> 00:12:57.200
223
00:12:57.240 --> 00:12:59.120
224
00:12:59.120 --> 00:13:01.120
225
00:13:01.159 --> 00:13:03.879
226
00:13:04.200 --> 00:13:06.799
227
00:13:07.759 --> 00:13:14.559
228
00:13:14.960 --> 00:13:17.279
229
00:13:17.399 --> 00:13:20.720
230
00:13:20.759 --> 00:13:23.720
231
00:13:24.600 --> 00:13:29.480
232
00:13:30.200 --> 00:13:33.960
233
00:13:34.519 --> 00:13:36.720
234
00:13:36.840 --> 00:13:40.320
235
00:13:40.399 --> 00:13:43.120
236
00:13:43.240 --> 00:13:46.679
237
00:13:46.759 --> 00:13:49.519
238
00:13:49.519 --> 00:13:53.799