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Speaker 1: On the Beck Doll Cast, the questions asked if movies

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Speaker 1: have women in them, are all their discussions just boyfriends

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Speaker 1: and husbands, or do they have individualism? The patriarchy? Zef

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Speaker 1: invest start changing it with the bec Del Cast. Jamie caivin,

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Speaker 1: Oh what a day, What a lovely day? Witness me.

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Speaker 1: It's my birthday. I'm oh, my god, I get it.

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Speaker 1: I get it. I understand. What a lovely day for

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Speaker 1: it to be my birthday. It's always a lovely day

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Speaker 1: for it to be your birthday. Happy birthday, Thank you,

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Speaker 1: I love you. What a day this is going to be.

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Speaker 1: I mean, this is We're not recording this on your birthday,

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Speaker 1: but I feel like it's good. We your birthday is

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Speaker 1: tends to be kind of an event. Yeah. I really

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Speaker 1: think that I'm a special person and really think that

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Speaker 1: my birthday is a special day for everyone and not

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Speaker 1: just me. Well, you're not a huge holiday person, so

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Speaker 1: this is your holiday. Like it all makes sense. Um,

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Speaker 1: I think I maybe I gave you or I didn't

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Speaker 1: give it to you because I haven't, but a part

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Speaker 1: of your birthday present the spirit channeled survivor of Titanic book,

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Speaker 1: I have to give to you amongst other things that

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Speaker 1: will be revealed at a later time. Happy birthday, thank you,

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Speaker 1: and we're doing a special I'm I'm excited. I'm excited

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Speaker 1: for this episode. I've been kind of nervous for it

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Speaker 1: because anytime we go into an episode where there's like

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Speaker 1: a lot of your like, there's just so much. But

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Speaker 1: but I'm glad. I'm glad that we're doing this. Here,

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Speaker 1: we are same, back in heaven where we live. And

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Speaker 1: what a lovely day it is. Uh. This is the

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Speaker 1: Bechtel Cast. My name is Caitlin Darante. My name is

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Speaker 1: Jamie Loftus, and this is our podcast where we examine

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Speaker 1: movies through an intersectional feminist lens, using the Bechtel Tests

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Speaker 1: simply as a jumping off point for our discussion. Jamie,

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Speaker 1: I need you to tell me on this lovely day, huh,

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Speaker 1: what the Bechdel test is. It's your birthday. I'm happy

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Speaker 1: to oblige. So. The Bechdel Test, sometimes called the Buckdel

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Speaker 1: Wallace test, is a media metric created by queer cartoonist

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Speaker 1: Alison Bechdel. There's many per mutations of this test, however,

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Speaker 1: the one we use requires the following that therapy two

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Speaker 1: characters of a marginalized gender. Sometimes sometimes my one of

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Speaker 1: my signapps is collapses mid sentence. Uh, this is like

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Speaker 1: our audition monologue that we do every week, right, because

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Speaker 1: it's like it feels so like, it feels very rehearsed

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Speaker 1: sometimes when I'm saying it, because I just like have

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Speaker 1: it so committed to memory that I'm like, wait, did

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Speaker 1: I like accidentally forget one of the That's It's just

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Speaker 1: it's a whole thing. Every time I trip myself up

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Speaker 1: because I I worry because it's so grained in my

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Speaker 1: brain that I'm going to switch a word and neither

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Speaker 1: of us will notice because we're just like, yep, that's

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Speaker 1: the monologue. This is our tomorrow and Tomorrow and tomorrow

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Speaker 1: creeps in this petty pace. Wait, what is that a

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Speaker 1: reference to? I don't think that this doesn't pass the

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Speaker 1: back because this is it's a Shakespeare passage. Everyone in

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Speaker 1: my high school had to memorize this one Shakespeare passage

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Speaker 1: Tomorrow and Tomorrow and Tomorrow creeps in this petty pace

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Speaker 1: to the last syllable of recorded time. I already sucked

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Speaker 1: it up, and all the shakespeare heads are going to

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Speaker 1: be like, you fucking do fist as as I was saying,

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Speaker 1: on your birthday, no less of all days, of all days.

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Speaker 1: So this also isn't coming out on my birthday, I

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Speaker 1: don't think, because my birthday is a Tuesday and we

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Speaker 1: always release episodes on But who knows, maybe we'll mix

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Speaker 1: it up this week. I don't know. Look, you'll find

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Speaker 1: out when you're listening. You'll know. And then if you're

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Speaker 1: listening to it, not the day it comes out, which

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Speaker 1: is probably a lot of people, you'll be like, shut up,

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Speaker 1: tell us what the Bechdel cantest is. Well, it's this,

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Speaker 1: here's the one we use. Now I'm really going to

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Speaker 1: suck it up. We were calling. We require that we

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Speaker 1: our version, you've got to have two characters of a

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Speaker 1: marginalized gender with names speak to each other about something

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Speaker 1: other than a man for more than two lines of dialogue.

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Speaker 1: And these lines of dialogue should be narratively significant in

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Speaker 1: some way, shape or form, not throw away dialogue for

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Speaker 1: crying out loud and uh, you know, because of the

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Speaker 1: movie we're covering, it's smooth sailing baby, not a problem.

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Speaker 1: It's not a problem from the director that brought you

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Speaker 1: Babe Pig in the City and Happy Feet one and two.

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Speaker 1: Oh my gosh, I found someone took it upon themselves

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Speaker 1: to write a passage on scholarly journal Wikipedia of about

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Speaker 1: the thematic similarities between happy Feet and mad Max Fury

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Speaker 1: Road and it actually completely scans. Yeah. Well, I talked

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Speaker 1: about happy Feet on blank check and I pointed out

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Speaker 1: speaking of being scholarly in a very scholarly way, I

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Speaker 1: pointed out some of those same similarities. So an environmental

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Speaker 1: family story. Also, like Hugo Weaving plays this penguin that

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Speaker 1: has this like extremist religious dogma that he's like trying

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Speaker 1: to foist on to the other penguins in the penguin community,

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Speaker 1: much like a Morton Joe is like foisting this extremist

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Speaker 1: religious dogma. Look, there's a lot of there's a lot

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Speaker 1: of similarities between Mad Max Fury Road and happy Feet,

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Speaker 1: is all we're saying. I love our canonical pronunciation of

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Speaker 1: happy feet, happy feet, happy feet. Uh, there's it reminds

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Speaker 1: me of There's is one acting choice that Tom from

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Speaker 1: Succession makes, and I believe that that's his Christian name

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Speaker 1: um where every time he says he's talking about how

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Speaker 1: Chiv cheated on him on on their wedding night, he says,

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Speaker 1: on our wedding night. And I'm like, why is he

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Speaker 1: saying it like that? But he says it like it has.

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Speaker 1: He keeps saying wedding night, and it drives me. It

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Speaker 1: drives me horny. I love it. Wedding night, happy feet,

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Speaker 1: wedding to night, happy feet. I'm like, is that Shakespeare? No,

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Speaker 1: that's maybe I am bic pentameter. No, it's not. You know,

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Speaker 1: it's something though, it's something though, it's you know, I trust,

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Speaker 1: I trust, I believe that it's got to be something.

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Speaker 1: And today we're talking about mad Max fury Road. Yeah,

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Speaker 1: we are Magic Mike and Mad Max in the same

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Speaker 1: couple of I mean, we're really describing these these monosyllabic men,

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Speaker 1: aren't we. Yeah, so I guess the Magical Michael version

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Speaker 1: of Mad Max would be like mat madgening Maxwell. That

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Speaker 1: doesn't quite work, but yeah, I guess. I guess. So. Also,

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Speaker 1: Steven Soderberg loves this movie. I found so many quotes

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Speaker 1: from him being like WHOA. I was like, Wow, Magic Mike,

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Speaker 1: Mad Max, It's all coming together. Do you think that

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Speaker 1: he loved the original Mad Max so much that he

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Speaker 1: subconsciously channeled it into magic. Mike, maybe I think we

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Speaker 1: should go with this theory. Okay, no one correct us.

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Speaker 1: It's Caitlin's birthday. We can't be wrong today, exactly. I

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Speaker 1: can be wrong. You can yell at me except that. Yeah,

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Speaker 1: but I am infallible today. You're untouchable. You should say

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Speaker 1: anything really fucked up? Alright, Caitlin. Okay. So, and and

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Speaker 1: last last thing. If if you're if you've been with

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Speaker 1: us since the beginning, almost six years at this point,

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Speaker 1: and you're like, hey, didn't these ladies cover Mad Max

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Speaker 1: at some point? Yes, we did. It was extremely early

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Speaker 1: in the podcast, one of our first episodes. Yeah, and

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Speaker 1: there was a couple early episodes that of about a

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Speaker 1: year and a half ago, We're like, we want to

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Speaker 1: redo these. We've learned so much through doing this show

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Speaker 1: and just through the general evolution of society and time,

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Speaker 1: and this was one of the movies we've always been

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Speaker 1: wanting to redo. So it's not in your imagination, but

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Speaker 1: this is the all new and improved Matt Max Fury

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Speaker 1: Road episode Exactly. We are now better equipped to tackle

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Speaker 1: the discussion that we want to have around this movie,

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Speaker 1: especially because it has since recording that original episode. It

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Speaker 1: has become one of my favorite movies of all time.

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Speaker 1: Hence also why we're doing it for my birthday, and

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Speaker 1: since it came out, because we covered it like about

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Speaker 1: a year after it came out, I think roughly something

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Speaker 1: like that, maybe yeah, because it came out in yeah,

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Speaker 1: this summer of and then we recorded the episode early.

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Speaker 1: It was not that long after. And now it's you know,

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Speaker 1: considered for many the greatest action movie ever made. So

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Speaker 1: we can talk about how the perception of the movie

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Speaker 1: has some evolved as well. Certainly there's there's just there's

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Speaker 1: you know, the passage of time and can I just

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Speaker 1: say from s to now no notes societally, so, um,

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Speaker 1: I don't think anything has really happened now we're living

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Speaker 1: in the greatest timeline. Um so. So Caitlin the birthday gal,

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Speaker 1: please do tell me what is your history with Mad

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Speaker 1: Max Fury Road. I did see it in theaters when

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Speaker 1: it came out, I think probably opening weekend. I was

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Speaker 1: pretty jazzed to see it based on the trailers in

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Speaker 1: the marketing and it thing, and I was blown away

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Speaker 1: and have only developed a greater appreciation for it more

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Speaker 1: and more as time goes on. I would say, I've

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Speaker 1: seen this movie somewhere between like sixty and seventy times. Yeah,

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Speaker 1: I didn't know it was that serious. It is. It's

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Speaker 1: pretty serious because it's one of those movies that I

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Speaker 1: am never not in the mood to watch. So like

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Speaker 1: I am just I will throw it on. It's my

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Speaker 1: plane movie. So anytime I on a flight, I will

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Speaker 1: watch this movie both times. So on my journey to

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Speaker 1: the place and then on my journey back home. I

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Speaker 1: watch it on dates all the time. Uh an emphasis

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Speaker 1: on all the time, because I'm always going on dates.

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Speaker 1: Having a Greg, you do go on many successful dates,

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Speaker 1: and I would not call them successful, but sorry, go ahead,

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Speaker 1: it's your birthday. I'm I'm I'm fluffing. I'm fluffing it's

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Speaker 1: your birthday. Yes, No, I'm so good at dating. I'm

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Speaker 1: so good at finding people I'm compatible with. It's an

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Speaker 1: incredible phenomenon. It's you can't stop falling in love. That

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Speaker 1: it is good to have go to date movies. I

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Speaker 1: my no, the jinks I was gonna says, I've got

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Speaker 1: to change it. I've got to grow as a person.

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Speaker 1: But that's one way where I very firmly I have

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Speaker 1: not that's okay, that's okay. You know, sometimes it's fine

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Speaker 1: to be absolutely static. Here's in some ways it is comforting.

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Speaker 1: But in that one, I would say, maybe it could

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Speaker 1: it could go. Um, Caitlin, were you Did you ever

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Speaker 1: watch the original Mad Max movies? Yes, so I have

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Speaker 1: seen all of those, but I have no real attachment

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Speaker 1: to them, especially compared to the Hatchman I feel to

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Speaker 1: this movie. That was what I was curious about, because

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Speaker 1: it seems like there's a few camps of fans of

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Speaker 1: this franchise, some of whom are like this movie, and

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Speaker 1: then some of whom are like all Max Cannon. Yeah,

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Speaker 1: um no, I am not thrilled with any of the others,

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Speaker 1: mainly that Mel Gibson cannot stomach watching anything he's in

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Speaker 1: except for Chicken Run, which you only hear his voice.

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Speaker 1: So I give it a path and it still feels bad.

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Speaker 1: And it still feels bad. Um yeah, I do. I mean,

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Speaker 1: there will will be talking about in plenty today, but

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Speaker 1: I do think that George Miller is a very interesting

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Speaker 1: case of a filmmaker who has demonstrated a lot of

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Speaker 1: growth throughout his career. Although there's a lot that I

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Speaker 1: learned about the protection of this movie. That sounded, uh,

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Speaker 1: not great. We'll get there, yeah, for sure. Um, but

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Speaker 1: it's really only this installment Fury Road that I have

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Speaker 1: any attachment to, so much that I got a tattoo

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Speaker 1: of the war rig that Furioso drives on my arm,

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Speaker 1: and that I think concludes my relationship with this movie. Jamie,

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Speaker 1: what is your history and relationship with Mad Max Fury Road? Um?

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Speaker 1: I had only seen it to prepare for the first time.

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Speaker 1: We did this episode about five years ago. That was

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Speaker 1: the first time I saw it. Didn't like it the

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Speaker 1: first time. This was in a phase of life where

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Speaker 1: I was deeply against any aesthetic I perceived to be

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Speaker 1: remotely steampunk. Look, I was in my early twenties. I

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Speaker 1: was just I. I had a hot take. I clung

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Speaker 1: to it. I don't stand by it, I will say,

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Speaker 1: speaking of growth, Speaking of growth, I really I've seen

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Speaker 1: this movie a couple of times in the interim, Um,

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Speaker 1: I think at least once with you, but I like

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Speaker 1: it more or each time I see it, I feel

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Speaker 1: like it. It has. It has a lot to do

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Speaker 1: with just like me understanding more about movies than I

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Speaker 1: did six years ago, understanding more about feminism, than I

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Speaker 1: did six years ago, understanding more about environmentalism than I

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Speaker 1: did sing here, and also like having a growing appreciation

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Speaker 1: for action movies. It's still not my genre. I don't

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Speaker 1: think it will ever be my genre. However, I feel

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Speaker 1: like I can now appreciate a well crafted, paste looking

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Speaker 1: ass action movie. So I've really grown to Uh. I

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Speaker 1: really love this movie. And I and I had a

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Speaker 1: really daunting, slash fun time preparing for this episode. There's

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Speaker 1: so much to go through, there's so much to talk about.

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Speaker 1: It's very dense, but it doesn't feel dense. It's such

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Speaker 1: I mean, it's I guess it's like it's so dystopian.

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Speaker 1: It's a dystopian romp. It is a romp, but it

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Speaker 1: is it's a serious upsetting. I think you you nailed it.

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Speaker 1: It's it's not totally light yet. It is still a romp,

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Speaker 1: but it is literally never not moving. That's the beauty

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Speaker 1: of romps. It's a spectrum and it's very inclusive. In

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Speaker 1: this essay, we will no but for real, probably for

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Speaker 1: a couple of hours. So that's my history. Uh. Used

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Speaker 1: to be a hater, and then I got educated and

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Speaker 1: I grew up literally as how I would describe what

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Speaker 1: happened that warms my heart? Is it my favorite George

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Speaker 1: Miller movie? It is not. That is still Babe, but

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Speaker 1: this is a close second because Happy Feet is one

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Speaker 1: we I think we've maybe talked about this in our

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Speaker 1: Babe episode which is on the Matreon, and I think

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Speaker 1: it's quite a good episode. You did an incredible segment

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Speaker 1: on how movie animals are treated in that episode. But

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Speaker 1: in any case, Happy Feet is one of those movies

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Speaker 1: that I know I have seen at least three times,

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Speaker 1: and I could not tell you a single thing that

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Speaker 1: happens in the movie. I have the same issue with

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Speaker 1: a lot of Wes Anderson movies where I'm like, I

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Speaker 1: remember how it looks, I remember how I was feeling,

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Speaker 1: couldn't tell you what happened. I could try to tell you,

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Speaker 1: and this isn't the time or place, because I've seen

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Speaker 1: it a couple of times to prepare for the blank

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Speaker 1: Check episode I did. And I think I'm in the

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Speaker 1: minority because I think that movie absolutely sucks shit. No,

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Speaker 1: I think that people didn't. I don't think that there

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Speaker 1: it was like nominated for Academy Awards like I think

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Speaker 1: it was like, but people responded to it well like audiences.

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Speaker 1: Was it well reviewed? It was well reviewed? Bizarre? I mean,

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Speaker 1: I understand why kids, my my. Anyways, you know what, ultimately,

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Speaker 1: if Happy Feet hadn't performed while the box office in critically,

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Speaker 1: we wouldn't have Mad Max Fury Road, now, would we?

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Speaker 1: Or so I read is true? Yeah? So you know,

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Speaker 1: no matter where you fall on the Happy Feet criticism enjoyment,

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Speaker 1: o'met or um, you gotta hand it, you gotta foot

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Speaker 1: it to the Happy Feet because if that boring ass

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Speaker 1: movie I can't remember with Elijah Wood Penguin, am I correct? Correct? Correct?

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Speaker 1: You know, then we wouldn't have this awesome movie we're

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Speaker 1: talking about today. True? Should we start talking about it? Yeah?

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Speaker 1: Let me do the recap, shall I? Let's do it.

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Speaker 1: So we hear some sound bites at the very beginning

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Speaker 1: about water and fossil fuel shortages. We hear about wars

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Speaker 1: that have happened as a result. We hear about like

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Speaker 1: nuclear skirmish. We see a barren wasteland, and then we

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Speaker 1: meet Max Rockatanski played by Tom Hardy. We get some

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Speaker 1: voice over from him in which he says that the

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Speaker 1: only thing he cares about is survival. Max is then

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Speaker 1: pursued by war boys who capture him and take him

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Speaker 1: to this place called the Citadel, which is ruled by

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Speaker 1: and Morton Joe played by Hugh keys Burn. He is

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Speaker 1: this tyrannical leader who controls access to people's food and

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Speaker 1: water in the Citadel. Right. He has a bunch of

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Speaker 1: people working for him, many of whom are his offspring Others.

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Speaker 1: On the Wikipedia page someone it might not be true

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Speaker 1: by the time you listen to this episode, but someone

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Speaker 1: keeps referring to one of the sons as his large

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Speaker 1: adult son um. Would that be Rectus erectus. Yes, yes,

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Speaker 1: Rectus erectus is repeatedly referred to as a large adult

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Speaker 1: son and uh an accurate description of the character. It

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Speaker 1: is hard to tell because of how they're at this.

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Speaker 1: They're stylized. You're like, which which son is which? It's confusing, sure,

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Speaker 1: but that's the point that. Yeah. Others are people that

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Speaker 1: he has either enslaved or manipulated via this religious ideology

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Speaker 1: where a Morton Joe has convinced them that he is

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Speaker 1: their redeemer and they will ride with him eternal on

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Speaker 1: the highways of Valhalla. It is all I mean, and

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Speaker 1: I do I do appreciate the use of Like any

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Speaker 1: time there's like Norse mythology popping up, you're like, mmmm,

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Speaker 1: this is probably not a character I'm going to end

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Speaker 1: up rooting for, which is an interesting story convention that

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Speaker 1: pops up all the time. Yeah. Then we meet Furiosa,

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Speaker 1: played by Charlie's Thearren. She seems to be pretty high

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Speaker 1: up in a Morton Joe's ranks. She drives a war

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Speaker 1: rig which she boards to head to Gastown and the

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Speaker 1: Bullet Farm, to neighboring communities that barter and trade with

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Speaker 1: the Citadel. We will soon find out that they have

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Speaker 1: similar tyrannical warmongering leadership. As Furiosa is driving, she veers

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Speaker 1: off course. We are not sure why at first, but

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Speaker 1: then we realized that in her war rig, furio Set

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Speaker 1: has Morton Joe's wives a k a. Women who he

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Speaker 1: has enslaved and who he assaults in order to bear

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Speaker 1: him healthy offspring, and Furiosa is attempting to rescue these

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Speaker 1: women and escape once and for all, and they are

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Speaker 1: headed to somewhere called the Green Place. When Morton Joe

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Speaker 1: discovers this, he sends out a bunch of his war

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Speaker 1: boys in their vehicles to chase after and catch Furiosa

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Speaker 1: and bring the wives back again. I just love the

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Speaker 1: simple turn of phrase that is war boys, because that's

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Speaker 1: how I would describe them if I didn't know what

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Speaker 1: they were called. And that is just what they're called.

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Speaker 1: That it's just what they're called. Yes, this movie is

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Speaker 1: perhaps not subtle, no, but but you know that. But

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Speaker 1: that's how we why we go to action movies. We

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Speaker 1: don't go to action movies for the subtlety. I go

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Speaker 1: to Babe for subtlety. And I kind of mean that. Yeah.

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Speaker 1: So one such war boy is Nuts, played by Nicholas Holt,

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Speaker 1: who Max has been rigged up to as Nux is

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Speaker 1: blood bag because a lot of the war boys are

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Speaker 1: dying from radiation poisoning and they need regular blood transfusions. Right,

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Speaker 1: So you immediately see how characters of all genders are

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Speaker 1: reduced to the basic functions of their body by and

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Speaker 1: Morton Joe at all, Right, exactly, So Nucks wanting to

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Speaker 1: participate in this chase to catch Furiosa, he takes Max

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Speaker 1: along with him in this pursuit. Uh. Then we get

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Speaker 1: the first big chase of the movie, where Furiosa manages

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Speaker 1: to lose a Morton Joe and his war party in

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Speaker 1: a sandstorm, but afterward Max finds her and the other women,

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Speaker 1: the wives who are splendid and her played by Rosie

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Speaker 1: Huntington's Whiteley. Okay, transformers. Oh that's the only other thing

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Speaker 1: I know. She wasn't got it yep capable played by

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Speaker 1: Riley Kyo, who I've seen this movie a bazillion times

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Speaker 1: and when I was watching Zola to prep for that episode,

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Speaker 1: did not realize it was the same actor. I mean,

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Speaker 1: the power of a red Die job cannot be understated.

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Speaker 1: I think she's great in this movie, too. Agree, Yeah,

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Speaker 1: I mean I think all the all the wives are

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Speaker 1: are very talented for sure. We've also got Toast the

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Speaker 1: Knowing played by Zoe Kravitz. We've got name Cheeto, the

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Speaker 1: fragile played by Courtney Eaton, and we've got name and

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Speaker 1: we've got the Dag played by Abby Lee. So when

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Speaker 1: Max comes upon them, he and Furious to fight, and

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Speaker 1: Max attempts to hijack Furious as war rig and leave

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Speaker 1: all of the women to be captured by a Morton Joe,

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Speaker 1: but Furiosa has kill switches enabled on the rig, so

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Speaker 1: Max cannot drive away, and she bargains with him, and

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Speaker 1: then they all set off together, with Furiosa driving but

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Speaker 1: Max holding them all hostage. Then Furiosa drives to this

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Speaker 1: canyon where she has bartered for safe passage through, but

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Speaker 1: a Morton Joe has caught back up to them, along

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Speaker 1: with the people eater of gas Town and the bullet

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Speaker 1: farmer from You'll never guess this the Bullet Farm. I

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Speaker 1: do appreciate. Yeah, again, just with the simplicity of the names.

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Speaker 1: It's helpful. There's a lot of characters, and I just

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Speaker 1: like how he names them by what they do or

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Speaker 1: sort of how you would kind of describe what you

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Speaker 1: think they might do. Right, It's helpful. It is so

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Speaker 1: wait quick question, Yeah, is it Nicholas Holt that you

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Speaker 1: have a huge crush on? I do have an enormous

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Speaker 1: crush on Nicholas Holt, is true, Okay, I was just

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Speaker 1: checking in about that. Thank you for confirming and taking

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Speaker 1: away love a little aside where we simply cannot pass

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Speaker 1: the Bectel test. Look, we're no one's asking life to

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Speaker 1: pass the Actel test, although it, you know, could be

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Speaker 1: it would probably be a generally better experience life, but um,

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Speaker 1: you know, it's a quick detour to be horny about

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Speaker 1: Nicholas Holt, no further questions. I also didn't realize that

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Speaker 1: Nux is Nicholas Holt, because I mean, it's a it's

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Speaker 1: a really good performance, but it could be any person

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Speaker 1: in there. A lot of his recognizable features are they're

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Speaker 1: all kind of like buff looking slenderman bob a Duke types.

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Speaker 1: The war Yeah, yeah, yeah, the war Boys are Yeah,

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Speaker 1: just to pack a slenderman Zimbaba Dukes. Yes. Okay. So

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Speaker 1: with these three war parties in hot pursuit, everything goes

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Speaker 1: wrong in this like situation where Furious is trying to

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Speaker 1: barter for safe passage. There's another big chase. This one

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Speaker 1: is my favorite one of the movie, by the way,

390
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Speaker 1: during and after which Max and Furiosa go from being

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Speaker 1: enemies where he is holding her hostage. Two allies who

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Speaker 1: are working together who are slowly realizing that they have

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Speaker 1: not too dissimilar backstory. Sure. Also during this chase, Angered

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Speaker 1: is killed or maybe at this point just fatally wounded,

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Speaker 1: which slows down and morton Joe for a while because

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Speaker 1: she was his favorite and she also had a nearly

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Speaker 1: full term pregnancy and he is concerned about the baby surviving.

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Speaker 1: So this allows Furioso, Max and the rest of the

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Speaker 1: wives to get away and they drive onward toward the

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Speaker 1: green Place. Meanwhile, Capable discovers nuts on the rig. He's

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Speaker 1: having a crisis. The two of them become friends, and

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Speaker 1: he switches sides and becomes an ally too. Furiosa and friends.

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Speaker 1: I would watch that. I would watch that children's show

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00:26:27,720 --> 00:26:32,680
Speaker 1: that's spin off. Yes. Meanwhile and Morton, Joe and the

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Speaker 1: war parties are not far behind again, and they're all

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Speaker 1: driving through this like marshy swampy area. Everyone is getting stuck.

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Speaker 1: Our friends get unstuck with Nux's help, and they continue

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Speaker 1: onward and eventually they come upon the Volvelini, this band

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Speaker 1: of women who live in the middle of the desert.

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Speaker 1: It's the clan not a very subtle nation. I was like,

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Speaker 1: are they saying Volvolini and it's it's volvoly It does

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Speaker 1: sound like it's vagina pasta that is being described for me.

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Speaker 1: For me, it sounded like a plate full of vagina. Yeah,

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Speaker 1: I don't disagree. They are also known as the Many Mothers.

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Speaker 1: They are the clan that Furiosa used to be a

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Speaker 1: part of until she was kidnapped, stolen, and taken to

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Speaker 1: the citadel. They tell Furiosa that the green place no

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Speaker 1: longer exists. Earth had become to sour, the water became poison,

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Speaker 1: nothing would grow, so they had to get out of there.

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Speaker 1: Not a relatable thing at all there are, I mean yeah,

421
00:27:48,040 --> 00:27:50,159
Speaker 1: and each time you watch this movie, you're just like, wof,

422
00:27:50,840 --> 00:27:54,480
Speaker 1: had you told me that in six years? Perhaps not

423
00:27:54,640 --> 00:28:00,600
Speaker 1: the aesthetic, but the water wars. They're a common baby

424
00:28:00,800 --> 00:28:03,600
Speaker 1: people and maybe I need to stop doing this, or

425
00:28:03,600 --> 00:28:06,720
Speaker 1: maybe I need to do it more. But anytime someone where,

426
00:28:09,680 --> 00:28:16,160
Speaker 1: anytime someone refers to how things might be in like

427
00:28:16,400 --> 00:28:21,240
Speaker 1: twenty or thirty years from now, I'm like, yeah, that's plausible,

428
00:28:21,280 --> 00:28:24,600
Speaker 1: assuming we're not all killing each other during the water Wars.

429
00:28:25,119 --> 00:28:30,000
Speaker 1: And then they're like oh um uh yep, a little

430
00:28:30,040 --> 00:28:33,520
Speaker 1: bit nervous. But now people are like, oh no, do

431
00:28:33,560 --> 00:28:41,160
Speaker 1: you have information? So that is I think a feasible reality.

432
00:28:41,480 --> 00:28:45,040
Speaker 1: I think now more than ever, keep plugging the water wars.

433
00:28:45,040 --> 00:28:47,160
Speaker 1: People are gonna love to hear you say I told

434
00:28:47,200 --> 00:28:50,480
Speaker 1: you so all the time water Wars are on, and

435
00:28:50,520 --> 00:28:52,720
Speaker 1: then they'll shoot me in my face and then and

436
00:28:52,720 --> 00:28:55,760
Speaker 1: then steal my water. Yeah. I mean if if this

437
00:28:55,920 --> 00:29:03,720
Speaker 1: Australian documentary is do we believe Yes, it's very possible. Okay,

438
00:29:04,120 --> 00:29:06,720
Speaker 1: Furious to learning about the Green Place no longer existing

439
00:29:06,840 --> 00:29:10,360
Speaker 1: is absolutely devastating to her, especially because there's now no

440
00:29:10,520 --> 00:29:14,040
Speaker 1: place that she can kind of find this redemption she

441
00:29:14,120 --> 00:29:16,720
Speaker 1: was looking for in terms of like bringing these women

442
00:29:16,720 --> 00:29:20,440
Speaker 1: to safety and just having a place where they can

443
00:29:20,640 --> 00:29:24,680
Speaker 1: stay and survive. And then Max is like, well, wait

444
00:29:24,680 --> 00:29:26,760
Speaker 1: a minute, what if we go back to the citadel

445
00:29:27,240 --> 00:29:31,760
Speaker 1: and take control while it's undefended. Sorry, I'm gonna let

446
00:29:31,800 --> 00:29:37,200
Speaker 1: that loud motorcycle pass Martin Joe. So they turn around

447
00:29:37,600 --> 00:29:42,560
Speaker 1: and charge back towards the citadel and Morton Joe realizes

448
00:29:42,640 --> 00:29:46,480
Speaker 1: what they're doing, so he goes after them again. There's

449
00:29:46,520 --> 00:29:51,600
Speaker 1: one last, you know, big act three climactic chase. There's

450
00:29:51,600 --> 00:29:54,440
Speaker 1: a lot of ups and downs. We've got Joe trying

451
00:29:54,480 --> 00:29:59,280
Speaker 1: to abduct the wives. Furious so gets stabbed, but then

452
00:29:59,280 --> 00:30:02,520
Speaker 1: she crawls onto with Morton Joe's vehicle and rips his

453
00:30:02,800 --> 00:30:07,440
Speaker 1: face off. Oh is that a And and speaking of

454
00:30:07,600 --> 00:30:12,360
Speaker 1: face off, if you head of urture Matreon this one,

455
00:30:13,840 --> 00:30:18,080
Speaker 1: there's gonna be some faces coming off. Look big month

456
00:30:18,200 --> 00:30:21,720
Speaker 1: for no face. This is the right and no face

457
00:30:21,920 --> 00:30:27,360
Speaker 1: because no face in spirited way. This is no face

458
00:30:27,560 --> 00:30:34,400
Speaker 1: may wild, Oh God, the best of luck to future

459
00:30:34,520 --> 00:30:40,680
Speaker 1: us trying to observe this a second time. It's gonna

460
00:30:40,720 --> 00:30:44,719
Speaker 1: be all to be original horror movies. Although did you

461
00:30:44,760 --> 00:30:49,520
Speaker 1: notice there Roku originals? I think Roku Originals. I'll put

462
00:30:49,560 --> 00:30:51,920
Speaker 1: this on wax. I think Roku Originals is trying to

463
00:30:52,840 --> 00:30:56,080
Speaker 1: is trying to do something, because that that new weird

464
00:30:56,080 --> 00:30:59,840
Speaker 1: al movie starring Daniel Radcliffe is a Roku original, is it?

465
00:31:00,320 --> 00:31:02,680
Speaker 1: I did not realize that. I didn't realize they had

466
00:31:02,680 --> 00:31:05,960
Speaker 1: two nickels to rub together. Turns out they've got Harry

467
00:31:06,000 --> 00:31:13,000
Speaker 1: Potter money wild um okay, So Furious pulls a face

468
00:31:13,040 --> 00:31:18,800
Speaker 1: off Parentheses, starring Nicolas Cage and John Travolta. She rips

469
00:31:18,960 --> 00:31:23,600
Speaker 1: and morton Joe's face off, but she's also very badly injured.

470
00:31:24,160 --> 00:31:28,080
Speaker 1: So Max gives her a blood transfusion and he's like,

471
00:31:28,120 --> 00:31:30,040
Speaker 1: by the way, my name is Max. And then she's

472
00:31:30,040 --> 00:31:32,280
Speaker 1: able to get right back up on her happy feet,

473
00:31:32,720 --> 00:31:42,480
Speaker 1: and she's looking like a babe. She's looking like a babe,

474
00:31:43,040 --> 00:31:46,040
Speaker 1: and she's back in this. She's in the City Dell

475
00:31:46,560 --> 00:31:54,560
Speaker 1: on her happy feet, happy and another George Miller movie, wait,

476
00:31:54,960 --> 00:31:57,960
Speaker 1: the other one, and the Witches of Eastwick. I just

477
00:31:58,040 --> 00:32:01,760
Speaker 1: got the Wives of Eastwick with her Oh my word, wow,

478
00:32:01,920 --> 00:32:06,320
Speaker 1: is Lorenzo's oil at George Lorenzo's oil? Yeah? What does

479
00:32:06,360 --> 00:32:10,360
Speaker 1: that mean? I don't need to know. It's fine, let's

480
00:32:10,400 --> 00:32:13,560
Speaker 1: never talk about it again. Okay, not my business. Which

481
00:32:13,560 --> 00:32:16,800
Speaker 1: is a east Wick though? Check out that episode on

482
00:32:16,840 --> 00:32:19,880
Speaker 1: our Matreon. Everyone. Yeah, we have Actually we're kind of

483
00:32:19,920 --> 00:32:25,240
Speaker 1: like almost Miller completionists, wow in a way, minus Lorenzo's oil. Okay,

484
00:32:25,440 --> 00:32:28,640
Speaker 1: So Max is like, my name is Max because earlier

485
00:32:28,680 --> 00:32:35,840
Speaker 1: he refused no ship. And then they arrive at the citadel,

486
00:32:36,600 --> 00:32:43,360
Speaker 1: they gain control of it, the implication being Furiosa is

487
00:32:43,440 --> 00:32:50,640
Speaker 1: the new leader. They unleash water, so the unleash the crack. Yeah,

488
00:32:51,360 --> 00:32:53,880
Speaker 1: the people now have access to the water. And then

489
00:32:54,320 --> 00:32:57,520
Speaker 1: Max SLINKs away because he's a lone ranger or whatever,

490
00:32:57,920 --> 00:33:01,240
Speaker 1: and that is how the movie ends. So let's take

491
00:33:01,440 --> 00:33:11,280
Speaker 1: a quick break and will come back to discuss, and

492
00:33:11,320 --> 00:33:16,000
Speaker 1: we're back. Where would you like to begin? Uh? We

493
00:33:16,200 --> 00:33:21,240
Speaker 1: I know we both have truly absurd amount of notes

494
00:33:21,280 --> 00:33:23,440
Speaker 1: and things to go through. Where where would you like

495
00:33:23,560 --> 00:33:26,600
Speaker 1: to begin? My birthday friend, thank you so much. I

496
00:33:26,600 --> 00:33:29,400
Speaker 1: would like to start with I don't know if I

497
00:33:29,400 --> 00:33:32,600
Speaker 1: want to start with what I really appreciate about the

498
00:33:32,600 --> 00:33:37,360
Speaker 1: movie or what missteps I think the movie makes, because

499
00:33:37,400 --> 00:33:41,520
Speaker 1: there are certainly some of those. Yes, there certainly are

500
00:33:41,600 --> 00:33:44,120
Speaker 1: and I and there, I mean, I guess let's start there,

501
00:33:44,120 --> 00:33:47,440
Speaker 1: because I think that that list, uh, while there's plenty

502
00:33:47,480 --> 00:33:52,960
Speaker 1: to talk about, is generally shorter. So I found some

503
00:33:53,200 --> 00:33:57,280
Speaker 1: writing about this. But one thing that stood out to

504
00:33:57,320 --> 00:33:59,080
Speaker 1: me the first time I saw this movie and still

505
00:33:59,120 --> 00:34:05,000
Speaker 1: does now is um because this is such broad storytelling, uh.

506
00:34:05,240 --> 00:34:09,680
Speaker 1: And I find it frustrating because it's like George Miller

507
00:34:09,719 --> 00:34:14,280
Speaker 1: finds so many ways to subvert a lot of common

508
00:34:14,680 --> 00:34:19,160
Speaker 1: action tropes and stock character assumptions in this movie. But

509
00:34:19,280 --> 00:34:25,360
Speaker 1: I do think he uses um atypical bodies to indicate

510
00:34:25,560 --> 00:34:32,399
Speaker 1: evil or lack of morality quite a lot in yes movie. Yeah,

511
00:34:32,480 --> 00:34:37,440
Speaker 1: And it's it's a complicated discussion because disability is treated

512
00:34:37,480 --> 00:34:42,920
Speaker 1: differently or atypical bodies are treated differently based on the character. Yes,

513
00:34:43,080 --> 00:34:46,320
Speaker 1: because there is a lot of disability visibility in this movie,

514
00:34:46,400 --> 00:34:49,080
Speaker 1: but it is used in different ways. So on one hand,

515
00:34:49,680 --> 00:34:54,719
Speaker 1: you have Furiosa, the protagonist of the movie. She has

516
00:34:54,719 --> 00:34:58,560
Speaker 1: a physical disability. Her I think left arm has been

517
00:34:59,360 --> 00:35:04,719
Speaker 1: amputatd below the elbow. She uses a mechanical arm, and

518
00:35:04,800 --> 00:35:09,040
Speaker 1: attention is drawn to this, but not in a way

519
00:35:09,080 --> 00:35:13,680
Speaker 1: that's ever like she's disabled and she's so bitter about it,

520
00:35:14,280 --> 00:35:18,080
Speaker 1: the way that disabled characters are often treated in media.

521
00:35:18,320 --> 00:35:21,400
Speaker 1: It's just a part of her character. She's presented in

522
00:35:21,400 --> 00:35:26,240
Speaker 1: the movie as being extremely physically competent. She's a strong fighter,

523
00:35:26,320 --> 00:35:29,879
Speaker 1: she's a skilled marks person, and her disability is never

524
00:35:29,920 --> 00:35:34,000
Speaker 1: shown as impeding her skills in any way. Right, And

525
00:35:34,040 --> 00:35:39,319
Speaker 1: we also see her with and without the mechanical arm. Yeah, right,

526
00:35:39,760 --> 00:35:42,560
Speaker 1: And it's never like it's never commented on or drawn

527
00:35:42,600 --> 00:35:47,000
Speaker 1: attention to positive or negative. Like, it's just neutral. This

528
00:35:47,120 --> 00:35:50,120
Speaker 1: is just an aspect of her character. We are given

529
00:35:50,120 --> 00:35:55,640
Speaker 1: no information about it other than just seeing it visually.

530
00:35:55,760 --> 00:35:59,360
Speaker 1: We don't know any kind of backstory regarding this. But

531
00:36:00,120 --> 00:36:02,839
Speaker 1: it's just presented as one of the many aspects of

532
00:36:02,880 --> 00:36:06,759
Speaker 1: her character in a way that to me felt like

533
00:36:06,800 --> 00:36:10,319
Speaker 1: it had a normalizing effect, which I think is one

534
00:36:10,400 --> 00:36:13,480
Speaker 1: of the goals when it comes to representing disability in movies.

535
00:36:14,520 --> 00:36:19,759
Speaker 1: But then you have a character like and Morton Joe

536
00:36:20,000 --> 00:36:27,920
Speaker 1: who is covered in tumors, presumably having radiation poisoning. He

537
00:36:28,000 --> 00:36:33,480
Speaker 1: also uses breathing apparatus, and his disability is used to

538
00:36:34,200 --> 00:36:38,719
Speaker 1: make him seem like a more formidable opponent, especially like

539
00:36:38,760 --> 00:36:41,680
Speaker 1: in the way that the mask that he uses just

540
00:36:41,760 --> 00:36:46,920
Speaker 1: like aesthetically makes him seem scarier. Yeah, I mean, and

541
00:36:47,160 --> 00:36:51,040
Speaker 1: it's as with a lot of these issues in the movie.

542
00:36:51,040 --> 00:36:54,920
Speaker 1: It's it very much has to do with framing and

543
00:36:55,200 --> 00:37:00,960
Speaker 1: music and like how these atypical qualities are introduced to you,

544
00:37:01,840 --> 00:37:04,120
Speaker 1: because it's very I mean, it's like, there couldn't be

545
00:37:04,160 --> 00:37:09,360
Speaker 1: a more villain intro than showing a morton Joe's body

546
00:37:09,480 --> 00:37:12,040
Speaker 1: at the at the opening right to the movie. It's

547
00:37:12,200 --> 00:37:14,960
Speaker 1: very very clear how you're supposed to feel about him.

548
00:37:15,239 --> 00:37:19,319
Speaker 1: It's like movie shorthand for like, look how grotesque he is.

549
00:37:19,520 --> 00:37:25,560
Speaker 1: Obviously he's the villain. Look at this breathing apparatus he uses,

550
00:37:26,440 --> 00:37:29,200
Speaker 1: and I guess maybe you could make the argument that, like,

551
00:37:29,360 --> 00:37:34,240
Speaker 1: of course this type of tyrannical dictator would wear something

552
00:37:34,320 --> 00:37:38,759
Speaker 1: to make him seem more intimidating, because his mask is

553
00:37:38,800 --> 00:37:42,960
Speaker 1: this sort of grotesque, exaggerated thing with like huge teeth

554
00:37:43,000 --> 00:37:45,960
Speaker 1: that looks like an animal skull. But because there's such

555
00:37:46,000 --> 00:37:49,399
Speaker 1: a long history of this specific thing in media of

556
00:37:50,320 --> 00:37:53,719
Speaker 1: disability being used to make a villain seem more intimidating

557
00:37:54,040 --> 00:37:59,960
Speaker 1: or scarier or more unattractive, this choice just feels extremely

558
00:38:00,560 --> 00:38:05,160
Speaker 1: pointed and completely unnecessary. Yeah, and like beneath what the

559
00:38:05,200 --> 00:38:10,279
Speaker 1: movie generally tends to be as well. Right, And then

560
00:38:10,360 --> 00:38:14,840
Speaker 1: like I remember talking about this on our Casino Royal

561
00:38:15,000 --> 00:38:20,800
Speaker 1: episode where our guest Cannie Smobily brought up that villains

562
00:38:20,800 --> 00:38:27,520
Speaker 1: are often given asthma or some other type of like breathing,

563
00:38:27,600 --> 00:38:31,360
Speaker 1: and I was like, of course, Darth fade Arth and

564
00:38:31,600 --> 00:38:36,399
Speaker 1: I was born in it. Isn't that another Tom Hardy character? Bain? Yeah, Bain,

565
00:38:37,320 --> 00:38:40,080
Speaker 1: I never I don't know Bain's name. I just go

566
00:38:40,280 --> 00:38:42,040
Speaker 1: I was born on it. And people know what I'm

567
00:38:42,080 --> 00:38:47,120
Speaker 1: talking about. Tom Hardy is so uh just exhausting to

568
00:38:47,200 --> 00:38:50,399
Speaker 1: hear about any anecdote with him. You're just like I

569
00:38:50,480 --> 00:38:54,560
Speaker 1: am annoyed and asleep. But boy, you can't take that

570
00:38:54,640 --> 00:38:58,360
Speaker 1: line read from him, Kenya. You can't take uh, you

571
00:38:58,400 --> 00:39:01,040
Speaker 1: can't take the Bain line, and you can't take my

572
00:39:01,200 --> 00:39:04,640
Speaker 1: favorite Tom Hardy moment. And then I mean, I know

573
00:39:04,760 --> 00:39:08,920
Speaker 1: we are going to discuss him, but I just not

574
00:39:09,160 --> 00:39:13,799
Speaker 1: I mean whatever method not necessary, okay, which we'll get

575
00:39:13,840 --> 00:39:18,839
Speaker 1: to because Charlie Sarron had just a great moment for like, uh,

576
00:39:19,040 --> 00:39:23,640
Speaker 1: stop making my life difficult. Um, But I do I

577
00:39:23,719 --> 00:39:26,239
Speaker 1: do really like his line read of like suggesting we

578
00:39:26,320 --> 00:39:31,040
Speaker 1: go back the way we came. Like that's you know,

579
00:39:32,080 --> 00:39:34,920
Speaker 1: he was born in it, baby. There's one thing I

580
00:39:34,960 --> 00:39:37,279
Speaker 1: know about Tom Hardy. He's born in IT. And I

581
00:39:37,320 --> 00:39:40,160
Speaker 1: will say, not only do I not mind him, I

582
00:39:40,200 --> 00:39:41,920
Speaker 1: would even go so far as to say I like

583
00:39:42,080 --> 00:39:45,720
Speaker 1: Tom Hardy. I may regret saying this at a later date,

584
00:39:46,280 --> 00:39:50,680
Speaker 1: but for now I'm cool with Tom Hardy. Generally, he's fine.

585
00:39:50,719 --> 00:39:55,880
Speaker 1: I just have a general general dislike of method actors

586
00:39:56,040 --> 00:39:59,279
Speaker 1: and the stories you tend to hear. He's definitely not

587
00:39:59,360 --> 00:40:01,640
Speaker 1: the worst of the method actors, but it does sound

588
00:40:01,640 --> 00:40:04,280
Speaker 1: like he has made the lives of his co stars

589
00:40:04,600 --> 00:40:08,600
Speaker 1: very unpleasant at different times in his career. Um. And

590
00:40:08,600 --> 00:40:11,440
Speaker 1: of course, when we say Tom Hardy was born into IT,

591
00:40:12,239 --> 00:40:15,440
Speaker 1: we mean that he was born into a wealthy arts family.

592
00:40:15,560 --> 00:40:18,600
Speaker 1: He was born in it, um, and that's why he

593
00:40:19,080 --> 00:40:21,480
Speaker 1: gets to be a professional actor. He was born and

594
00:40:21,560 --> 00:40:25,080
Speaker 1: it did. I realized that his dad's name is Chips

595
00:40:25,160 --> 00:40:29,440
Speaker 1: Hardy question mark Chips plural, Yeah, like the ones in

596
00:40:29,480 --> 00:40:39,360
Speaker 1: the Bags Chips Partney. Anyways, Um, back to this discussion. Okay,

597
00:40:39,400 --> 00:40:43,839
Speaker 1: So there's another layer of this where Morton Joe and

598
00:40:44,280 --> 00:40:47,839
Speaker 1: one of his sons Rictus Erectus a k a. His

599
00:40:48,160 --> 00:40:53,759
Speaker 1: large adult son who also uses an oxygen tank to

600
00:40:53,840 --> 00:40:58,680
Speaker 1: help him breathe. Both of their breathing apparatuses are used

601
00:40:58,840 --> 00:41:02,000
Speaker 1: to either kill or injure those characters in some way,

602
00:41:02,719 --> 00:41:07,680
Speaker 1: where Furiosa rips Joe's mask off and also his face

603
00:41:07,840 --> 00:41:12,560
Speaker 1: off starring Nicolas Cage and John Travolta heard of it,

604
00:41:12,719 --> 00:41:17,560
Speaker 1: and Max uses Rictus Erectus's oxygen tank to beat him

605
00:41:17,680 --> 00:41:21,560
Speaker 1: in the face. So it's just another layer of like

606
00:41:21,640 --> 00:41:26,600
Speaker 1: not only our disabilities being used to further villainize these villains,

607
00:41:26,719 --> 00:41:31,279
Speaker 1: but then also the apparatus they use because of their

608
00:41:31,280 --> 00:41:36,640
Speaker 1: disability is then used against them violently, which feels especially pointed.

609
00:41:37,920 --> 00:41:42,839
Speaker 1: So there's that. Um, there are other characters like the

610
00:41:42,880 --> 00:41:47,440
Speaker 1: people Eader you know has severe inflammation in his feet.

611
00:41:48,200 --> 00:41:51,640
Speaker 1: I think that and his obesity are his traits that

612
00:41:51,680 --> 00:41:55,640
Speaker 1: are intended to make him seem grotesque and more villainous.

613
00:41:56,520 --> 00:41:58,960
Speaker 1: Then you see a lot of disability in the people

614
00:41:59,000 --> 00:42:04,160
Speaker 1: who live of in the citadel. Some are citizens who

615
00:42:04,200 --> 00:42:08,560
Speaker 1: I think you can assume survived nuclear war, some are

616
00:42:08,560 --> 00:42:12,239
Speaker 1: probably just dealing with malnutrition. It mostly feels like these

617
00:42:12,320 --> 00:42:16,400
Speaker 1: characters are just used as a part of the world building,

618
00:42:16,760 --> 00:42:20,640
Speaker 1: which because we know nothing about them and they're just

619
00:42:20,680 --> 00:42:25,879
Speaker 1: sort of scenery, it feels like pointed set dressing. Yeah.

620
00:42:26,040 --> 00:42:29,880
Speaker 1: Sort of similar is the character of Corpus Colossus played

621
00:42:29,920 --> 00:42:34,480
Speaker 1: by Quentin Kenahan, who is one of the Morton Joe's sons.

622
00:42:35,400 --> 00:42:39,960
Speaker 1: We do not learn anything about that character, and just

623
00:42:40,040 --> 00:42:44,160
Speaker 1: in general, none of these disabled characters or characters with

624
00:42:44,239 --> 00:42:50,480
Speaker 1: atypical bodies are given any focus in this story. All

625
00:42:50,520 --> 00:42:55,040
Speaker 1: of the major characters, with the exception of Furiosa and

626
00:42:55,520 --> 00:42:59,400
Speaker 1: you could argue Knucks, who is also affected by radiation poisoning,

627
00:43:00,280 --> 00:43:02,120
Speaker 1: All the rest of the main characters that we are

628
00:43:02,200 --> 00:43:08,399
Speaker 1: rooting for are able bodied. They are very attractive by

629
00:43:08,480 --> 00:43:13,560
Speaker 1: Western beauty standards, and even I would argue Furiosa and

630
00:43:14,040 --> 00:43:18,520
Speaker 1: Nuts are kind of able to pass as able bodied,

631
00:43:18,640 --> 00:43:21,520
Speaker 1: especially compared to the characters like Morton Joe and the

632
00:43:21,560 --> 00:43:26,000
Speaker 1: people Eater, where again their disabilities are are used to

633
00:43:26,040 --> 00:43:31,440
Speaker 1: further villainize them or its characters who we learn nothing about,

634
00:43:32,200 --> 00:43:35,840
Speaker 1: which I do also feel has to do at least

635
00:43:35,840 --> 00:43:42,120
Speaker 1: in part with how the characters are framed, where Furiosa,

636
00:43:42,480 --> 00:43:47,040
Speaker 1: like Furious, has a mechanical arm, but it's not brought

637
00:43:47,080 --> 00:43:50,520
Speaker 1: to your attention explicitly all the time, in the way

638
00:43:50,560 --> 00:43:54,600
Speaker 1: that when a villain has a disability, your eye is

639
00:43:54,680 --> 00:43:59,359
Speaker 1: constantly being very very intentionally drawn to it. Yea. And

640
00:43:59,440 --> 00:44:04,160
Speaker 1: of course, of these main characters like Furiosa, Nux and Morton,

641
00:44:04,280 --> 00:44:07,520
Speaker 1: Joe and the People Leader, they are played by actors

642
00:44:07,600 --> 00:44:13,640
Speaker 1: who are not disabled. So that's something that we come

643
00:44:13,960 --> 00:44:20,359
Speaker 1: upon again and again. Yeah, not great, not great at all,

644
00:44:20,960 --> 00:44:26,480
Speaker 1: simply not great. Sort of related to the discussion of bodies.

645
00:44:27,480 --> 00:44:29,800
Speaker 1: One of the things that it took me a while

646
00:44:29,880 --> 00:44:34,240
Speaker 1: for this to click for me, and I'm honestly embarrassed

647
00:44:34,280 --> 00:44:40,320
Speaker 1: about how long it took. But so the women, the

648
00:44:40,400 --> 00:44:45,960
Speaker 1: quote unquote wives that Furiosa is trying to bring to safety,

649
00:44:46,000 --> 00:44:51,000
Speaker 1: are all very traditionally attractive by Western beauty standards. That

650
00:44:51,040 --> 00:44:52,960
Speaker 1: didn't take. That's not the thing that took me a

651
00:44:53,000 --> 00:44:57,799
Speaker 1: while to figure out that I obviously noticed quite obvious. Yes,

652
00:44:57,960 --> 00:45:01,719
Speaker 1: it's very very obvious. Zoe crab is there, so we

653
00:45:02,200 --> 00:45:07,319
Speaker 1: like several professional models are among the people cast in

654
00:45:07,360 --> 00:45:10,960
Speaker 1: those roles. The thing that I was like, wait a minute,

655
00:45:12,120 --> 00:45:16,000
Speaker 1: So we see a group of women at the Citadel

656
00:45:16,760 --> 00:45:21,520
Speaker 1: who are again used for the very kind of like

657
00:45:21,880 --> 00:45:26,160
Speaker 1: basic function of like bodily function. They're they're hooked up

658
00:45:26,160 --> 00:45:31,160
Speaker 1: to breast pumps. They're basically treated like milk cows. And

659
00:45:31,440 --> 00:45:35,120
Speaker 1: they are all fat women who I think Western beauty

660
00:45:35,120 --> 00:45:39,719
Speaker 1: standards would consider not attractive. And again, with the way

661
00:45:39,719 --> 00:45:42,480
Speaker 1: that the camera is framing and drawing your eye, it

662
00:45:42,560 --> 00:45:46,120
Speaker 1: seems like the movie is not pushing against that in

663
00:45:46,160 --> 00:45:49,839
Speaker 1: any way. Right. Yeah, So the thing that I was like,

664
00:45:49,880 --> 00:45:55,319
Speaker 1: what the fuck FURIOUSA doesn't try to save them, Like

665
00:45:55,440 --> 00:45:57,879
Speaker 1: for unknown reasons, what the hell? Like, were they not

666
00:45:58,080 --> 00:46:01,840
Speaker 1: hot enough to save? Were they not considered? What's the

667
00:46:01,880 --> 00:46:04,880
Speaker 1: deal with that? Why were they not among the women

668
00:46:05,200 --> 00:46:08,160
Speaker 1: that God? I mean, because there, you know, I always

669
00:46:08,200 --> 00:46:10,880
Speaker 1: want to get furious that the benefit of the doubt.

670
00:46:10,960 --> 00:46:13,560
Speaker 1: She makes it seem she makes it seem as if

671
00:46:13,600 --> 00:46:18,040
Speaker 1: she's done stuff like this before. Perhaps that is a

672
00:46:18,120 --> 00:46:22,040
Speaker 1: separate trip. We're also told that the wives explicitly asked

673
00:46:22,120 --> 00:46:25,120
Speaker 1: her to help them do this. She didn't take them.

674
00:46:25,160 --> 00:46:28,600
Speaker 1: They begged her to go, says Miss Giddy. Yeah, but yeah,

675
00:46:28,600 --> 00:46:31,040
Speaker 1: I also picked up on that as well, where it's again,

676
00:46:31,480 --> 00:46:34,759
Speaker 1: most of the characters, or many of the characters who

677
00:46:34,800 --> 00:46:39,839
Speaker 1: are not you know, classically Western beauty standard slim and

678
00:46:39,840 --> 00:46:43,440
Speaker 1: and look a very particular way like they are treated

679
00:46:43,440 --> 00:46:48,040
Speaker 1: as said dressing, and that is very much Yeah, how

680
00:46:48,080 --> 00:46:53,040
Speaker 1: how those characters are presented. Yeah, I just I would

681
00:46:53,080 --> 00:46:55,799
Speaker 1: have liked a version of this story where even if

682
00:46:55,840 --> 00:46:59,640
Speaker 1: it was the wives, there's gotta be a better name

683
00:46:59,719 --> 00:47:04,560
Speaker 1: for them. But even if it was their idea for

684
00:47:04,680 --> 00:47:09,040
Speaker 1: Furious to take them away from the citadel, couldn't Furious

685
00:47:09,040 --> 00:47:12,640
Speaker 1: to be like, hey, hey, you guys in like the

686
00:47:12,680 --> 00:47:16,480
Speaker 1: milking room, I'm I'm going on a trip. I'm saving

687
00:47:16,520 --> 00:47:20,480
Speaker 1: some people want to come come on. Yeah, At very

688
00:47:20,560 --> 00:47:23,399
Speaker 1: least I guess that they, they along with the rest

689
00:47:23,400 --> 00:47:26,120
Speaker 1: of the citadel, are are liberated at the end of

690
00:47:26,360 --> 00:47:28,960
Speaker 1: the flim We do see another shot of them at

691
00:47:28,960 --> 00:47:32,799
Speaker 1: the end. Yes, they are, they are freed, but I think, yeah,

692
00:47:32,800 --> 00:47:35,960
Speaker 1: the larger point here is that there are no fat

693
00:47:36,040 --> 00:47:40,160
Speaker 1: characters who are heroes who we are rooting for exactly,

694
00:47:40,239 --> 00:47:42,400
Speaker 1: which is just kind of another way in which this

695
00:47:42,680 --> 00:47:46,720
Speaker 1: very broad movie does not push back on very well

696
00:47:46,719 --> 00:47:51,920
Speaker 1: worn movie media stereotypes in a way that would have

697
00:47:51,960 --> 00:47:56,759
Speaker 1: been so simple not to like that true, Like, there's

698
00:47:56,800 --> 00:47:59,320
Speaker 1: no reason that one of the I don't know what else,

699
00:48:00,080 --> 00:48:04,480
Speaker 1: one of the his wives, but they are being sex trafficked.

700
00:48:04,560 --> 00:48:06,919
Speaker 1: I mean, what one of the what should we let's

701
00:48:07,000 --> 00:48:09,520
Speaker 1: let's come up with something right now. One of the

702
00:48:09,560 --> 00:48:15,000
Speaker 1: women in beige, the women, the women in gauze, Yeah,

703
00:48:15,080 --> 00:48:16,759
Speaker 1: one of the I mean one of the there there's

704
00:48:16,760 --> 00:48:20,840
Speaker 1: no reason one of the gauzy gauzy women, Um, couldn't

705
00:48:21,120 --> 00:48:23,480
Speaker 1: couldn't have been a fat woman. There's just there's just

706
00:48:23,520 --> 00:48:26,920
Speaker 1: simply no reason. Yeah, there's It's it's interesting because, yeah,

707
00:48:26,960 --> 00:48:28,880
Speaker 1: this movie is less than ten years old, but already

708
00:48:28,920 --> 00:48:32,359
Speaker 1: you're like, oh, I mean, based on how we are

709
00:48:32,440 --> 00:48:34,880
Speaker 1: needing to discuss it a second time, you can already

710
00:48:35,040 --> 00:48:38,040
Speaker 1: you can still pick up on things that were dated

711
00:48:38,920 --> 00:48:43,760
Speaker 1: at that time, that probably were not commented on extensively

712
00:48:44,520 --> 00:48:46,920
Speaker 1: at the time. But it says there's been so much

713
00:48:46,920 --> 00:48:49,200
Speaker 1: written about this movie when it came out, but also

714
00:48:49,280 --> 00:48:51,120
Speaker 1: just over the years. It's interesting to kind of watch

715
00:48:51,120 --> 00:48:55,080
Speaker 1: how people's views on how bodies are treated in this movie.

716
00:48:55,320 --> 00:48:58,480
Speaker 1: I wanted to quickly go back to the Tom Hearty

717
00:48:58,520 --> 00:49:02,600
Speaker 1: thing because there is have you read about the confrontation

718
00:49:02,600 --> 00:49:07,600
Speaker 1: between him and Charlie's barren, not extensively, so please feel

719
00:49:07,640 --> 00:49:11,480
Speaker 1: free to fill me in. Okay, so this is not

720
00:49:11,600 --> 00:49:14,040
Speaker 1: I mean, I didn't know very much about the production

721
00:49:14,280 --> 00:49:21,520
Speaker 1: of this movie. It sounded like an absolutely hellacious shoot

722
00:49:22,040 --> 00:49:26,080
Speaker 1: that went on for like nine months in the desert.

723
00:49:26,719 --> 00:49:31,400
Speaker 1: Riley Keo got hypothermia. George Miller says, there was a

724
00:49:31,600 --> 00:49:35,040
Speaker 1: there's two oral history pieces I'd read about this movie.

725
00:49:35,280 --> 00:49:37,839
Speaker 1: One came out in one came out earlier this year

726
00:49:38,640 --> 00:49:41,359
Speaker 1: New York Times and I think Vanity Fair respectively. But

727
00:49:41,880 --> 00:49:45,360
Speaker 1: in the New York Times one. Yeah, the actors, it

728
00:49:45,480 --> 00:49:47,479
Speaker 1: is kind of interesting. I feel like you, I'm trying

729
00:49:47,520 --> 00:49:49,279
Speaker 1: to think of other I mean, I guess that you

730
00:49:49,280 --> 00:49:53,000
Speaker 1: could use a Titanic parable here too, because literally hypothermia,

731
00:49:53,840 --> 00:49:55,800
Speaker 1: or I guess in Kate Win's was a case pneumonia.

732
00:49:55,920 --> 00:49:59,960
Speaker 1: But you know, a movie that was extremely difficult to shoot,

733
00:50:00,680 --> 00:50:03,240
Speaker 1: that sounds like it was absolute torture for the actors

734
00:50:03,239 --> 00:50:07,120
Speaker 1: at different points that later on, because the movie was

735
00:50:07,120 --> 00:50:09,200
Speaker 1: a huge success and was a classic, they're kind of

736
00:50:09,239 --> 00:50:12,240
Speaker 1: like Yeah, that wasn't great, But I'm glad the movie

737
00:50:12,320 --> 00:50:15,600
Speaker 1: was a hit, you know, like a little but but

738
00:50:15,880 --> 00:50:19,040
Speaker 1: you know, it sounded like this was a um a

739
00:50:19,120 --> 00:50:22,920
Speaker 1: shoot where everyone slowly lost their grip on reality, cast

740
00:50:23,000 --> 00:50:27,120
Speaker 1: and crew. There were several cases of actors getting sick,

741
00:50:27,640 --> 00:50:30,120
Speaker 1: Like I just said, Riley Ko got hypothermia because it

742
00:50:30,160 --> 00:50:33,000
Speaker 1: was so cold shooting in the desert at night. The

743
00:50:33,040 --> 00:50:35,400
Speaker 1: actors are shooting in the middle of the desert, and

744
00:50:35,440 --> 00:50:38,720
Speaker 1: they're not because of their costumes. They're literally in gauze

745
00:50:38,840 --> 00:50:40,480
Speaker 1: for a lot of it, and so there's not a

746
00:50:40,520 --> 00:50:43,719
Speaker 1: lot of protection from the elements. A lot of stories

747
00:50:43,920 --> 00:50:48,000
Speaker 1: like that. And then there was also some onset tension

748
00:50:48,080 --> 00:50:52,360
Speaker 1: between Charlie's Thearren and Tom Hardy, which has expanded a

749
00:50:52,400 --> 00:50:55,760
Speaker 1: little more in the Vanity Fair article. So I guess

750
00:50:55,760 --> 00:51:00,239
Speaker 1: that Charlie Sarren had recently had a baby when she

751
00:51:00,920 --> 00:51:04,279
Speaker 1: was shooting this movie, and so she's I get she

752
00:51:04,360 --> 00:51:07,520
Speaker 1: has like a reputation for being very professional, shows up

753
00:51:07,560 --> 00:51:10,760
Speaker 1: on time, expects to be released at the correct time,

754
00:51:11,560 --> 00:51:15,440
Speaker 1: as is her right. That's union ship. Tom Hardy is

755
00:51:15,480 --> 00:51:17,520
Speaker 1: known to be a method guy, known to never show

756
00:51:17,600 --> 00:51:20,759
Speaker 1: up on time, known to be a little bit combative

757
00:51:21,360 --> 00:51:24,759
Speaker 1: at times, and he and Charlie's well, they simply did

758
00:51:24,800 --> 00:51:28,800
Speaker 1: not like each other. And there is a story in

759
00:51:28,840 --> 00:51:33,160
Speaker 1: which Charlie's Thearren was there on time, sitting in the

760
00:51:33,160 --> 00:51:38,440
Speaker 1: war Wig waiting for mad Jical Michael to show up.

761
00:51:41,480 --> 00:51:45,040
Speaker 1: So he's not showing up. This was day five trillion

762
00:51:45,120 --> 00:51:48,120
Speaker 1: of shooting in the war Wig. At this point, the

763
00:51:48,200 --> 00:51:52,040
Speaker 1: women in Gauze had openly talked about Tom Hardy in

764
00:51:52,080 --> 00:51:54,960
Speaker 1: front of him. Everyone was sick of him. Then he

765
00:51:55,040 --> 00:51:59,160
Speaker 1: gets there late, Charlie's Thearren yells at him in front

766
00:51:59,200 --> 00:52:03,759
Speaker 1: of everybody. She says, and I quote, find the fucking

767
00:52:03,960 --> 00:52:07,160
Speaker 1: cunt a hundred thousand dollars for every minute he's held

768
00:52:07,239 --> 00:52:11,719
Speaker 1: up this crew. How disrespectful you are. Love that for her,

769
00:52:12,040 --> 00:52:18,440
Speaker 1: and then Tom Hardy physically charges at her, and uh,

770
00:52:18,760 --> 00:52:21,040
Speaker 1: you know, says what did you do to me? And

771
00:52:21,120 --> 00:52:25,480
Speaker 1: like lit like physically charges at her. She felt the

772
00:52:25,560 --> 00:52:30,200
Speaker 1: need to request a producer for protection for the remainder

773
00:52:30,680 --> 00:52:34,120
Speaker 1: of the shoot because things got so tense between the

774
00:52:34,160 --> 00:52:37,960
Speaker 1: two of them. It sounds like they have since reconciled.

775
00:52:39,160 --> 00:52:43,040
Speaker 1: But I guess make of that story what you will,

776
00:52:43,200 --> 00:52:46,719
Speaker 1: But I don't think Tom Hardy comes off particularly well

777
00:52:46,719 --> 00:52:50,880
Speaker 1: in It's certainly not and I take back what I

778
00:52:50,920 --> 00:52:54,680
Speaker 1: said about him methin actors truly. I mean, I just

779
00:52:54,880 --> 00:52:58,600
Speaker 1: I don't know my crush. Will Poulter said it best

780
00:52:58,880 --> 00:53:04,360
Speaker 1: when he said something like, I don't like it. Yeah,

781
00:53:04,480 --> 00:53:06,759
Speaker 1: what it was a good quote. We should look it

782
00:53:06,840 --> 00:53:09,760
Speaker 1: up and let's find it. I'm because I love quoting,

783
00:53:09,880 --> 00:53:13,920
Speaker 1: as you know, I'm always happy to google Will Poulter.

784
00:53:14,640 --> 00:53:17,319
Speaker 1: It's easy for me to do. Oh he said, it's

785
00:53:17,400 --> 00:53:22,000
Speaker 1: quote an excuse for inappropriate behavior unquote. So that's that. Um.

786
00:53:22,040 --> 00:53:25,040
Speaker 1: Should we take a quick break and then come back

787
00:53:25,080 --> 00:53:27,520
Speaker 1: and talk some more. Yeah, let's take a quick break

788
00:53:33,800 --> 00:53:36,799
Speaker 1: and we're back. We are back. Where would you like

789
00:53:36,960 --> 00:53:40,600
Speaker 1: to go from here at Caitlin, Oh, my goodness. I

790
00:53:40,600 --> 00:53:43,479
Speaker 1: would like to talk about how the movie handles race,

791
00:53:44,400 --> 00:53:50,600
Speaker 1: which is another thing that is not particularly good, y'all.

792
00:53:50,719 --> 00:53:55,439
Speaker 1: This has been discussed before. We're not really pointing out

793
00:53:55,480 --> 00:54:00,520
Speaker 1: anything new, but for the sake of a complete episode exactly.

794
00:54:01,320 --> 00:54:08,320
Speaker 1: The movie largely centers white people, which has been pointed

795
00:54:08,360 --> 00:54:14,520
Speaker 1: out as being especially strange in this context of like

796
00:54:14,680 --> 00:54:19,759
Speaker 1: the world that this movie exists within. I want to

797
00:54:19,840 --> 00:54:25,440
Speaker 1: pull a quote from and then also shout out a

798
00:54:26,200 --> 00:54:31,720
Speaker 1: book which is a series of four different essays, all

799
00:54:31,800 --> 00:54:38,560
Speaker 1: written by scholars I heard of them. The book is

800
00:54:38,719 --> 00:54:43,919
Speaker 1: entitled Furious Feminisms Alternate Routes on mad Max Fury Road.

801
00:54:45,160 --> 00:54:48,800
Speaker 1: There is a quote I will pull from the essay

802
00:54:48,960 --> 00:54:52,440
Speaker 1: entitled just a Warrior at the End of the World

803
00:54:52,440 --> 00:54:57,959
Speaker 1: by Barbaraker. This brighter put it better than I think

804
00:54:58,000 --> 00:55:02,560
Speaker 1: I could. So quote Max's story, like so many in

805
00:55:02,640 --> 00:55:06,680
Speaker 1: dystopian fiction, begs the question why do only white people

806
00:55:06,760 --> 00:55:11,799
Speaker 1: survive the apocalypse? The absence of indigenous bodies, indeed of

807
00:55:11,880 --> 00:55:16,480
Speaker 1: people of color generally throughout all four films, meaning all

808
00:55:16,480 --> 00:55:20,919
Speaker 1: four of the Mad Max films reflect the white supremacists

809
00:55:21,000 --> 00:55:25,400
Speaker 1: arc of settler colonialism in Australia. The presumed geography of

810
00:55:25,440 --> 00:55:28,719
Speaker 1: the film and elsewhere and further is a narrative that

811
00:55:28,760 --> 00:55:32,680
Speaker 1: seemingly relies on gender, but is always already raised as

812
00:55:32,719 --> 00:55:36,280
Speaker 1: only certain bodies are visible, only certain bodies are active,

813
00:55:36,680 --> 00:55:40,120
Speaker 1: only certain bodies are worthy of survival after the end

814
00:55:40,160 --> 00:55:43,200
Speaker 1: of the world end quote. This is not to say

815
00:55:43,239 --> 00:55:47,280
Speaker 1: that there are no people of color in the movie

816
00:55:47,480 --> 00:55:51,040
Speaker 1: and in the main cast, because of course you have

817
00:55:51,320 --> 00:55:57,319
Speaker 1: Zoey Kravitz. You also have the character of Cheetoh the

818
00:55:57,360 --> 00:56:02,200
Speaker 1: Fragile who is played by Courtney Eaton, who is Maori

819
00:56:02,440 --> 00:56:08,200
Speaker 1: and Cook Islander. Also shout out to the Ali Naughty

820
00:56:08,239 --> 00:56:12,520
Speaker 1: Test because this character passes the Ali Naughty Test. This

821
00:56:12,600 --> 00:56:17,520
Speaker 1: test examines representation of Indigenous women in media. In order

822
00:56:17,560 --> 00:56:22,239
Speaker 1: to pass, a character must be an Indigenous or Aboriginal

823
00:56:22,280 --> 00:56:26,440
Speaker 1: woman who is a main character. She must not fall

824
00:56:26,480 --> 00:56:29,640
Speaker 1: in love with a white man. And she is not

825
00:56:29,840 --> 00:56:32,839
Speaker 1: raped or murdered at any point in the story. And

826
00:56:32,920 --> 00:56:37,040
Speaker 1: according to the actor Courtney Eaton, Cheeto is the only

827
00:56:37,080 --> 00:56:41,799
Speaker 1: one of the wives who was not assaulted by Morton,

828
00:56:41,920 --> 00:56:46,040
Speaker 1: Joe or anyone else. So, okay, that's good, that's good

829
00:56:46,080 --> 00:56:48,480
Speaker 1: to know. We'll we'll get to this. I was very

830
00:56:48,520 --> 00:56:52,000
Speaker 1: fascinated at how those actors got to develop their own

831
00:56:52,440 --> 00:56:56,080
Speaker 1: character's history and story and that kind of collaborative process.

832
00:56:56,120 --> 00:56:59,360
Speaker 1: But we'll get there. But but yes, I am I'm

833
00:56:59,400 --> 00:57:04,280
Speaker 1: happy to here that that Cheeto passes the Ali Naty Test.

834
00:57:04,440 --> 00:57:08,040
Speaker 1: I do wish that characters that passed the Alien Nati

835
00:57:08,080 --> 00:57:11,200
Speaker 1: Test were more prominent in the story. She certainly has

836
00:57:11,320 --> 00:57:14,480
Speaker 1: important moments in the story, but she's you know, I

837
00:57:14,480 --> 00:57:18,400
Speaker 1: think kind of one of the less prominent of the

838
00:57:18,840 --> 00:57:22,000
Speaker 1: of the women in Gauze and when you are just

839
00:57:22,040 --> 00:57:26,880
Speaker 1: sort of like isolating screen time and just kind of

840
00:57:26,920 --> 00:57:32,760
Speaker 1: like narrative significance, Definitely Max and Furiosa are the two

841
00:57:33,240 --> 00:57:39,240
Speaker 1: most prominent characters. They share a dual protagonist situation. All

842
00:57:39,320 --> 00:57:42,160
Speaker 1: this to say that the majority of the characters that

843
00:57:42,200 --> 00:57:47,120
Speaker 1: we are rooting for are white characters. Yeah, I mean

844
00:57:47,240 --> 00:57:51,800
Speaker 1: our to the two lead characters or I know that.

845
00:57:52,160 --> 00:57:55,120
Speaker 1: God I've read so much of like actually Max is

846
00:57:55,160 --> 00:58:01,160
Speaker 1: a deuteragamist and I'm just like, okay, with all due respect,

847
00:58:01,800 --> 00:58:05,520
Speaker 1: shut the funk up, Um, I don't want to hear it.

848
00:58:06,160 --> 00:58:08,600
Speaker 1: But yes, there are two are two leading characters who

849
00:58:08,600 --> 00:58:10,440
Speaker 1: were supposed to I mean, the two people on the

850
00:58:10,440 --> 00:58:15,400
Speaker 1: fucking poster are sis white movie stars. And thank you

851
00:58:15,440 --> 00:58:17,080
Speaker 1: for thank you for sharing that quote. Because but now

852
00:58:17,240 --> 00:58:21,760
Speaker 1: we've covered um several I think Australian movies where where

853
00:58:21,800 --> 00:58:27,560
Speaker 1: this issue has been brought up? Um, what shall we

854
00:58:27,640 --> 00:58:31,560
Speaker 1: address next? So I wanted to just this is another

855
00:58:31,640 --> 00:58:36,240
Speaker 1: production note, but since it came up via learning a

856
00:58:36,280 --> 00:58:41,520
Speaker 1: little bit about Courtney Eaton's Um character backstory, something I

857
00:58:41,640 --> 00:58:47,120
Speaker 1: thought was quite interesting was and again just like an

858
00:58:47,120 --> 00:58:52,240
Speaker 1: interesting showing of growth in a director over time. Is

859
00:58:52,240 --> 00:58:58,160
Speaker 1: that George Miller brought in a consultant to help. It

860
00:58:58,240 --> 00:59:01,720
Speaker 1: seems like primarily Charlie Scarron and the women in Gauze

861
00:59:01,760 --> 00:59:06,840
Speaker 1: developed their characters. I don't know if the uh the

862
00:59:06,960 --> 00:59:12,200
Speaker 1: VOLI I was gonna say, VOLVIONI So there you go,

863
00:59:14,880 --> 00:59:18,520
Speaker 1: so like a damn Mario character. Okay, yeah, I I

864
00:59:19,160 --> 00:59:22,320
Speaker 1: don't know about um the women in that area of

865
00:59:22,360 --> 00:59:26,600
Speaker 1: the story. But George So, George Miller brought in Eve Ensler,

866
00:59:26,800 --> 00:59:31,280
Speaker 1: who most famously wrote the Vagina Monologues, which is very

867
00:59:31,320 --> 00:59:34,760
Speaker 1: dated in many ways. Uh, you know, we're not caping

868
00:59:34,800 --> 00:59:37,800
Speaker 1: for the Vagina monologue, but she's she's been a feminist

869
00:59:37,880 --> 00:59:42,120
Speaker 1: activist for a very long time, and he specifically requested

870
00:59:42,160 --> 00:59:47,280
Speaker 1: that she be available to the actors who were playing

871
00:59:47,600 --> 00:59:51,000
Speaker 1: um women who were being sex trafficked. And it experienced

872
00:59:51,040 --> 00:59:53,280
Speaker 1: quite a bit of trauma because eve Ensler has a

873
00:59:53,280 --> 00:59:58,640
Speaker 1: lot of experience working with survivors of sex trafficking. And

874
00:59:58,640 --> 01:00:00,720
Speaker 1: I guess that that is like what she was doing

875
01:00:00,800 --> 01:00:05,919
Speaker 1: when George Miller originally reached out. And so what they

876
01:00:05,960 --> 01:00:08,360
Speaker 1: did in a way that I think it seems to

877
01:00:08,560 --> 01:00:12,400
Speaker 1: have um Again, this is like we we cannot speak

878
01:00:12,520 --> 01:00:15,680
Speaker 1: from personal experience here, but it seems to generally elevate

879
01:00:16,160 --> 01:00:19,600
Speaker 1: those characters. And I feel like those characters are generally

880
01:00:19,640 --> 01:00:25,439
Speaker 1: treated with respect. And you see, you know, even through

881
01:00:25,440 --> 01:00:29,360
Speaker 1: the five women in gaul As, you see a bunch

882
01:00:29,360 --> 01:00:34,080
Speaker 1: of different um reactions to like they're all distinct characters

883
01:00:34,120 --> 01:00:35,560
Speaker 1: in a way that I think if the movie was

884
01:00:35,600 --> 01:00:40,080
Speaker 1: made twenty years before probably wouldn't have been true. Um.

885
01:00:40,200 --> 01:00:45,440
Speaker 1: Not only do they have different skills and strengths where

886
01:00:45,720 --> 01:00:47,560
Speaker 1: and I'm not going to get the names right. So

887
01:00:47,720 --> 01:00:51,240
Speaker 1: Zoe Kravitz, for example, can handle a gun like she

888
01:00:51,280 --> 01:00:56,080
Speaker 1: knows her ship in that department, Riley Kio really strongly

889
01:00:56,120 --> 01:00:59,160
Speaker 1: wants to go back for Rosie Huntington Whitely. They have

890
01:00:59,280 --> 01:01:01,600
Speaker 1: different opinions on what they should do with knocks like

891
01:01:01,640 --> 01:01:07,240
Speaker 1: there there's constantly disagreement, and even though many of them

892
01:01:07,480 --> 01:01:11,760
Speaker 1: have experienced similar kinds of abuse, they are all interpreting

893
01:01:11,800 --> 01:01:16,440
Speaker 1: it very very differently, which I thought was effective and

894
01:01:16,600 --> 01:01:19,240
Speaker 1: um done kind of seamlessly with the story. But I

895
01:01:19,280 --> 01:01:27,160
Speaker 1: wanted to share a quote from Eve and Sler in

896
01:01:27,360 --> 01:01:31,400
Speaker 1: that New York Times Oral History just to give some

897
01:01:31,480 --> 01:01:34,880
Speaker 1: insight into how they did it, so, she says, quote,

898
01:01:35,120 --> 01:01:37,320
Speaker 1: it was really surprising for me. George would send me

899
01:01:37,400 --> 01:01:39,760
Speaker 1: pieces of the script for feedback, and we began to

900
01:01:39,760 --> 01:01:41,760
Speaker 1: get into a dialogue about the women who were going

901
01:01:41,800 --> 01:01:44,400
Speaker 1: to play these sex slaves and how they would know

902
01:01:44,440 --> 01:01:49,120
Speaker 1: what that lived experience was. Eventually he invited me to Namibia,

903
01:01:49,160 --> 01:01:51,840
Speaker 1: which is where the movie was shot, to spend time

904
01:01:51,920 --> 01:01:54,640
Speaker 1: with them in workshops, and my contribution was really to

905
01:01:54,680 --> 01:01:57,680
Speaker 1: help those actresses become confident in that world. I think

906
01:01:57,680 --> 01:01:59,600
Speaker 1: it was a really radical thing that he asked me

907
01:01:59,640 --> 01:02:04,120
Speaker 1: to do that unquote. Um, I'm generally inclined to agree.

908
01:02:04,200 --> 01:02:06,840
Speaker 1: And it seems like the actors got a lot out

909
01:02:06,840 --> 01:02:11,160
Speaker 1: of it. Uh. They were asked to write their own backstories,

910
01:02:11,280 --> 01:02:16,360
Speaker 1: essentially write letters in character to their abusers. I mean,

911
01:02:16,400 --> 01:02:19,360
Speaker 1: it just seemed like a very immersive way of of

912
01:02:19,440 --> 01:02:24,320
Speaker 1: building characters. And I do appreciate when a male OH

913
01:02:24,480 --> 01:02:28,160
Speaker 1: tour such as George Miller knows when he's out of

914
01:02:28,240 --> 01:02:31,920
Speaker 1: his depth and brings someone in who is not out

915
01:02:31,960 --> 01:02:35,280
Speaker 1: of their depth. And I'm sure that those actors are

916
01:02:35,320 --> 01:02:38,120
Speaker 1: more comfortable talking to Eve Ensler than they would be

917
01:02:38,120 --> 01:02:41,760
Speaker 1: talking to George Miller about this topic. Um, So I

918
01:02:41,800 --> 01:02:46,000
Speaker 1: just thought that was a good creative choice, whereas um,

919
01:02:46,000 --> 01:02:50,680
Speaker 1: really Kio being left vulnerable enough to get hypothermia was

920
01:02:50,720 --> 01:02:55,120
Speaker 1: perhaps not as good. Yeah, the shoot of this movie

921
01:02:55,240 --> 01:03:00,680
Speaker 1: just sounded absolutely fucking wild, and you can tell by

922
01:03:00,720 --> 01:03:04,040
Speaker 1: watching it because so many of the so many I mean,

923
01:03:04,400 --> 01:03:09,640
Speaker 1: they're on location. It's practical effects in a desert in winter,

924
01:03:10,640 --> 01:03:16,320
Speaker 1: sand blowing and everyone's faces and being exposed to the elements.

925
01:03:16,520 --> 01:03:18,880
Speaker 1: And I mean, I don't even mean to be too

926
01:03:18,880 --> 01:03:21,760
Speaker 1: hard on George Miller specifically with that. I mean the

927
01:03:21,800 --> 01:03:24,920
Speaker 1: buckstocks with him because he's a director. But but like,

928
01:03:25,440 --> 01:03:28,280
Speaker 1: nine months in the fucking desert with a gigantic crew

929
01:03:28,360 --> 01:03:31,280
Speaker 1: and you're all doing practical effects of some of the

930
01:03:31,280 --> 01:03:33,120
Speaker 1: wildest shit I've ever seen in my life. It's a

931
01:03:33,240 --> 01:03:37,560
Speaker 1: miracle that everyone lived, um, which is also what one

932
01:03:37,600 --> 01:03:40,280
Speaker 1: of the things that Steven Soderberg said. He's like, how

933
01:03:40,280 --> 01:03:45,200
Speaker 1: did a hundred people not die? Right? So, so not

934
01:03:45,360 --> 01:03:49,480
Speaker 1: to you know, getting hypothermia on at work is horrible,

935
01:03:50,160 --> 01:03:54,240
Speaker 1: but given the scale of the movie, shocking that everyone survived. Yeah.

936
01:03:54,240 --> 01:03:57,800
Speaker 1: I read that a stuntman suffered a broken leg on

937
01:03:57,880 --> 01:04:02,560
Speaker 1: this movie. Hopefully he got workman's comp I know, I

938
01:04:02,960 --> 01:04:05,880
Speaker 1: hope he got that workman's comp million. Baby. I hope

939
01:04:05,880 --> 01:04:09,520
Speaker 1: he's I hope he's doing well. That is God, stunt

940
01:04:09,600 --> 01:04:14,000
Speaker 1: work is so terrifying. Yes, okay, so I did. Yeah.

941
01:04:14,000 --> 01:04:15,880
Speaker 1: I wanted to just kind of shout out the rare

942
01:04:16,760 --> 01:04:19,840
Speaker 1: male filmmaker, knowing when he's out of his depth, it

943
01:04:19,880 --> 01:04:23,160
Speaker 1: shouldn't be impressive, but it is. But it kind of

944
01:04:23,320 --> 01:04:26,080
Speaker 1: is to the point where even even Sler was like,

945
01:04:26,160 --> 01:04:31,240
Speaker 1: I was also shocked he wanted to do to do that,

946
01:04:32,040 --> 01:04:33,480
Speaker 1: and I like, I think we talked about this in

947
01:04:33,520 --> 01:04:37,280
Speaker 1: the Babe episode. Perhaps I don't remember, but a woman

948
01:04:37,440 --> 01:04:42,800
Speaker 1: edited this movie. George Miller's partner, Margaret six Cell, edited

949
01:04:42,800 --> 01:04:44,960
Speaker 1: this movie. I think we've brought up in the show

950
01:04:45,000 --> 01:04:49,200
Speaker 1: a couple of different times that women editing a movie

951
01:04:49,280 --> 01:04:51,960
Speaker 1: of this scale is again quite a big deal, and

952
01:04:52,000 --> 01:04:53,800
Speaker 1: she wanted an oscar. I was gonna say, the editing

953
01:04:53,840 --> 01:04:57,920
Speaker 1: is absolutely incredible. Yeah, it's absolutely it's I also didn't

954
01:04:58,040 --> 01:05:00,640
Speaker 1: reading about the production of this movie was so like

955
01:05:00,760 --> 01:05:04,600
Speaker 1: I didn't get really excited like into it because you're

956
01:05:04,640 --> 01:05:07,440
Speaker 1: just like, holy shit, any epic You're just like this

957
01:05:07,480 --> 01:05:11,080
Speaker 1: is how how where they like didn't have the budget

958
01:05:11,120 --> 01:05:14,840
Speaker 1: to shoot the scenes at the Citadel, and so she

959
01:05:15,040 --> 01:05:18,400
Speaker 1: edited most of the movie with nothing at the beginning

960
01:05:18,480 --> 01:05:22,840
Speaker 1: or end like that sounds so awful, like for her, like,

961
01:05:22,840 --> 01:05:25,360
Speaker 1: that's so stressful. Yeah, I think they had to go

962
01:05:25,360 --> 01:05:29,280
Speaker 1: back and do reshoots, and yeah, the production went way

963
01:05:29,280 --> 01:05:31,480
Speaker 1: over budget and you know all the things that you

964
01:05:31,480 --> 01:05:34,640
Speaker 1: would expect when you watch the movie. The movie didn't

965
01:05:34,640 --> 01:05:40,000
Speaker 1: technically make money after like all the stuff incurred. Yeah, okay,

966
01:05:40,040 --> 01:05:43,080
Speaker 1: So when I had one last behind the scenes thing

967
01:05:43,160 --> 01:05:47,800
Speaker 1: I wanted to draw to that, I think we'll hopefully

968
01:05:48,120 --> 01:05:54,040
Speaker 1: transition into a bigger discussion question mark, let's see, and

969
01:05:54,160 --> 01:05:59,000
Speaker 1: that is the costume design of this movie. Uh, it

970
01:05:59,200 --> 01:06:04,280
Speaker 1: was You're headed by Jenny Beavan, who also spoke in

971
01:06:04,600 --> 01:06:08,160
Speaker 1: this oral history, and it sounds like what I what

972
01:06:08,200 --> 01:06:11,000
Speaker 1: I thought was really interesting about it is that it

973
01:06:11,040 --> 01:06:14,800
Speaker 1: sounds as if the character designs and the costume designs

974
01:06:14,800 --> 01:06:18,640
Speaker 1: since this movie went, you know, was first conceptualized in

975
01:06:19,720 --> 01:06:24,480
Speaker 1: seven like before Zoe Kravitz existed on this physical plane,

976
01:06:25,520 --> 01:06:28,440
Speaker 1: what Furious As character was going to look like it

977
01:06:28,800 --> 01:06:32,320
Speaker 1: changed quite a bit and again was like collaborative with

978
01:06:32,520 --> 01:06:36,400
Speaker 1: the actors. So Jenny Beavan says, quote, I am not

979
01:06:36,520 --> 01:06:39,360
Speaker 1: into fashion wild thing for a costume designer to say

980
01:06:39,360 --> 01:06:41,880
Speaker 1: I love it. I also had that thought as I

981
01:06:41,880 --> 01:06:45,320
Speaker 1: wrote that quote. I am not into fashion and I

982
01:06:45,320 --> 01:06:48,400
Speaker 1: don't particularly care what people look like. The clothes have

983
01:06:48,480 --> 01:06:50,720
Speaker 1: to come out of the stories they tell, since she

984
01:06:50,760 --> 01:06:53,880
Speaker 1: travels long distances, furious and needed very practical clothing. And

985
01:06:53,880 --> 01:06:55,760
Speaker 1: when I met with Charlie's that was one of the

986
01:06:55,800 --> 01:06:58,080
Speaker 1: things we talked about that and what on earth should

987
01:06:58,120 --> 01:06:59,880
Speaker 1: she would she do with her hair? So, because it

988
01:07:00,040 --> 01:07:02,360
Speaker 1: is Charlie's there own's idea to be the baldest woman

989
01:07:02,360 --> 01:07:05,640
Speaker 1: in charge, which is the episode where we started talking

990
01:07:05,640 --> 01:07:08,720
Speaker 1: about that, I believe it is true. Yeah, that's uh,

991
01:07:08,800 --> 01:07:12,440
Speaker 1: one of the things we we did lose our I

992
01:07:12,520 --> 01:07:16,600
Speaker 1: p by removing that episode from the feed is the

993
01:07:16,640 --> 01:07:20,560
Speaker 1: origin of the baldest woman in Charge. But hey, we're

994
01:07:20,560 --> 01:07:24,280
Speaker 1: bringing it back. We weren't completely you know, useless in

995
01:07:25,080 --> 01:07:29,360
Speaker 1: we were just mostly useless. Um. But but yeah, I

996
01:07:29,400 --> 01:07:33,640
Speaker 1: thought that the talking about the costume design is an

997
01:07:33,680 --> 01:07:37,880
Speaker 1: interesting discussion because I feel like I'm interested in your

998
01:07:37,880 --> 01:07:41,120
Speaker 1: opinion because I think, furiosa, that's a pretty straightforward discussion.

999
01:07:41,240 --> 01:07:46,280
Speaker 1: Like she is, I think dressed pretty appropriately for the

1000
01:07:46,320 --> 01:07:50,040
Speaker 1: work that she's doing, and she's you know, she's protected.

1001
01:07:50,160 --> 01:07:53,840
Speaker 1: It seems like generally like that makes sense. And then

1002
01:07:54,440 --> 01:07:57,760
Speaker 1: with the with the women in gauze, they're definitely like

1003
01:07:57,840 --> 01:08:02,720
Speaker 1: their bodies are there's more attention drawn to their bodies

1004
01:08:03,360 --> 01:08:07,080
Speaker 1: and it so it was tricky because I remember the

1005
01:08:07,080 --> 01:08:08,959
Speaker 1: first time we had this discussion, I think that maybe

1006
01:08:09,040 --> 01:08:11,640
Speaker 1: we kind of oversimplified it where it was like, oh,

1007
01:08:11,680 --> 01:08:17,839
Speaker 1: these hot models and they're wearing hot outfits. Yes. However,

1008
01:08:20,240 --> 01:08:23,439
Speaker 1: me is more inclined to say, like, well, in story,

1009
01:08:23,520 --> 01:08:27,679
Speaker 1: that does technically make sense given who was dressing them

1010
01:08:27,760 --> 01:08:32,040
Speaker 1: and where they were coming from. Meaning like a Morton

1011
01:08:32,160 --> 01:08:38,720
Speaker 1: Joe would have selected like the most trophyist wives to

1012
01:08:38,760 --> 01:08:41,880
Speaker 1: be his trophy wives, and yes, would have put them

1013
01:08:42,520 --> 01:08:46,280
Speaker 1: in these outfits. And then we also see them in

1014
01:08:47,080 --> 01:08:51,040
Speaker 1: chastity belts that we see them the first thing they

1015
01:08:51,360 --> 01:08:55,280
Speaker 1: do when they get any amount of liberation is used

1016
01:08:55,400 --> 01:08:59,519
Speaker 1: bolt cutters to take them off, take off the chastity belts. Yeah,

1017
01:08:59,720 --> 01:09:02,880
Speaker 1: so I didn't really have And then when you meet

1018
01:09:02,960 --> 01:09:07,360
Speaker 1: the you say it again, the Volgolini, Volgali okay, Volvolini, Okay,

1019
01:09:07,400 --> 01:09:09,479
Speaker 1: I think I've got it now. They I think, for

1020
01:09:09,520 --> 01:09:12,080
Speaker 1: the most part, I mean they're basically a biker gang

1021
01:09:12,280 --> 01:09:15,040
Speaker 1: and they're like weather Gang and they're doing biker gang

1022
01:09:15,080 --> 01:09:19,240
Speaker 1: ship ganges, so that generally makes sense. I think the

1023
01:09:19,320 --> 01:09:21,720
Speaker 1: only character you see, the character who is known as

1024
01:09:21,800 --> 01:09:27,559
Speaker 1: the Valkyrie, she is nude when you first see her

1025
01:09:27,800 --> 01:09:30,639
Speaker 1: question mark or she's like mostly unclad and she put

1026
01:09:30,880 --> 01:09:34,120
Speaker 1: I don't know, it didn't particularly bother me. I don't know.

1027
01:09:34,479 --> 01:09:37,160
Speaker 1: The only thing that really bothers me about any of

1028
01:09:37,400 --> 01:09:42,759
Speaker 1: the costume design or like just kind of general character

1029
01:09:42,800 --> 01:09:49,800
Speaker 1: design is how do the women in Gauze never get

1030
01:09:50,760 --> 01:09:55,559
Speaker 1: dirtier than they are at the very beginning, considering they're like,

1031
01:09:56,600 --> 01:10:01,479
Speaker 1: you know, tumbling through sand and marsha is and yes,

1032
01:10:01,720 --> 01:10:06,280
Speaker 1: but they stay like perfectly quoft and without like smudges

1033
01:10:06,400 --> 01:10:09,640
Speaker 1: on their face, and that is Yeah, I think we

1034
01:10:09,720 --> 01:10:12,360
Speaker 1: talked about that in the first time, and yeah, I

1035
01:10:13,120 --> 01:10:15,920
Speaker 1: agree with you. You would think that it would I mean,

1036
01:10:16,200 --> 01:10:20,960
Speaker 1: continuity wise, that sounds like someone's worst nightmare. But I

1037
01:10:21,000 --> 01:10:25,679
Speaker 1: think in story that would have been more appropriate, which

1038
01:10:25,760 --> 01:10:29,040
Speaker 1: I guess kind of does bring me around too. There

1039
01:10:29,040 --> 01:10:35,640
Speaker 1: has been some criticism of this movie on gender essentialism.

1040
01:10:35,680 --> 01:10:39,040
Speaker 1: So we've discussed this on the show many many times,

1041
01:10:39,120 --> 01:10:42,919
Speaker 1: but it's it is a tricky discussion as it pertains

1042
01:10:43,040 --> 01:10:49,200
Speaker 1: to this movie because in a Morton Joe's hyper patriarchal

1043
01:10:49,960 --> 01:10:55,240
Speaker 1: capitalist society, the way he views women are as baby

1044
01:10:55,280 --> 01:10:59,559
Speaker 1: making machines when the reality is that not all women

1045
01:11:00,080 --> 01:11:05,840
Speaker 1: have uteruses, have wombs, can have babies. Like the definition

1046
01:11:05,960 --> 01:11:10,519
Speaker 1: of womanhood that Morton Joe's society cast them as is

1047
01:11:10,720 --> 01:11:14,960
Speaker 1: extremely it's just false. And we know that everything that

1048
01:11:15,080 --> 01:11:19,679
Speaker 1: Morton Joe does is deeply wrong. Where it gets confusing

1049
01:11:19,960 --> 01:11:22,760
Speaker 1: for me as I it's at times hard for me

1050
01:11:22,840 --> 01:11:26,760
Speaker 1: to understand what the movie believes, which I think is

1051
01:11:26,800 --> 01:11:32,320
Speaker 1: like evidenced in the fact that the again, like the

1052
01:11:32,400 --> 01:11:35,840
Speaker 1: characters who we are focusing on and who were rooting

1053
01:11:35,880 --> 01:11:39,080
Speaker 1: for and who are brought along for the journey are

1054
01:11:40,080 --> 01:11:45,599
Speaker 1: these Western beauty standard attractive people, and then everyone else

1055
01:11:46,080 --> 01:11:49,800
Speaker 1: is either a villain or just gets left out of

1056
01:11:49,840 --> 01:11:54,000
Speaker 1: the narrative and is only there as like world building,

1057
01:11:55,040 --> 01:11:58,320
Speaker 1: set dressing. But then, but then there's a lot of

1058
01:11:58,600 --> 01:12:01,160
Speaker 1: cool stuff that the movie is doing that subverts a

1059
01:12:01,160 --> 01:12:07,080
Speaker 1: lot of existing archetypes and tropes. So I've i've I've

1060
01:12:07,080 --> 01:12:10,280
Speaker 1: read arguments on both sides of this that. So i've

1061
01:12:10,320 --> 01:12:13,400
Speaker 1: i've I've read some stuff that argues that the script

1062
01:12:13,520 --> 01:12:18,360
Speaker 1: overly essentializes and defines, um, you know, is like baby

1063
01:12:18,439 --> 01:12:22,120
Speaker 1: making equals only way to be woman, which we know

1064
01:12:22,720 --> 01:12:27,240
Speaker 1: very well is false. But then I've also read counter

1065
01:12:27,479 --> 01:12:32,719
Speaker 1: arguments to that argument that are a little more recent. Interestingly, Uh,

1066
01:12:32,800 --> 01:12:35,280
Speaker 1: and this is yeah, I guess for our listeners, I'm

1067
01:12:35,320 --> 01:12:39,680
Speaker 1: like kind of synthesizing this in real time. But that

1068
01:12:40,000 --> 01:12:44,640
Speaker 1: argue that the movie actually does push against that essentialism

1069
01:12:44,840 --> 01:12:51,960
Speaker 1: in text through the women of the Volvolini. And I

1070
01:12:52,000 --> 01:12:56,519
Speaker 1: will say that Volvolini does not help that argument at all,

1071
01:12:57,080 --> 01:12:59,960
Speaker 1: especially because they're like other name is the many mothers,

1072
01:13:01,760 --> 01:13:05,240
Speaker 1: but also you don't see any of them as mothers,

1073
01:13:05,280 --> 01:13:09,320
Speaker 1: like there they don't or it's not clear. They're kind

1074
01:13:09,320 --> 01:13:12,639
Speaker 1: of like this utopian like it just seems like they

1075
01:13:12,720 --> 01:13:17,000
Speaker 1: just yeah, they they function as a family, but there doesn't.

1076
01:13:17,400 --> 01:13:19,280
Speaker 1: I don't know. But then the Keeper of the Seed

1077
01:13:20,120 --> 01:13:23,720
Speaker 1: that like it's I don't know where I land in

1078
01:13:23,760 --> 01:13:27,280
Speaker 1: this argument. However, Uh, the counter argument, just to present

1079
01:13:27,360 --> 01:13:30,920
Speaker 1: it is that the women of the Wolglini, many of

1080
01:13:30,960 --> 01:13:34,040
Speaker 1: whom I think most of whom are older, are not

1081
01:13:34,479 --> 01:13:39,000
Speaker 1: of childbearing age. If they ever were able to bear

1082
01:13:39,080 --> 01:13:41,560
Speaker 1: child we don't know right, who gives a ship U

1083
01:13:42,000 --> 01:13:44,599
Speaker 1: people alone? But but I think you know, because they

1084
01:13:44,640 --> 01:13:49,679
Speaker 1: are older in the eyes of Morton Joe, that makes

1085
01:13:49,720 --> 01:13:54,200
Speaker 1: them not useful productive members of his society. In the

1086
01:13:54,240 --> 01:13:57,320
Speaker 1: world of the movie. And to the women in Gauze,

1087
01:13:57,320 --> 01:14:02,400
Speaker 1: to mad Maximilian to fear Riosa, they are very valuable

1088
01:14:02,439 --> 01:14:05,759
Speaker 1: because they are valued for wisdom. They are just as capable,

1089
01:14:05,800 --> 01:14:11,040
Speaker 1: if not more capable warriors, and it is very clear

1090
01:14:11,080 --> 01:14:15,960
Speaker 1: in text that they are extremely important to the mission

1091
01:14:16,040 --> 01:14:23,800
Speaker 1: being a success. So it's it's certainly complicated. There are

1092
01:14:24,439 --> 01:14:29,400
Speaker 1: certainly ways to interpret what is presented to us differently.

1093
01:14:30,080 --> 01:14:32,960
Speaker 1: I see both sides, although I tend to be of

1094
01:14:33,040 --> 01:14:40,479
Speaker 1: the mind, not us being centrists. Um I And maybe

1095
01:14:40,479 --> 01:14:45,240
Speaker 1: it's just because I love this movie so much that

1096
01:14:45,520 --> 01:14:48,719
Speaker 1: I'm going to go to bat for it pretty hard.

1097
01:14:48,840 --> 01:14:51,800
Speaker 1: But sure do I love this movie so much because

1098
01:14:52,439 --> 01:14:56,559
Speaker 1: I think it's doing a lot of good things. That

1099
01:14:57,000 --> 01:15:00,519
Speaker 1: is part of it. So I want to just sort

1100
01:15:00,560 --> 01:15:05,000
Speaker 1: of talk about sort of just like generally speaking, here,

1101
01:15:05,920 --> 01:15:09,400
Speaker 1: this movie presents a world in which you know, this

1102
01:15:09,560 --> 01:15:14,280
Speaker 1: extremely toxic, tyrannical leader of a Morton Joe. He's obsessed

1103
01:15:14,320 --> 01:15:17,720
Speaker 1: with war, he's obsessed with controlling people. He owns all

1104
01:15:17,760 --> 01:15:21,439
Speaker 1: of the wealth. He is patriarchy, the guy, the man.

1105
01:15:22,400 --> 01:15:28,080
Speaker 1: He manipulates people. He sees women as property and you know,

1106
01:15:28,200 --> 01:15:30,880
Speaker 1: like you said, baby making machines, he sees his son.

1107
01:15:31,080 --> 01:15:34,520
Speaker 1: I mean, I think it's also interesting how he everyone

1108
01:15:34,840 --> 01:15:38,160
Speaker 1: is a means to an end. The gender nature of

1109
01:15:38,200 --> 01:15:43,040
Speaker 1: how he views women is pointed and particularly brutal. But

1110
01:15:42,640 --> 01:15:45,519
Speaker 1: I but I never, like, really, I don't know. I

1111
01:15:45,520 --> 01:15:48,360
Speaker 1: hadn't watched this movie with Bechtel Castle in like goggles

1112
01:15:48,360 --> 01:15:50,519
Speaker 1: on in a long time, but you see really early

1113
01:15:50,560 --> 01:15:54,160
Speaker 1: on that like you know, mad Max is a fucking bloodbag,

1114
01:15:54,280 --> 01:15:59,040
Speaker 1: like he's used for what Morton Joe thinks is valuable

1115
01:15:59,120 --> 01:16:03,679
Speaker 1: about District viewing him as an object as well. Right, yes,

1116
01:16:03,960 --> 01:16:07,879
Speaker 1: and all of these things are shown by the movie

1117
01:16:07,960 --> 01:16:12,960
Speaker 1: as being wrong and toxic and worth fighting against. And

1118
01:16:13,000 --> 01:16:15,160
Speaker 1: of course sometimes it gets a little on the nose.

1119
01:16:15,240 --> 01:16:19,000
Speaker 1: It's not very subtle, but you know, the intentions are

1120
01:16:19,520 --> 01:16:22,280
Speaker 1: clear what the film is trying to say and do.

1121
01:16:22,560 --> 01:16:26,439
Speaker 1: And just to have an action movie that is a

1122
01:16:26,479 --> 01:16:32,160
Speaker 1: critique of toxic masculinity and like hegemonic masculinity is pretty

1123
01:16:32,160 --> 01:16:39,160
Speaker 1: remarkable since most action movies celebrate toxic masculinity. Yeah, so

1124
01:16:39,680 --> 01:16:42,720
Speaker 1: that's kind of step one of what we're dealing with here,

1125
01:16:43,800 --> 01:16:50,080
Speaker 1: because I even though so many action movies celebrate toxic masculinity,

1126
01:16:50,320 --> 01:16:54,920
Speaker 1: I love the genre, but I especially love action movies

1127
01:16:55,080 --> 01:16:58,840
Speaker 1: with substance and interesting world building and that have something

1128
01:16:58,880 --> 01:17:01,720
Speaker 1: to say. So that's why I've really latched on to

1129
01:17:01,880 --> 01:17:07,640
Speaker 1: this one. Now, Furiosa, there are different interpretations of the

1130
01:17:07,720 --> 01:17:10,600
Speaker 1: kind of like Max and furious A dynamic. From a

1131
01:17:10,720 --> 01:17:13,880
Speaker 1: character function point of view, I consider them to be

1132
01:17:14,439 --> 01:17:21,680
Speaker 1: dual protagonists, and they share protagonists. Actually actually, um, I

1133
01:17:21,680 --> 01:17:27,080
Speaker 1: would actually call maximist, and in this essay I'll talk

1134
01:17:27,120 --> 01:17:29,680
Speaker 1: about why that's screwed up because it's his name in

1135
01:17:29,680 --> 01:17:35,000
Speaker 1: the movie. UM. Sorry, I continue, I I agree with you. So,

1136
01:17:35,920 --> 01:17:39,080
Speaker 1: just to come at this from a screenwriting point of view, um,

1137
01:17:39,120 --> 01:17:42,320
Speaker 1: not that I would ever, you know, mention a master's

1138
01:17:42,320 --> 01:17:46,240
Speaker 1: degree that I have in screenwriting from Boston University. Certainly

1139
01:17:46,240 --> 01:17:49,080
Speaker 1: not on your birthday, no less, certainly not on my birthday.

1140
01:17:49,400 --> 01:17:53,480
Speaker 1: But they share protagonist functions in the sense that Furiosa

1141
01:17:53,680 --> 01:17:59,200
Speaker 1: has the stronger motivation, the more distinct goal, which is

1142
01:17:59,240 --> 01:18:01,559
Speaker 1: the thing that dry it is the narrative, and the

1143
01:18:01,640 --> 01:18:06,639
Speaker 1: higher stakes whereas Max has the more significant character arc.

1144
01:18:07,320 --> 01:18:10,719
Speaker 1: You know, he goes from being this like borderline animal

1145
01:18:11,680 --> 01:18:18,440
Speaker 1: survival boy to someone with like human empathy. Both characters

1146
01:18:18,479 --> 01:18:22,800
Speaker 1: are equally active and the story is told from their

1147
01:18:22,840 --> 01:18:26,960
Speaker 1: point of view in pretty equal distribution. So that's why

1148
01:18:26,960 --> 01:18:30,800
Speaker 1: I contend that they are dual protagonists. Um, which means

1149
01:18:30,840 --> 01:18:33,840
Speaker 1: we have one of the protagonists in the movie being

1150
01:18:34,120 --> 01:18:38,200
Speaker 1: a woman, which is pretty rare for an action movie

1151
01:18:39,160 --> 01:18:44,080
Speaker 1: Furious especially of course, because she is one of two

1152
01:18:44,200 --> 01:18:48,720
Speaker 1: leading characters, is participating in the action and fighting. And

1153
01:18:48,760 --> 01:18:51,120
Speaker 1: again that makes sense because this is an action movie

1154
01:18:51,640 --> 01:18:54,360
Speaker 1: just as much as Max, more so even in the

1155
01:18:54,400 --> 01:18:59,040
Speaker 1: first act, because Max is restrained and chained to a

1156
01:18:59,080 --> 01:19:02,920
Speaker 1: car so he can't do anything for a while. There

1157
01:19:02,920 --> 01:19:06,040
Speaker 1: are moments where she gets to take the lead because

1158
01:19:06,040 --> 01:19:10,240
Speaker 1: she has more skills than him. There's that scene where

1159
01:19:10,920 --> 01:19:13,280
Speaker 1: she shoots the guys on the motorcycle that are coming

1160
01:19:13,320 --> 01:19:19,200
Speaker 1: after them because she has like better marksmanship, and also

1161
01:19:19,280 --> 01:19:23,600
Speaker 1: she's done this before and he hasn't. Like that's established

1162
01:19:23,600 --> 01:19:26,800
Speaker 1: really early on, where like she this is like not

1163
01:19:26,920 --> 01:19:29,479
Speaker 1: quite a day at the office for her, but like

1164
01:19:29,920 --> 01:19:34,160
Speaker 1: you know, I don't, she's more experienced and like he's

1165
01:19:34,240 --> 01:19:38,800
Speaker 1: like a cop, so he in theory has like experience

1166
01:19:39,040 --> 01:19:41,960
Speaker 1: shooting a gun. But like, oh no, I didn't mean

1167
01:19:42,000 --> 01:19:44,879
Speaker 1: like she, but I meant like in terms of knowing

1168
01:19:44,920 --> 01:19:50,840
Speaker 1: the war raging like that, Like she, yeah, like has

1169
01:19:50,960 --> 01:19:54,280
Speaker 1: more not like I feel like it's presented very early

1170
01:19:54,320 --> 01:19:58,880
Speaker 1: on that she has more relevant information and skills than

1171
01:19:59,080 --> 01:20:01,639
Speaker 1: he does for the situation they're in. But they're both

1172
01:20:01,720 --> 01:20:04,880
Speaker 1: very skilled, right right, right, okay, yes, yes, um right,

1173
01:20:04,920 --> 01:20:07,799
Speaker 1: and she just like has power over him in knowing

1174
01:20:08,360 --> 01:20:13,160
Speaker 1: the like code, the Da Vinci code, the unlocks, the

1175
01:20:13,240 --> 01:20:16,479
Speaker 1: killed switches or whatever. Do you remember that famous scene

1176
01:20:16,600 --> 01:20:20,599
Speaker 1: or furious Selene's over to Mad Max and she says apple,

1177
01:20:22,160 --> 01:20:24,760
Speaker 1: and then he goes, oh, my name's Max, so I

1178
01:20:24,920 --> 01:20:29,720
Speaker 1: have it in She's like he has to tell She's like,

1179
01:20:30,080 --> 01:20:34,280
Speaker 1: here's how to disable to kill switches. It's a p

1180
01:20:34,280 --> 01:20:38,760
Speaker 1: p L E. And then he goes, wow, I can't

1181
01:20:38,760 --> 01:20:44,080
Speaker 1: believe I read six hundre pages to get to this. So,

1182
01:20:45,120 --> 01:20:47,160
Speaker 1: uh yeah, And it's just I mean, just the fact

1183
01:20:47,160 --> 01:20:50,839
Speaker 1: that she is driving the war rig for a large

1184
01:20:51,000 --> 01:20:53,639
Speaker 1: chunk of the movie. I hate that that is such

1185
01:20:53,680 --> 01:20:55,720
Speaker 1: a big deal. But it's a big deal. That's a

1186
01:20:55,760 --> 01:20:59,160
Speaker 1: big deal. One of the best hand to hand combat

1187
01:20:59,320 --> 01:21:02,519
Speaker 1: fight scenes in an action movie that I've ever seen

1188
01:21:03,280 --> 01:21:07,040
Speaker 1: is that early one between Furios and Max. We have

1189
01:21:07,200 --> 01:21:09,879
Speaker 1: a man and a woman fighting, which, as we've discussed

1190
01:21:09,880 --> 01:21:13,240
Speaker 1: on the show, does not happen often. We've discussed how

1191
01:21:13,479 --> 01:21:16,759
Speaker 1: in a lot of action movies where like the rarer

1192
01:21:16,760 --> 01:21:19,360
Speaker 1: cases where a woman is allowed to participate in the action,

1193
01:21:19,960 --> 01:21:24,920
Speaker 1: she is often fighting other women. So to see this

1194
01:21:25,040 --> 01:21:30,960
Speaker 1: like very equally balanced fight between a man and a

1195
01:21:31,000 --> 01:21:35,200
Speaker 1: woman where they are both extremely capable, is again shouldn't

1196
01:21:35,240 --> 01:21:38,000
Speaker 1: be groundbreaking, but I'm like, oh my gosh, this is

1197
01:21:38,080 --> 01:21:41,559
Speaker 1: so cool to see. It's wild. And uh. Something else

1198
01:21:41,600 --> 01:21:44,720
Speaker 1: that I liked about this fight that felt a little

1199
01:21:44,800 --> 01:21:47,760
Speaker 1: unusual watching it this time around was I feel like

1200
01:21:47,760 --> 01:21:54,479
Speaker 1: you rarely see a male action protagonist fight because they're

1201
01:21:54,600 --> 01:22:00,400
Speaker 1: very obviously scared. Like Max is really scared in that scene,

1202
01:22:00,479 --> 01:22:05,519
Speaker 1: and like, I like, he's behaving brutally, but it's I

1203
01:22:05,520 --> 01:22:09,160
Speaker 1: I feel like, you know, a slight tip of that

1204
01:22:09,479 --> 01:22:13,639
Speaker 1: whatever to Tom Hardy, Like you can tell that it's

1205
01:22:13,680 --> 01:22:17,160
Speaker 1: like he's not doing the like hyper masculine action starting

1206
01:22:17,240 --> 01:22:21,240
Speaker 1: He's afraid and that is why he's fighting, And i'e

1207
01:22:21,240 --> 01:22:23,800
Speaker 1: like you don't. That's just not something you get from

1208
01:22:23,840 --> 01:22:27,360
Speaker 1: a male action hero very often. True. I'm about to

1209
01:22:27,400 --> 01:22:30,200
Speaker 1: go into a bunch of ways in which the female

1210
01:22:30,240 --> 01:22:34,839
Speaker 1: characters in this movie subvert a lot of action movie tropes.

1211
01:22:35,080 --> 01:22:38,000
Speaker 1: But there's a lot of stuff also that's subverted about

1212
01:22:38,040 --> 01:22:42,160
Speaker 1: Max's character. Like, I mean, he's, like what you said,

1213
01:22:42,360 --> 01:22:47,000
Speaker 1: he's got PTSD that really strongly affects him, And I mean,

1214
01:22:47,040 --> 01:22:50,160
Speaker 1: I guess that that's not unheard of in this genre,

1215
01:22:50,280 --> 01:22:54,880
Speaker 1: but to have it presented as something as scary and

1216
01:22:55,120 --> 01:22:59,800
Speaker 1: debilitating as it is to him, I feel like, is unusual.

1217
01:23:00,000 --> 01:23:05,559
Speaker 1: I think, I think so. I think also that again,

1218
01:23:05,640 --> 01:23:08,519
Speaker 1: him being kind of like incapacitated for the first act

1219
01:23:08,600 --> 01:23:12,080
Speaker 1: of the movie and not being allowed or able to

1220
01:23:12,120 --> 01:23:15,920
Speaker 1: participate in the fighting and action is a subversion. I

1221
01:23:15,960 --> 01:23:23,280
Speaker 1: think that his arc being that he learns empathy is

1222
01:23:23,560 --> 01:23:28,160
Speaker 1: a very interesting arc for a male action hero. I

1223
01:23:28,160 --> 01:23:31,080
Speaker 1: don't know, just like a lot of fascinating things to me,

1224
01:23:31,320 --> 01:23:34,240
Speaker 1: But not as interesting as furious a baby, not as

1225
01:23:34,240 --> 01:23:37,519
Speaker 1: interesting as Furiosa. So back to that hand to hand

1226
01:23:38,080 --> 01:23:42,000
Speaker 1: combat fight between Max and Furiosa. Also during that fight,

1227
01:23:42,800 --> 01:23:47,599
Speaker 1: the women in Gauze, though not trained warriors, at all,

1228
01:23:47,680 --> 01:23:51,120
Speaker 1: they are still participating in the action. For example, one

1229
01:23:51,160 --> 01:23:54,320
Speaker 1: of them tosses a weapon to Furiosa for her to

1230
01:23:54,400 --> 01:23:57,880
Speaker 1: use against Max. At different points they kind of rally

1231
01:23:57,960 --> 01:24:04,400
Speaker 1: together to either pull acts or nuts away from Furiosa. Um.

1232
01:24:04,439 --> 01:24:06,360
Speaker 1: There are other moments throughout the rest of the story

1233
01:24:06,520 --> 01:24:10,080
Speaker 1: where they the Kravitz does know how to shoot again.

1234
01:24:10,320 --> 01:24:14,080
Speaker 1: For yes, you know, like someone that she knows. Yeah,

1235
01:24:14,080 --> 01:24:17,120
Speaker 1: she knows how to like load reload a weapon. She

1236
01:24:17,160 --> 01:24:20,519
Speaker 1: knows how to Like she knows. And this doesn't like

1237
01:24:21,000 --> 01:24:24,200
Speaker 1: seem that impressive. But also like if someone's like, here's

1238
01:24:24,200 --> 01:24:26,200
Speaker 1: a pile of a bunch of different bullets, here's a

1239
01:24:26,200 --> 01:24:28,799
Speaker 1: pile of a bunch of different guns. Match the guns

1240
01:24:28,800 --> 01:24:32,800
Speaker 1: to the bullets. I can't. I wouldn't know where to begin. Yeah,

1241
01:24:33,280 --> 01:24:38,559
Speaker 1: no fucking clue there. It's it's like it's cool like there,

1242
01:24:38,600 --> 01:24:41,080
Speaker 1: and I forget how we view this. View this the

1243
01:24:41,080 --> 01:24:43,479
Speaker 1: first time around, but watching it back, you're like, oh,

1244
01:24:43,600 --> 01:24:47,240
Speaker 1: this is like having the women in Gauze. I feel like,

1245
01:24:47,439 --> 01:24:52,960
Speaker 1: in a less capable team's hands could either have gone

1246
01:24:53,280 --> 01:24:59,679
Speaker 1: super merry Sue or completely sidelined those characters in the action.

1247
01:24:59,760 --> 01:25:02,360
Speaker 1: But I feel like the action you get from them

1248
01:25:02,600 --> 01:25:07,760
Speaker 1: is significant. It's narratively impactful, and it's not like ridiculous,

1249
01:25:07,800 --> 01:25:11,280
Speaker 1: like they're a fucking swat team, because like that wouldn't

1250
01:25:11,280 --> 01:25:14,720
Speaker 1: make sense with their lived experience, right, it tracks with

1251
01:25:14,920 --> 01:25:19,439
Speaker 1: their background. They are able to do things like use

1252
01:25:19,720 --> 01:25:25,880
Speaker 1: bolt cutters, they create diversions to help them escape dangerous situations.

1253
01:25:25,880 --> 01:25:29,680
Speaker 1: You know, it's just like they are given opportunities to

1254
01:25:29,800 --> 01:25:33,000
Speaker 1: be able to do things that impact the story in

1255
01:25:33,040 --> 01:25:36,760
Speaker 1: ways that other action movies don't afford those opportunities to

1256
01:25:36,800 --> 01:25:42,760
Speaker 1: women usually. And then, like we've mentioned the team up

1257
01:25:42,840 --> 01:25:47,320
Speaker 1: with the Wovelini, the Many Mothers, and you know what

1258
01:25:47,439 --> 01:25:50,680
Speaker 1: it's reminding me of. It's reminding me of the VOLTUREI

1259
01:25:51,040 --> 01:25:55,400
Speaker 1: from fucking Twilight. Oh my gosh, the Italian vampire team.

1260
01:25:55,520 --> 01:25:58,160
Speaker 1: I was like, I was like, it sounds like Vagina pasta,

1261
01:25:58,240 --> 01:26:00,439
Speaker 1: but it also sounds like something else. It sounds like

1262
01:26:00,439 --> 01:26:03,839
Speaker 1: the Vulture led by I believed the code of Fanning.

1263
01:26:04,240 --> 01:26:09,080
Speaker 1: That sounds right, memory serves anyways, Sorry, that was that

1264
01:26:09,160 --> 01:26:12,000
Speaker 1: was bugging me. Now now I remember. I'm glad we

1265
01:26:12,280 --> 01:26:15,599
Speaker 1: I'm glad we worked through that. So they meet up

1266
01:26:15,640 --> 01:26:20,000
Speaker 1: with the Wovelini and like the number of female characters

1267
01:26:20,160 --> 01:26:22,960
Speaker 1: doubles or maybe even more than doubles, and then it's

1268
01:26:23,000 --> 01:26:26,559
Speaker 1: like they're all trained warriors in a way that makes

1269
01:26:26,600 --> 01:26:30,200
Speaker 1: total sense. Right, there's a lot of cool stuff happening there.

1270
01:26:30,439 --> 01:26:35,599
Speaker 1: And then more specifically, so I would recommend a video

1271
01:26:35,880 --> 01:26:39,880
Speaker 1: essay series from Innuendo Studios that was written and narrated

1272
01:26:39,920 --> 01:26:45,599
Speaker 1: by Ian Danskin, who is a cisman but he does

1273
01:26:45,760 --> 01:26:49,959
Speaker 1: make a lot of points that I agree with and

1274
01:26:49,960 --> 01:26:51,880
Speaker 1: and and brings a lot of insights. He does say

1275
01:26:51,960 --> 01:26:55,200
Speaker 1: due to ragamus quite though he does, and I will

1276
01:26:55,240 --> 01:26:59,480
Speaker 1: forgive him for that. Yeah, it's a good series. The

1277
01:26:59,560 --> 01:27:03,760
Speaker 1: videos series is called Bringing Back What's Stolen, Fury Road

1278
01:27:03,840 --> 01:27:07,439
Speaker 1: and the Avenging Feminine. So this video series has a

1279
01:27:07,439 --> 01:27:10,679
Speaker 1: lot of insight about how female characters in Fury Road

1280
01:27:10,920 --> 01:27:16,680
Speaker 1: compare to female characters in other action movies. Or he

1281
01:27:16,760 --> 01:27:19,880
Speaker 1: keeps calling them violent movies because he also introduces some

1282
01:27:20,000 --> 01:27:24,320
Speaker 1: examples from like horror slasher movies. UM, So if you're

1283
01:27:24,360 --> 01:27:27,479
Speaker 1: just kind of like using the umbrella of violent movies. Um,

1284
01:27:27,520 --> 01:27:32,240
Speaker 1: A lot of tropes and archetypes have emerged over the

1285
01:27:32,360 --> 01:27:37,519
Speaker 1: years that Fury Road tends to avoid. So I'll just

1286
01:27:37,640 --> 01:27:41,760
Speaker 1: kind of quickly go through this. I recommend watching the

1287
01:27:41,800 --> 01:27:44,719
Speaker 1: whole series, but it pointed out a lot of things

1288
01:27:44,760 --> 01:27:50,200
Speaker 1: that I wasn't really able to articulate very clearly. So yeah,

1289
01:27:50,240 --> 01:27:53,240
Speaker 1: it's very very streamlined. It's it's really good. So. One

1290
01:27:53,280 --> 01:27:57,360
Speaker 1: of the archetypes of female characters in action slash violent

1291
01:27:57,479 --> 01:28:01,639
Speaker 1: movies is the innocent um based sally when a woman

1292
01:28:01,760 --> 01:28:08,120
Speaker 1: is captured, damseled, brutalized to provide steaks for the male hero.

1293
01:28:08,880 --> 01:28:11,320
Speaker 1: We talk about this all the time. It often takes

1294
01:28:11,360 --> 01:28:15,080
Speaker 1: the form of a woman being captured and damseled and

1295
01:28:15,360 --> 01:28:19,479
Speaker 1: needing to be saved by a man. Obviously, Furiosa doesn't

1296
01:28:19,479 --> 01:28:23,240
Speaker 1: fall into this archetype, and neither do the wives because

1297
01:28:23,280 --> 01:28:26,599
Speaker 1: even though Furiosa is taking them away from a Morton

1298
01:28:26,680 --> 01:28:30,360
Speaker 1: Joe to safety, as we've discussed, they're not helpless. They

1299
01:28:30,360 --> 01:28:33,200
Speaker 1: are participating in the action. Yeah, and it was also

1300
01:28:33,320 --> 01:28:36,599
Speaker 1: like I thought it was a smart, subtle choice that

1301
01:28:36,960 --> 01:28:39,680
Speaker 1: it was their idea for it to happen in the

1302
01:28:39,720 --> 01:28:43,160
Speaker 1: first place, Like they weren't just like doi I want,

1303
01:28:43,280 --> 01:28:46,360
Speaker 1: Like they were highly motivated to get out of their situation,

1304
01:28:46,439 --> 01:28:49,960
Speaker 1: and they sought out someone who could help them, like huge,

1305
01:28:50,120 --> 01:28:54,800
Speaker 1: like literally graffiting on their walls the reasons saying like

1306
01:28:55,280 --> 01:28:58,840
Speaker 1: our babies will not be war lords. We are not

1307
01:28:59,120 --> 01:29:03,920
Speaker 1: things that whole I mean, And that's there's some I

1308
01:29:03,960 --> 01:29:07,200
Speaker 1: think that some of the issues we've discussed as it

1309
01:29:07,240 --> 01:29:10,519
Speaker 1: pertains to like gender, I feel like part of it

1310
01:29:10,560 --> 01:29:13,640
Speaker 1: is because there is that really strong like seizing the

1311
01:29:13,720 --> 01:29:18,880
Speaker 1: means of production energy to this movie, Like where for

1312
01:29:19,120 --> 01:29:22,040
Speaker 1: the majority of like the characters in this movie, the

1313
01:29:22,120 --> 01:29:26,200
Speaker 1: means of production is like reclaiming your own body, which

1314
01:29:26,280 --> 01:29:29,160
Speaker 1: is like you know, by liberating themselves from a morton

1315
01:29:29,240 --> 01:29:33,800
Speaker 1: Joe and refusing to have his children like that is

1316
01:29:34,360 --> 01:29:37,839
Speaker 1: their means of production. Same thing goes for like Max,

1317
01:29:37,920 --> 01:29:40,080
Speaker 1: Like the difference between Max being used as a blood

1318
01:29:40,320 --> 01:29:43,680
Speaker 1: bag for Nicholas Holt and Max giving his blood to

1319
01:29:43,800 --> 01:29:46,360
Speaker 1: Furious at the end is like he sees the means

1320
01:29:46,360 --> 01:29:48,000
Speaker 1: of his own production. It's the same thing, but the

1321
01:29:48,040 --> 01:29:55,920
Speaker 1: context is uh. Anyways, The next archetype that this video

1322
01:29:56,320 --> 01:30:00,960
Speaker 1: series identifies is they call it the Vasquez named after

1323
01:30:01,000 --> 01:30:05,080
Speaker 1: the character Vasquez in Aliens. Listened to that episode for

1324
01:30:05,120 --> 01:30:10,400
Speaker 1: our discussion on that character specifically. There's a lot going on,

1325
01:30:11,000 --> 01:30:15,280
Speaker 1: but it's the female action movie archetype where the woman

1326
01:30:15,640 --> 01:30:20,320
Speaker 1: is one of the guys and ends up embodying traits

1327
01:30:20,360 --> 01:30:25,200
Speaker 1: of toxic masculinity, which is again subverted in this movie

1328
01:30:25,479 --> 01:30:31,480
Speaker 1: because Fury Road explores a more nuanced and less binary

1329
01:30:31,640 --> 01:30:37,599
Speaker 1: spectrum of gender, of masculinity and femininity. That one, I mean,

1330
01:30:37,640 --> 01:30:41,160
Speaker 1: that was wild in that particular video section, with that

1331
01:30:41,320 --> 01:30:44,720
Speaker 1: super cut of all the different women protagonists that have

1332
01:30:44,760 --> 01:30:49,040
Speaker 1: said suck my dick. Different You're like, oh, yeah, I

1333
01:30:49,080 --> 01:30:51,600
Speaker 1: guess that that is a that is a thing that

1334
01:30:51,680 --> 01:30:55,080
Speaker 1: happens quite a bit, uh, in a certain era of

1335
01:30:55,400 --> 01:30:59,040
Speaker 1: but also like still kind of now anyway sometimes Yeah.

1336
01:30:59,320 --> 01:31:04,360
Speaker 1: One of these archetypes has been dubbed the dominatrix. Uh.

1337
01:31:04,400 --> 01:31:10,439
Speaker 1: This is the highly violent and also highly sexualized female character.

1338
01:31:10,680 --> 01:31:14,439
Speaker 1: She is often the villain or anti hero. Old school

1339
01:31:14,479 --> 01:31:18,280
Speaker 1: Catwoman's stuff exactly like leans into the hyper sexualization of

1340
01:31:18,360 --> 01:31:24,240
Speaker 1: women's bodies. I maintain that even though we see, especially

1341
01:31:24,280 --> 01:31:30,240
Speaker 1: the women in Gauze, they are arguably kind of scantily clad,

1342
01:31:31,400 --> 01:31:36,920
Speaker 1: they're not sexualized in an exploitative way. I would agree

1343
01:31:36,960 --> 01:31:39,120
Speaker 1: with that. You could you could make an argument against that,

1344
01:31:39,160 --> 01:31:42,479
Speaker 1: and I and I would listen and probably agree with

1345
01:31:42,960 --> 01:31:45,120
Speaker 1: some of it. But I think that there is an art.

1346
01:31:45,200 --> 01:31:47,920
Speaker 1: There's definitely an argument for it, but it just it's

1347
01:31:47,920 --> 01:31:50,559
Speaker 1: hard to describe. It doesn't feel like the movie is

1348
01:31:51,200 --> 01:31:55,920
Speaker 1: trying to titilate with shots of their body. I always

1349
01:31:55,920 --> 01:31:59,080
Speaker 1: think of the shot of like pregnant Rosie Huntington Whiteley

1350
01:31:59,160 --> 01:32:01,719
Speaker 1: and the Hose where you're like a still of that.

1351
01:32:02,080 --> 01:32:04,880
Speaker 1: I could see the argument, but presented in context, I

1352
01:32:04,920 --> 01:32:07,200
Speaker 1: didn't feel like it was supposed to be a titilating

1353
01:32:07,640 --> 01:32:12,599
Speaker 1: shot right right. The video essay points out that most

1354
01:32:12,640 --> 01:32:18,439
Speaker 1: other action movie directors would frame that scene in question,

1355
01:32:18,479 --> 01:32:21,240
Speaker 1: which is the one where Max comes upon the war

1356
01:32:21,320 --> 01:32:25,800
Speaker 1: rig for the first time when it's like cartoon wolf.

1357
01:32:27,800 --> 01:32:30,400
Speaker 1: And then it would because they're like posing each other

1358
01:32:30,479 --> 01:32:33,439
Speaker 1: down there, like cleaning off after this first big chase.

1359
01:32:34,000 --> 01:32:37,040
Speaker 1: They are drinking water, you know, all this stuff. That's

1360
01:32:37,080 --> 01:32:39,280
Speaker 1: when they say so fresh face. Throughout the movie, they

1361
01:32:39,760 --> 01:32:45,160
Speaker 1: occasionally rents off they're taking baths. That's true. Um. The

1362
01:32:45,240 --> 01:32:48,120
Speaker 1: video essay points out that like most other directors, and

1363
01:32:48,120 --> 01:32:51,080
Speaker 1: I'm especially thinking of like how Michael Bay would shoot this,

1364
01:32:51,160 --> 01:32:53,280
Speaker 1: but they would like shoot that scene like a wet

1365
01:32:53,320 --> 01:32:58,640
Speaker 1: T shirt contest. But this scene is mostly like the

1366
01:32:58,720 --> 01:33:02,680
Speaker 1: women at a far distance or like tight shots of

1367
01:33:02,720 --> 01:33:07,880
Speaker 1: their face in a way that we're not seeing like disembodied,

1368
01:33:08,080 --> 01:33:12,720
Speaker 1: you know, like breasts and asses and stuff like that. Yeah,

1369
01:33:12,920 --> 01:33:18,400
Speaker 1: so uh that's another subversion um. The next action movie

1370
01:33:18,600 --> 01:33:23,240
Speaker 1: archetype is the Mama Bear, which is typically a pretty

1371
01:33:23,240 --> 01:33:27,080
Speaker 1: feminine woman who will become violent in order to protect

1372
01:33:27,120 --> 01:33:31,439
Speaker 1: her children. Think like Ripley and Aliens. Thanks Gina Davis's

1373
01:33:31,560 --> 01:33:34,920
Speaker 1: character in The Long Kiss Goodnight, Um, I can't, I

1374
01:33:34,920 --> 01:33:39,640
Speaker 1: haven't seen it. Okay, then don't think about it. The

1375
01:33:39,720 --> 01:33:43,960
Speaker 1: video essay goes into detail about how Fury Road subverts

1376
01:33:44,000 --> 01:33:46,559
Speaker 1: this and that even though there is the idea of

1377
01:33:46,600 --> 01:33:51,439
Speaker 1: like motherhood presented in that, like the way, we're more

1378
01:33:51,560 --> 01:33:56,120
Speaker 1: rooted in our refusal to uh like right, yeah, it's

1379
01:33:56,160 --> 01:34:00,120
Speaker 1: it's it's more rooted in I mean and full disclosure,

1380
01:34:00,120 --> 01:34:03,160
Speaker 1: we are we're recording as in a big week for

1381
01:34:03,439 --> 01:34:08,760
Speaker 1: bodily autonomy talk. But it is like the most one

1382
01:34:08,800 --> 01:34:12,360
Speaker 1: of the most dystopian examples of trying to regain your

1383
01:34:12,439 --> 01:34:18,320
Speaker 1: bodily autonomy by refusing to have a child that you

1384
01:34:18,720 --> 01:34:23,360
Speaker 1: don't want that was a product of assault. Like period. Yeah, yes,

1385
01:34:24,200 --> 01:34:27,160
Speaker 1: bad week, bad week, that's a really bad week. The

1386
01:34:27,200 --> 01:34:30,840
Speaker 1: next archetype um being the final girl. This is already

1387
01:34:30,840 --> 01:34:35,639
Speaker 1: a familiar thing, most common in horror slash slasher movies.

1388
01:34:36,120 --> 01:34:39,720
Speaker 1: This video essay examines how kind of the idea of

1389
01:34:40,240 --> 01:34:45,559
Speaker 1: specialness and being quote not like the other girls is

1390
01:34:45,720 --> 01:34:50,320
Speaker 1: the thing that enables the final girl to survive, where

1391
01:34:50,640 --> 01:34:54,960
Speaker 1: in this movie, Fury Road subverts this by not presenting

1392
01:34:55,000 --> 01:35:01,120
Speaker 1: anyone as like more deserving or more special than anyone else.

1393
01:35:01,240 --> 01:35:06,559
Speaker 1: Although see my point again about the trophy wives being

1394
01:35:07,080 --> 01:35:13,120
Speaker 1: rescued but not the women who are being milked. Yeah,

1395
01:35:13,200 --> 01:35:16,160
Speaker 1: I don't think that that's universally true, but of the

1396
01:35:16,240 --> 01:35:20,400
Speaker 1: characters we know we are, that's generally true. And I

1397
01:35:20,439 --> 01:35:23,680
Speaker 1: also thought it was like, uh, just a choice that

1398
01:35:23,840 --> 01:35:26,840
Speaker 1: made sense in the genre. That I mean, none of

1399
01:35:26,840 --> 01:35:28,880
Speaker 1: the none of the we don't lose the women in gods,

1400
01:35:28,960 --> 01:35:35,840
Speaker 1: but there are a few of the vulture the vampires, yes,

1401
01:35:36,040 --> 01:35:41,400
Speaker 1: the Italian vampires that do die in in battle, and uh,

1402
01:35:41,439 --> 01:35:45,400
Speaker 1: and there's also plenty of war boys who die in battle. Certainly,

1403
01:35:46,000 --> 01:35:48,559
Speaker 1: I don't think that, I mean, we haven't really brought

1404
01:35:48,600 --> 01:35:51,160
Speaker 1: up nuts too much. There's not too much to talk

1405
01:35:51,200 --> 01:35:53,240
Speaker 1: about there. But I do think that it's interesting that

1406
01:35:53,280 --> 01:35:58,719
Speaker 1: he ties into this theme of redemption that the movie

1407
01:35:58,840 --> 01:36:02,160
Speaker 1: has that it would be it would have been very,

1408
01:36:02,280 --> 01:36:05,840
Speaker 1: very easy for them to just kill him, and they

1409
01:36:05,880 --> 01:36:08,800
Speaker 1: consider it, like the Furiosa has a knife to his

1410
01:36:08,880 --> 01:36:13,240
Speaker 1: throat at one point. Yeah, but but after the women

1411
01:36:13,280 --> 01:36:15,519
Speaker 1: in Gauze sort of talk it out a little bit

1412
01:36:15,520 --> 01:36:19,519
Speaker 1: and Furiosa weighs in that they I think it's Rosie

1413
01:36:19,600 --> 01:36:24,280
Speaker 1: Huntington Whitely who who ultimately says like, basically, this is

1414
01:36:24,400 --> 01:36:29,360
Speaker 1: a kid who's been indoctrinated into this fucking horrible place

1415
01:36:29,439 --> 01:36:34,439
Speaker 1: and sort of suggests that killing him is not the

1416
01:36:34,479 --> 01:36:37,559
Speaker 1: way to go, which ends up serving the story. And

1417
01:36:37,600 --> 01:36:42,680
Speaker 1: I like that this movie is, you know, there's like

1418
01:36:42,720 --> 01:36:46,120
Speaker 1: the whatever restorative justice is at play for a lot

1419
01:36:46,160 --> 01:36:48,880
Speaker 1: of it because even though Nuxt still dies, he like

1420
01:36:49,240 --> 01:36:52,120
Speaker 1: is redeemed by and and in a way that isn't

1421
01:36:52,160 --> 01:36:55,960
Speaker 1: like an annoying movie redemption. It's not like Adam Drivers

1422
01:36:55,960 --> 01:37:00,919
Speaker 1: Star Wars Redemption. You know, it's it's like it's efficient.

1423
01:37:01,040 --> 01:37:04,640
Speaker 1: You know that he has been indoctrinated. He makes an

1424
01:37:04,640 --> 01:37:07,720
Speaker 1: emotional connection with one of the women in Gas, the

1425
01:37:07,840 --> 01:37:11,320
Speaker 1: Riley Kio character, who I mean, it just sounds like

1426
01:37:11,360 --> 01:37:16,200
Speaker 1: he's basically shown mercy and like empathy as opposed to

1427
01:37:16,840 --> 01:37:20,040
Speaker 1: gas lighting and a fucking spray cand of the face

1428
01:37:20,760 --> 01:37:23,320
Speaker 1: for the first time in his life. You could argue

1429
01:37:23,400 --> 01:37:27,400
Speaker 1: that having only women display those qualities is pointed, but

1430
01:37:27,720 --> 01:37:31,679
Speaker 1: I thought it worked in the movie. But that's also

1431
01:37:31,720 --> 01:37:35,400
Speaker 1: an interesting arc for him to have to where like

1432
01:37:35,800 --> 01:37:39,160
Speaker 1: he starts out as being, you know, this product of

1433
01:37:39,400 --> 01:37:45,919
Speaker 1: his environment of being like extremely radicalized in this very toxic,

1434
01:37:46,040 --> 01:37:52,040
Speaker 1: warmongering way, and then as soon as one person shows

1435
01:37:52,120 --> 01:37:56,479
Speaker 1: him any amount of empathy and patience, riley Ko literally

1436
01:37:56,520 --> 01:38:03,799
Speaker 1: says like, oh that sucks, and he's like it blows

1437
01:38:03,880 --> 01:38:06,360
Speaker 1: his mind. He's like, wait, someone is it yelling at

1438
01:38:06,360 --> 01:38:11,360
Speaker 1: me and calling me mediocre? Don't call Nicholas whole mediocre,

1439
01:38:13,520 --> 01:38:17,439
Speaker 1: but yeah, Like his arc revolving around, similar to Max

1440
01:38:17,600 --> 01:38:23,040
Speaker 1: is like being responsive to empathy, yeah, or like having

1441
01:38:23,479 --> 01:38:29,800
Speaker 1: a healthier relationship with empathy. Is both of what the

1442
01:38:29,880 --> 01:38:35,040
Speaker 1: main male characters arcs revolve around, which is I think

1443
01:38:35,080 --> 01:38:40,760
Speaker 1: really interesting and cool. Um I agree. The final archetype,

1444
01:38:41,320 --> 01:38:47,320
Speaker 1: as discussed in this video essay, is the rape revenger,

1445
01:38:47,680 --> 01:38:53,519
Speaker 1: which again deals more commonly with like rape revenge horror movies,

1446
01:38:54,439 --> 01:38:58,559
Speaker 1: but based on the context of and like backstory of

1447
01:38:58,920 --> 01:39:04,040
Speaker 1: the women in Gauze it's applicable here where the general

1448
01:39:04,160 --> 01:39:09,360
Speaker 1: trope slash archetype presents women in a usually very exploitative

1449
01:39:09,360 --> 01:39:14,200
Speaker 1: way that kind of revels in the physical and or

1450
01:39:14,280 --> 01:39:19,519
Speaker 1: sexual violence that happens towards the women in these stories

1451
01:39:19,640 --> 01:39:24,240
Speaker 1: and revels in their suffering, whereas Fury Road opts not

1452
01:39:24,360 --> 01:39:28,240
Speaker 1: to show any of this exploitative violence and suffering. We

1453
01:39:28,360 --> 01:39:31,800
Speaker 1: understood that it has happened to them, but any of

1454
01:39:31,840 --> 01:39:35,960
Speaker 1: the violence toward women in the movie is just the

1455
01:39:36,000 --> 01:39:40,840
Speaker 1: women actively engaging in battle as warriors and not that

1456
01:39:40,920 --> 01:39:46,559
Speaker 1: kind of like exploitative violence towards women. And the video

1457
01:39:47,240 --> 01:39:50,479
Speaker 1: ends with a proposal of like a new and like

1458
01:39:50,520 --> 01:39:55,400
Speaker 1: a new future archetype that Furiosa falls into, which is

1459
01:39:55,560 --> 01:39:59,200
Speaker 1: called the avenging feminine, in which, uh, you know, a

1460
01:39:59,280 --> 01:40:02,800
Speaker 1: woman takes what is hers, she fights because it's her

1461
01:40:02,880 --> 01:40:06,360
Speaker 1: right to fight against men who tell her it's not

1462
01:40:06,439 --> 01:40:10,240
Speaker 1: her right, among other traits. Um I found the whole

1463
01:40:10,240 --> 01:40:14,920
Speaker 1: thing really insightful. I don't necessarily drive with every single moment,

1464
01:40:15,160 --> 01:40:19,280
Speaker 1: but um I found it generally it really cool. Yeah,

1465
01:40:19,320 --> 01:40:21,880
Speaker 1: we'll link it um if anyone wants to check it out.

1466
01:40:21,960 --> 01:40:26,599
Speaker 1: But it helped me because like it identified action movie

1467
01:40:26,840 --> 01:40:31,280
Speaker 1: tropes that are ascribed to female characters that I just

1468
01:40:31,320 --> 01:40:34,760
Speaker 1: like didn't have like the vocabulary for and stuff. So yeah,

1469
01:40:34,760 --> 01:40:36,799
Speaker 1: I just I found it really helpful, and I agree

1470
01:40:36,840 --> 01:40:40,480
Speaker 1: with most of the analysis of how Fury Road subverts

1471
01:40:40,640 --> 01:40:46,479
Speaker 1: those archetypes. So it's true. That's my little piece about that,

1472
01:40:46,840 --> 01:40:51,360
Speaker 1: and I think all of it is very cool and

1473
01:40:51,400 --> 01:40:54,679
Speaker 1: again largely why I love this movie so much. It's perfect.

1474
01:40:54,840 --> 01:41:01,280
Speaker 1: I'm I'm rictus erectus just here in it, uh, And

1475
01:41:01,360 --> 01:41:06,799
Speaker 1: that's my little contribution. Thank you. What a wonderful birthday

1476
01:41:06,800 --> 01:41:13,040
Speaker 1: gift the birthday. Yeah, I mean, Furious it is just

1477
01:41:13,080 --> 01:41:16,200
Speaker 1: like a fucking awesome character for for all the reasons

1478
01:41:16,200 --> 01:41:19,439
Speaker 1: you describe. And also I mean just a very I

1479
01:41:19,479 --> 01:41:21,920
Speaker 1: feel like it's fun to see a character of any

1480
01:41:22,160 --> 01:41:27,559
Speaker 1: gender kind of arrive fully formed, like when you meet

1481
01:41:27,720 --> 01:41:30,559
Speaker 1: Furious that she's highly motivated. She's one of the only

1482
01:41:30,640 --> 01:41:33,559
Speaker 1: characters that we meet who already has a vested interest

1483
01:41:33,640 --> 01:41:35,680
Speaker 1: in people who are not just herself. It's kind of

1484
01:41:35,680 --> 01:41:39,120
Speaker 1: her and the women and gods who care about each other. Um,

1485
01:41:39,200 --> 01:41:42,240
Speaker 1: and that that isn't because I feel like sometimes empathy

1486
01:41:42,520 --> 01:41:45,880
Speaker 1: and this isn't like the worst trope in the entire world.

1487
01:41:45,920 --> 01:41:49,560
Speaker 1: But it is a trope where empathy and emotional intelligence

1488
01:41:49,680 --> 01:41:53,479
Speaker 1: is more often attributed to women characters. It's not a

1489
01:41:53,520 --> 01:41:57,880
Speaker 1: trope that comes from nowhere, I would say, uh, but

1490
01:41:57,880 --> 01:42:00,120
Speaker 1: but it is a common trope, and I think sometimes

1491
01:42:00,120 --> 01:42:03,000
Speaker 1: in movies it's applied rather sloppily, where it's like women's

1492
01:42:03,000 --> 01:42:06,760
Speaker 1: intuition and ship like that. Sure, but with Furiosa, I mean,

1493
01:42:06,920 --> 01:42:11,240
Speaker 1: you get explicit context as to why she has a

1494
01:42:11,320 --> 01:42:15,160
Speaker 1: collective mindset and because that's how she was raised. She

1495
01:42:15,280 --> 01:42:19,760
Speaker 1: was raised in a feminist utopia that prioritized the collectives,

1496
01:42:19,840 --> 01:42:24,479
Speaker 1: so the fact that she retains those values as an

1497
01:42:24,520 --> 01:42:29,200
Speaker 1: adult makes total sense. But also there are moments where

1498
01:42:29,240 --> 01:42:32,240
Speaker 1: she does not display empathy, like the part where she's

1499
01:42:32,280 --> 01:42:36,160
Speaker 1: about to kill nuts. Uh. There's there's the part where

1500
01:42:36,160 --> 01:42:40,200
Speaker 1: she's like Rosie rolled off the war rig. We gotta

1501
01:42:40,280 --> 01:42:43,120
Speaker 1: keep going baby, we gotta keep going right, which is like,

1502
01:42:43,200 --> 01:42:47,920
Speaker 1: that's just pragmatic ship. Unfortunately for Rosie. Glad she made

1503
01:42:47,920 --> 01:42:51,439
Speaker 1: it exactly. But it's something so I've talked about this

1504
01:42:51,439 --> 01:42:55,040
Speaker 1: on the show before, but something that drives me absolutely

1505
01:42:55,600 --> 01:42:59,960
Speaker 1: wild about horror movies especially, and it's usually like the

1506
01:43:00,040 --> 01:43:03,120
Speaker 1: Final Girl, but you see this in some action movies too,

1507
01:43:03,400 --> 01:43:07,439
Speaker 1: and other genres. But like whoever, the most important female

1508
01:43:07,520 --> 01:43:11,560
Speaker 1: character of the movie is she has so much empathy

1509
01:43:11,760 --> 01:43:13,479
Speaker 1: that she has put in a position where she has

1510
01:43:13,520 --> 01:43:18,160
Speaker 1: the opportunity to badly maim and or kill the person

1511
01:43:18,200 --> 01:43:21,240
Speaker 1: who is trying to kill her. But because she has

1512
01:43:21,280 --> 01:43:23,479
Speaker 1: so much empathy, she's like, I can't do it. I can't.

1513
01:43:24,040 --> 01:43:27,680
Speaker 1: I mean, which, which I think in certain you know

1514
01:43:27,800 --> 01:43:30,080
Speaker 1: that I feel like that's super case to case, but

1515
01:43:30,200 --> 01:43:33,439
Speaker 1: can be super sloppy and trophy if it just seems

1516
01:43:33,439 --> 01:43:36,880
Speaker 1: like it's because it's because girl, girl is nice, girl

1517
01:43:36,960 --> 01:43:40,479
Speaker 1: has feeling right and that and that's some women are

1518
01:43:40,520 --> 01:43:45,000
Speaker 1: fucking heartless and you should remember that. But um, often

1519
01:43:45,000 --> 01:43:48,640
Speaker 1: when I see it, it's it's very infuriating in Furious

1520
01:43:49,000 --> 01:43:55,920
Speaker 1: curiousting because of the way it's presented. Um And in

1521
01:43:55,960 --> 01:44:01,040
Speaker 1: this case, we see Furiosa killing people all the time

1522
01:44:01,120 --> 01:44:05,640
Speaker 1: because they are actively trying to kill her. So but

1523
01:44:05,720 --> 01:44:08,879
Speaker 1: she kind of but but I also appreciate that she doesn't.

1524
01:44:09,600 --> 01:44:12,400
Speaker 1: I don't know, no, when I guess this is like

1525
01:44:12,479 --> 01:44:14,880
Speaker 1: part of why they're the hear like, no one is

1526
01:44:15,000 --> 01:44:19,240
Speaker 1: killing for fun, they're killing for survival. Um, where like

1527
01:44:19,400 --> 01:44:23,559
Speaker 1: I mortem Joe is killing for say his name again,

1528
01:44:23,640 --> 01:44:36,120
Speaker 1: Jamie Morton, bro Elan mc volvolorins, I just passed out.

1529
01:44:36,120 --> 01:44:38,360
Speaker 1: I just got a nose leed on the zoom call.

1530
01:44:39,560 --> 01:44:42,400
Speaker 1: I think you're called Knucks Knocks at one point as

1531
01:44:42,479 --> 01:44:48,840
Speaker 1: well Knocks l a the place I write for. Um. Look, look,

1532
01:44:48,960 --> 01:44:51,800
Speaker 1: they're difficult names. There's too many characters. There are a

1533
01:44:51,840 --> 01:44:55,360
Speaker 1: lot of characters, and they all have pretty unfamiliar names.

1534
01:44:55,800 --> 01:45:00,320
Speaker 1: They have very name. Okay, I've called that was on

1535
01:45:00,360 --> 01:45:06,000
Speaker 1: your birthday. Can't believe it. Um, I truly forget what

1536
01:45:06,040 --> 01:45:08,720
Speaker 1: I was talking about, but I'm sure I was in

1537
01:45:08,760 --> 01:45:12,080
Speaker 1: the middle of I'm sure. I mean, good job, Jamie,

1538
01:45:12,200 --> 01:45:14,240
Speaker 1: He's made a good point. Oh something you wanted to

1539
01:45:14,240 --> 01:45:16,360
Speaker 1: bring up really quick? I mean, I guess it's just

1540
01:45:16,400 --> 01:45:18,479
Speaker 1: like Hits Home again. It's just a scene that I

1541
01:45:18,560 --> 01:45:20,639
Speaker 1: had forgotten about. I hadn't seen this movie and maybe

1542
01:45:20,840 --> 01:45:25,439
Speaker 1: two years, and I was like, oh boy, uh when

1543
01:45:25,960 --> 01:45:30,040
Speaker 1: the dead baby the dead baby, there is a dead

1544
01:45:31,080 --> 01:45:34,280
Speaker 1: I don't really I don't have a bettel Cast Galaxy

1545
01:45:34,320 --> 01:45:36,120
Speaker 1: brain point to make about it, but I do. I mean,

1546
01:45:36,160 --> 01:45:40,639
Speaker 1: I guess that that just that like Hits Home super hard,

1547
01:45:41,120 --> 01:45:47,479
Speaker 1: not subtly at all. How little life is valued when

1548
01:45:47,520 --> 01:45:52,799
Speaker 1: it doesn't have when it doesn't specifically benefit the upper class,

1549
01:45:52,960 --> 01:45:56,559
Speaker 1: because no one gives a ship. If Rosie Huntington Whiteley

1550
01:45:56,800 --> 01:46:01,679
Speaker 1: is okay, it's like is the rawduct because they view

1551
01:46:02,200 --> 01:46:06,880
Speaker 1: children as products and a future war boy, you know.

1552
01:46:07,000 --> 01:46:11,400
Speaker 1: And so I just forgot about that scene and I

1553
01:46:11,479 --> 01:46:16,080
Speaker 1: find it disturbing every single time. Again another reminder of

1554
01:46:16,160 --> 01:46:21,719
Speaker 1: what is happening in this country right now. Yeah, there's

1555
01:46:21,760 --> 01:46:25,360
Speaker 1: a lot about this movie that the more time that passes,

1556
01:46:25,400 --> 01:46:28,280
Speaker 1: you're just like, whoa with? I mean even just like, yeah,

1557
01:46:28,840 --> 01:46:37,880
Speaker 1: a radicalized force of young men. You're like, I know, yeah, uh,

1558
01:46:38,000 --> 01:46:42,400
Speaker 1: anyways away, you know it's it's it's still fiction for now.

1559
01:46:42,560 --> 01:46:46,960
Speaker 1: So that's good. Yeah, did you have anything else you

1560
01:46:47,000 --> 01:46:49,280
Speaker 1: wanted to talk about? Not really. I just want to

1561
01:46:49,320 --> 01:46:52,160
Speaker 1: give a shout out to miss Giddy. I wish we

1562
01:46:52,280 --> 01:46:58,360
Speaker 1: just knew more about her character. Amazing line reads great.

1563
01:46:58,400 --> 01:47:01,720
Speaker 1: I love her tattoos. There was a scene that was

1564
01:47:01,800 --> 01:47:06,840
Speaker 1: shot but deleted from the movie in which Angherd's body

1565
01:47:06,960 --> 01:47:10,759
Speaker 1: and Miss Giddy were left to die and be eaten

1566
01:47:10,800 --> 01:47:13,960
Speaker 1: by crows, which I think would have been just like

1567
01:47:14,000 --> 01:47:19,080
Speaker 1: a very unnecessarily violent scene towards Miss Gutty specifically, that

1568
01:47:19,200 --> 01:47:24,280
Speaker 1: was removed. Honestly weird that it was even considered to

1569
01:47:24,439 --> 01:47:27,280
Speaker 1: be included in the movie. But I did not know that.

1570
01:47:27,280 --> 01:47:31,280
Speaker 1: That's very Yes, um so that was no good. But uh,

1571
01:47:31,680 --> 01:47:34,840
Speaker 1: Miss Gitty is just seems like a prime candidate for

1572
01:47:34,920 --> 01:47:40,200
Speaker 1: a limited series. That's a character. I would watch a

1573
01:47:40,280 --> 01:47:45,800
Speaker 1: whole series about the marvelous Miss Kitty. I like that.

1574
01:47:45,800 --> 01:47:48,280
Speaker 1: That's where you took it here, like as she does

1575
01:47:48,320 --> 01:47:51,080
Speaker 1: do stand out. She's a stand up comic at the Citadel,

1576
01:47:51,560 --> 01:47:56,360
Speaker 1: she did the Comedy Citadel. She headlines the Comedy Citadel,

1577
01:47:56,439 --> 01:47:59,200
Speaker 1: and I'm running my Type five at the Citadel tonight.

1578
01:47:59,400 --> 01:48:01,960
Speaker 1: I want to come, um just like a goofy, Like

1579
01:48:02,120 --> 01:48:04,840
Speaker 1: it's real hard bringing a woman in comedy, right, And

1580
01:48:04,880 --> 01:48:10,479
Speaker 1: she just said the fucking Citadel. Uh God, Anyway, wish

1581
01:48:10,479 --> 01:48:12,759
Speaker 1: I knew more about wish we knew more about her character.

1582
01:48:13,120 --> 01:48:15,839
Speaker 1: I think we just built out some pretty let's let's uh,

1583
01:48:15,960 --> 01:48:18,200
Speaker 1: let's run that past Eve Ensler. But I think that

1584
01:48:18,240 --> 01:48:22,400
Speaker 1: she's gonna love it. I agree, Yeah, I think that

1585
01:48:22,760 --> 01:48:26,519
Speaker 1: is all I had. Did you have anything else? No,

1586
01:48:26,840 --> 01:48:30,519
Speaker 1: that's that's that's about all I had as well. Um,

1587
01:48:30,760 --> 01:48:35,320
Speaker 1: I really enjoyed this movie, and I really enjoyed talking

1588
01:48:35,360 --> 01:48:38,880
Speaker 1: about it. I'm so glad to hear that. But here's

1589
01:48:38,920 --> 01:48:43,240
Speaker 1: my question, Caitlin. Does it pass a back? It does

1590
01:48:43,439 --> 01:48:48,759
Speaker 1: a lot. Furiously talks to the various women in Gauze.

1591
01:48:49,040 --> 01:48:52,080
Speaker 1: They talked to each other. They all talked to different

1592
01:48:52,080 --> 01:48:56,400
Speaker 1: members talked to each other. Yes, Um, I don't have

1593
01:48:56,439 --> 01:49:00,479
Speaker 1: a handle on what most of their names are, but

1594
01:49:00,680 --> 01:49:03,200
Speaker 1: I think they are given names like in the script

1595
01:49:03,240 --> 01:49:06,840
Speaker 1: and in the credits. They're all and stuff pretty like.

1596
01:49:07,000 --> 01:49:10,040
Speaker 1: I mean, I would say that they count his names

1597
01:49:10,080 --> 01:49:15,200
Speaker 1: because male character eors are also given like weird titles

1598
01:49:15,240 --> 01:49:18,000
Speaker 1: as names, like the Bullet Farmer. I would consider it

1599
01:49:18,000 --> 01:49:20,679
Speaker 1: to be a character's name. Sure, yeah, in the same

1600
01:49:20,680 --> 01:49:24,080
Speaker 1: way that yeah, the people Eater the Duf Warrior, which

1601
01:49:24,800 --> 01:49:28,240
Speaker 1: you gotta love the Duf Warrior. Um. I didn't love

1602
01:49:28,240 --> 01:49:30,840
Speaker 1: the Duf Warrior the first time around, but this time

1603
01:49:30,880 --> 01:49:34,000
Speaker 1: I loved the Dufei. The dufe is cool. Speaking of

1604
01:49:34,280 --> 01:49:38,080
Speaker 1: media tests, I wanted to call attention really quick to

1605
01:49:38,200 --> 01:49:42,360
Speaker 1: the furiosa test. Oh yeah, I forgot about this. This

1606
01:49:42,439 --> 01:49:46,719
Speaker 1: is a funny one, so obviously, so this movie provides

1607
01:49:46,760 --> 01:49:50,680
Speaker 1: the origin for this test. The test was proposed by

1608
01:49:50,800 --> 01:49:57,200
Speaker 1: Twitter user Sean M. Puckett in June a sentence who

1609
01:49:57,240 --> 01:50:01,840
Speaker 1: said proposed the furious a test your movie, slash game,

1610
01:50:01,960 --> 01:50:06,599
Speaker 1: slash book, slash play passes if it incites men's rights

1611
01:50:06,720 --> 01:50:11,519
Speaker 1: dipshits to boycott because what happened when this movie was released,

1612
01:50:12,640 --> 01:50:17,479
Speaker 1: A bunch of m r a s were like, what

1613
01:50:17,479 --> 01:50:25,320
Speaker 1: what is this? What's that? Well that then Alfred Bilina,

1614
01:50:25,439 --> 01:50:30,120
Speaker 1: who famously denounces men's rights activism, king King of the World,

1615
01:50:30,160 --> 01:50:33,920
Speaker 1: and you heard it here first on our show. People

1616
01:50:33,960 --> 01:50:36,519
Speaker 1: don't talk about that enough. I think they don't talk

1617
01:50:36,560 --> 01:50:39,519
Speaker 1: about it nearly enough. They don't really talk about it

1618
01:50:40,680 --> 01:50:43,639
Speaker 1: maybe at all. It doesn't really come up. It's sort

1619
01:50:43,640 --> 01:50:49,479
Speaker 1: of only just us who brings it up. But the

1620
01:50:49,680 --> 01:50:52,280
Speaker 1: m r a s they just threw a little fit,

1621
01:50:52,400 --> 01:50:55,799
Speaker 1: as they often do, when they realized what this movie

1622
01:50:56,000 --> 01:51:00,479
Speaker 1: was about. They deemed it feminist propaganda. They you know,

1623
01:51:00,640 --> 01:51:05,040
Speaker 1: demanded people boycott the movie. They still do this, But

1624
01:51:05,760 --> 01:51:08,960
Speaker 1: I feel like the mis was when this like this

1625
01:51:09,080 --> 01:51:14,320
Speaker 1: particular brand of like like masculine anchor was like they

1626
01:51:14,360 --> 01:51:18,280
Speaker 1: were really in their bag because like Ghostbusters came out,

1627
01:51:18,880 --> 01:51:23,960
Speaker 1: this came out like you're just like, oh my God.

1628
01:51:23,960 --> 01:51:26,760
Speaker 1: I feel like everyone had like one man in their

1629
01:51:26,800 --> 01:51:29,120
Speaker 1: life that was like, Oh, I didn't realize that you're

1630
01:51:29,680 --> 01:51:36,160
Speaker 1: the pettiest kind of person that exists. Uh yes, fascinating Anyways,

1631
01:51:38,560 --> 01:51:40,799
Speaker 1: what about our nipple scale though, you're the five nipples?

1632
01:51:40,840 --> 01:51:44,519
Speaker 1: Based on how the movie fares when examining it through

1633
01:51:44,640 --> 01:51:50,400
Speaker 1: an intersectional feminist lens, oh me, oh my, um okay,

1634
01:51:50,439 --> 01:51:52,160
Speaker 1: I think I've got I've got a number in mine,

1635
01:51:52,240 --> 01:51:58,920
Speaker 1: go go go off, Birthday, thank you, birthday, birthdays, first birthday,

1636
01:51:58,960 --> 01:52:04,880
Speaker 1: first always. I am leaning somewhere between a three and

1637
01:52:04,880 --> 01:52:08,360
Speaker 1: a half and a four. I might split the diff

1638
01:52:08,439 --> 01:52:12,320
Speaker 1: and go three point seven five. I think the way

1639
01:52:12,960 --> 01:52:21,000
Speaker 1: the movie treats disability and atypical bodies is unforgivable. I

1640
01:52:21,040 --> 01:52:28,600
Speaker 1: think that the way the movie centers whiteness and centers

1641
01:52:29,400 --> 01:52:34,040
Speaker 1: people who adhere to western beauty standards as being those

1642
01:52:34,400 --> 01:52:40,840
Speaker 1: most worthy of being rescued and escaping to safety and

1643
01:52:41,040 --> 01:52:47,080
Speaker 1: survival is dated and unfortunate, and there was so much

1644
01:52:47,120 --> 01:52:51,479
Speaker 1: more room for more meaningful inclusion. Things like that, which

1645
01:52:51,520 --> 01:52:56,760
Speaker 1: we've discussed that bring the rating down. But there is

1646
01:52:56,800 --> 01:53:03,800
Speaker 1: also so much that the movie subverts, tropes that avoids

1647
01:53:03,920 --> 01:53:08,080
Speaker 1: and things that it actually does actively do to push

1648
01:53:08,160 --> 01:53:13,439
Speaker 1: the needle forward in terms of how women especially are

1649
01:53:14,080 --> 01:53:19,640
Speaker 1: treated and the role that they play in an action movie.

1650
01:53:20,200 --> 01:53:23,120
Speaker 1: Because of that, I'm going to go with the I

1651
01:53:23,160 --> 01:53:26,479
Speaker 1: think at three point seven five. I'll give one to

1652
01:53:26,560 --> 01:53:31,519
Speaker 1: furious A, one two the women who are left behind,

1653
01:53:32,280 --> 01:53:37,280
Speaker 1: one to the women in Gauze, and I'll give my

1654
01:53:37,960 --> 01:53:46,839
Speaker 1: three quarters nipple to the voltry Ak, the Wolvelini, okay,

1655
01:53:46,920 --> 01:53:49,800
Speaker 1: the Ravioli. You know, we could keep going, we could

1656
01:53:49,880 --> 01:53:55,840
Speaker 1: keep going. Oh my god. My favorite moment in all

1657
01:53:56,000 --> 01:54:01,600
Speaker 1: of um history as do you ever? No, I guess no.

1658
01:54:01,760 --> 01:54:07,120
Speaker 1: Every time you didn't watch SpongeBob. There's a great moment

1659
01:54:07,120 --> 01:54:09,800
Speaker 1: where I forget what the context of it is, but

1660
01:54:10,160 --> 01:54:14,360
Speaker 1: someone spells Chris Squidward's name wrong and he goes squid

1661
01:54:14,439 --> 01:54:19,000
Speaker 1: word totally me and it's so funny because his name

1662
01:54:19,040 --> 01:54:24,880
Speaker 1: Squidward Tentacles, sort of like the character Tentacles in the

1663
01:54:24,960 --> 01:54:28,200
Speaker 1: Legend of Titanic. My favorite animated film of all time,

1664
01:54:28,840 --> 01:54:33,800
Speaker 1: The Blueprint. Yeah good, oh god, I love squid word. Okay, um,

1665
01:54:33,840 --> 01:54:37,720
Speaker 1: I'm going to give the movie. I'm gonna I'll be

1666
01:54:37,760 --> 01:54:43,200
Speaker 1: generous because I feel residual guilt for how irrationally hard.

1667
01:54:43,240 --> 01:54:46,440
Speaker 1: I was on this movie the in our first run

1668
01:54:46,440 --> 01:54:48,800
Speaker 1: at this episode six years ago. We're all works in

1669
01:54:48,840 --> 01:54:52,240
Speaker 1: progress six years ago. To be fair, Yes I was.

1670
01:54:52,480 --> 01:54:57,000
Speaker 1: I was twelve years old. I'm eighteen now, so I

1671
01:54:57,000 --> 01:54:59,040
Speaker 1: think I know a thing or two. Okay, good, I am,

1672
01:54:59,080 --> 01:55:02,360
Speaker 1: I'm gen Z. What can I say? Um? Well, since

1673
01:55:02,560 --> 01:55:06,160
Speaker 1: it's my birthday today, so I have actually aged into

1674
01:55:06,280 --> 01:55:10,560
Speaker 1: being a boomer. Wow, that's how that works. There there

1675
01:55:10,640 --> 01:55:15,000
Speaker 1: comes a day where we all become boomers selfordunately. I'm

1676
01:55:15,040 --> 01:55:20,880
Speaker 1: Benjamin Botton ng I'm gen Z. Uh Um, but I'll

1677
01:55:20,880 --> 01:55:25,160
Speaker 1: go for I totally agree with the way that this

1678
01:55:25,440 --> 01:55:29,680
Speaker 1: movie treats disabled bodies and atypical bodies in general. This

1679
01:55:29,800 --> 01:55:34,560
Speaker 1: movie's views on fatness in particular are um all extremely

1680
01:55:34,640 --> 01:55:37,360
Speaker 1: dated for a movie that came out less than ten

1681
01:55:37,440 --> 01:55:42,640
Speaker 1: years ago, which speaks to how underdeveloped those discussions are.

1682
01:55:42,680 --> 01:55:46,120
Speaker 1: And and also, um, you know a positive spin, how

1683
01:55:46,160 --> 01:55:48,880
Speaker 1: far conversations around that have come. And I would be

1684
01:55:48,920 --> 01:55:51,960
Speaker 1: interested because there is supposed to be a prequel with

1685
01:55:52,000 --> 01:55:57,440
Speaker 1: Anna Taylor Joy as young Furiosa coming out in I

1686
01:55:57,480 --> 01:56:01,520
Speaker 1: would be curious because George Mill has a somewhat good

1687
01:56:01,560 --> 01:56:05,000
Speaker 1: record on course correcting past mistakes. I wonder if that

1688
01:56:05,080 --> 01:56:09,040
Speaker 1: will be something that is course corrected in another installment

1689
01:56:09,200 --> 01:56:19,600
Speaker 1: of this franchise. We will see it curious to see um, curiosa, curiosa, honey. Uh.

1690
01:56:20,080 --> 01:56:23,760
Speaker 1: But yes, the the treatment of disability and race in

1691
01:56:23,760 --> 01:56:26,800
Speaker 1: particular are we're not good at the time and did

1692
01:56:26,800 --> 01:56:30,880
Speaker 1: not age well um and should always be criticized. And

1693
01:56:31,920 --> 01:56:37,080
Speaker 1: to this movie's credit, I do think that this movie's

1694
01:56:38,320 --> 01:56:44,560
Speaker 1: good reception, this movie being embraced by action fans is

1695
01:56:44,640 --> 01:56:47,760
Speaker 1: like a huge I would imagine. I mean, it's still

1696
01:56:47,880 --> 01:56:50,400
Speaker 1: kind of early to tell. Obviously, the movie came out

1697
01:56:51,040 --> 01:56:54,840
Speaker 1: seven years ago, but even in that time, I feel

1698
01:56:54,840 --> 01:56:58,120
Speaker 1: like you can trace that it's made a difference in

1699
01:56:58,160 --> 01:57:01,920
Speaker 1: the genre, and it's made a friends to fans of

1700
01:57:01,960 --> 01:57:05,520
Speaker 1: action movies of like what an action hero looks and

1701
01:57:05,600 --> 01:57:07,920
Speaker 1: behaves and like what they're capable of. I feel like

1702
01:57:07,920 --> 01:57:12,080
Speaker 1: Furiosa is like a huge kind of game changer for

1703
01:57:12,120 --> 01:57:15,560
Speaker 1: this genre, and it is a difficult genre to game

1704
01:57:15,680 --> 01:57:20,160
Speaker 1: change because of all the loaded masculinity that it's known for.

1705
01:57:20,280 --> 01:57:24,400
Speaker 1: There's a lot of baggage. Yeah, So for its fault

1706
01:57:24,520 --> 01:57:27,120
Speaker 1: of which there are many, and we've discussed them, I

1707
01:57:27,160 --> 01:57:29,560
Speaker 1: do think that it was a huge step forward for

1708
01:57:29,600 --> 01:57:34,240
Speaker 1: the genre in many ways. UM. I generally like how

1709
01:57:34,320 --> 01:57:37,760
Speaker 1: the women in the movie who we get to know? Um,

1710
01:57:37,800 --> 01:57:39,440
Speaker 1: which is the women we get to know versus a

1711
01:57:39,480 --> 01:57:43,040
Speaker 1: woman we don't, as we discussed, is very intentional and

1712
01:57:43,120 --> 01:57:45,560
Speaker 1: pointed the when we do get to know, I feel

1713
01:57:45,560 --> 01:57:49,360
Speaker 1: like are all given effective story arcs. I thought it

1714
01:57:49,440 --> 01:57:54,000
Speaker 1: was really cool that George Miller empowered his actors to

1715
01:57:54,720 --> 01:57:58,560
Speaker 1: develop their own characters, was open to feedback, brought in

1716
01:57:58,720 --> 01:58:02,400
Speaker 1: a consultant like ship. You just don't hear about male

1717
01:58:02,520 --> 01:58:07,120
Speaker 1: unters of this kind of magnitude doing, not giving him

1718
01:58:07,120 --> 01:58:09,360
Speaker 1: a fucking crown or anything. But I think it's just

1719
01:58:09,360 --> 01:58:14,760
Speaker 1: just another good example setting thing to have done. I

1720
01:58:14,760 --> 01:58:19,160
Speaker 1: think this movie is awesome. I really enjoy watching it,

1721
01:58:20,200 --> 01:58:23,800
Speaker 1: and UM, thank you Caitlin for first of all choosing

1722
01:58:23,840 --> 01:58:27,160
Speaker 1: it for your birthday episode and for bearing with me

1723
01:58:27,200 --> 01:58:29,920
Speaker 1: as I grew as a person and grew to appreciate it.

1724
01:58:30,080 --> 01:58:33,320
Speaker 1: So look more, nippies. I knew it would happen. I

1725
01:58:33,400 --> 01:58:36,800
Speaker 1: knew that you would undergo a significant character arc much

1726
01:58:36,880 --> 01:58:43,240
Speaker 1: like Max does. So not Max. I don't like Max. Um,

1727
01:58:43,240 --> 01:58:45,720
Speaker 1: he's my least favorite character, and you know, that there's

1728
01:58:45,760 --> 01:58:48,440
Speaker 1: a lot of worse characters. But anyways, I'm going to

1729
01:58:48,560 --> 01:58:51,520
Speaker 1: give my nepples, I mean, one to Curious, I'm gonna

1730
01:58:51,560 --> 01:58:56,480
Speaker 1: give one does Zoe Kravitz in the bullet Bag, I'm

1731
01:58:56,560 --> 01:59:00,360
Speaker 1: gonna give one to the Keeper of the Sea Needs,

1732
01:59:00,680 --> 01:59:04,240
Speaker 1: And I'm gonna give one to Mrs. Oh what's their name?

1733
01:59:04,640 --> 01:59:10,440
Speaker 1: Mrs Miss Giddy, Miss Gid Love it And that's the episode, folks.

1734
01:59:11,000 --> 01:59:14,440
Speaker 1: It certainly is uh you can you know, do all

1735
01:59:14,440 --> 01:59:17,320
Speaker 1: the stuff? Hey, you know what, since it's my birthday. Yeah,

1736
01:59:17,360 --> 01:59:22,360
Speaker 1: I'm gonna not only suggest, but maybe even demand that

1737
01:59:22,480 --> 01:59:28,000
Speaker 1: you oh ship this is this is me being absolutely

1738
01:59:28,040 --> 01:59:32,640
Speaker 1: funked up as promised. I'm so scared right now. Would

1739
01:59:32,680 --> 01:59:36,800
Speaker 1: you give me a little follow on Twitter and Instagram

1740
01:59:36,840 --> 01:59:40,840
Speaker 1: at Caitlin Durante Because the more followers I have on

1741
01:59:40,960 --> 01:59:44,120
Speaker 1: social media platforms, the more validated I feel as a

1742
01:59:44,200 --> 01:59:47,600
Speaker 1: human being. And that is the sad state of the world.

1743
01:59:48,680 --> 01:59:51,240
Speaker 1: I think that that's super healthy and I feel the

1744
01:59:51,640 --> 01:59:57,960
Speaker 1: same way. Um, everyone follow Caitlin on every platform available.

1745
01:59:57,960 --> 01:59:59,920
Speaker 1: You have TikTok to, I do have TikTok and I

1746
02:00:00,280 --> 02:00:04,440
Speaker 1: um I have not really posted much except for a

1747
02:00:04,480 --> 02:00:08,720
Speaker 1: couple of Titanic related TikTok's. Although I started doing this

1748
02:00:08,760 --> 02:00:13,120
Speaker 1: new thing on my Instagram stories in which I recap

1749
02:00:13,680 --> 02:00:16,879
Speaker 1: a movie speaking as quickly as I can and including

1750
02:00:16,920 --> 02:00:19,640
Speaker 1: as much detail as I can in fifteen seconds or less.

1751
02:00:20,040 --> 02:00:25,240
Speaker 1: So I might add those to my TikTok to really,

1752
02:00:25,720 --> 02:00:30,360
Speaker 1: you know, because it's all about generating new content, you know. Um.

1753
02:00:30,400 --> 02:00:33,440
Speaker 1: She says she's a boomer, but she's sounding like a

1754
02:00:33,680 --> 02:00:39,720
Speaker 1: danger what M so definitely, you know whatever. I don't

1755
02:00:39,720 --> 02:00:42,040
Speaker 1: care about TikTok right now, but I mean ask me

1756
02:00:42,080 --> 02:00:43,800
Speaker 1: again in a year and I'll be like, follow me

1757
02:00:43,880 --> 02:00:48,000
Speaker 1: on trink talk, um, but certainly follow me on Instagram

1758
02:00:48,120 --> 02:00:53,360
Speaker 1: and Twitter. Also followed Jamie on those on those platforms, Hey,

1759
02:00:53,360 --> 02:00:57,080
Speaker 1: why don't you do that for once in your life? Um? Yeah?

1760
02:00:57,080 --> 02:00:59,480
Speaker 1: And then also listen to Ghost Church. That's my new

1761
02:00:59,520 --> 02:01:04,360
Speaker 1: show that's coming out right now. It's about it's about

1762
02:01:04,400 --> 02:01:08,520
Speaker 1: my my week in Cassadega, Florida and the history of

1763
02:01:08,560 --> 02:01:12,600
Speaker 1: American spiritualism a k. Ghost Church, as I like to

1764
02:01:12,640 --> 02:01:15,000
Speaker 1: call it. I'm having a lot of fun making it.

1765
02:01:15,520 --> 02:01:18,520
Speaker 1: It's also produced by producer at the Bendel Cast. So

1766
02:01:18,520 --> 02:01:23,080
Speaker 1: if you Lichterrman and why don't you, why don't you

1767
02:01:23,200 --> 02:01:26,440
Speaker 1: head on over and give that a lesson. We just

1768
02:01:27,400 --> 02:01:32,640
Speaker 1: love creating content so much, which says Instagram and Twitter

1769
02:01:33,520 --> 02:01:35,920
Speaker 1: elon Musk's Twitter as I like to call it now,

1770
02:01:37,440 --> 02:01:41,480
Speaker 1: Jamie Loftus help on Twitter, Jay christ Superstar on Instagram,

1771
02:01:41,560 --> 02:01:44,000
Speaker 1: and then follow the Bechtel Cast while you're on those

1772
02:01:44,200 --> 02:01:49,040
Speaker 1: two cursed websites. Okay, yeah, at Bechtel Cast and uh.

1773
02:01:49,480 --> 02:01:52,440
Speaker 1: A nice little birthday gift for me would be if

1774
02:01:52,520 --> 02:01:57,840
Speaker 1: you give the podcast a little rate and review, preferably

1775
02:01:57,880 --> 02:02:01,600
Speaker 1: a favorable one, like a you know, five nipple if

1776
02:02:01,600 --> 02:02:04,320
Speaker 1: you dare, if you if you hated this episode, actually

1777
02:02:04,760 --> 02:02:10,520
Speaker 1: please thank I'm still I'm still traumatized from the Zootopia

1778
02:02:10,640 --> 02:02:14,880
Speaker 1: blowback of Oh my god. They're like, oh, it's just,

1779
02:02:15,160 --> 02:02:19,160
Speaker 1: oh well, rabbits can't even be cops anymore, according to

1780
02:02:19,280 --> 02:02:25,200
Speaker 1: these broads. I'm like, oh my goodness, gracious, take a

1781
02:02:25,320 --> 02:02:28,440
Speaker 1: c folks. No one's listening to the episode at this point.

1782
02:02:28,480 --> 02:02:31,920
Speaker 1: They're like, the episode ended ten minutes ago, it's been

1783
02:02:31,960 --> 02:02:37,800
Speaker 1: over two hours, and we simply can't stop talking. Typical women, right,

1784
02:02:37,920 --> 02:02:44,080
Speaker 1: always blabbing, blabbing, blabbing. Pe pe poo pooh. Two things

1785
02:02:44,160 --> 02:02:48,640
Speaker 1: women love did you, and then follow our patreonic Adrian.

1786
02:02:48,760 --> 02:02:53,840
Speaker 1: If you want more of that hilarious star banter, that's

1787
02:02:53,840 --> 02:02:56,960
Speaker 1: patreon dot com, slash becktel cast. You want an episode

1788
02:02:57,000 --> 02:03:01,200
Speaker 1: on Babe truly, that's where you'll find it. That's where

1789
02:03:01,200 --> 02:03:05,840
Speaker 1: you're gonna fucking find it. Um, and we are we're

1790
02:03:05,880 --> 02:03:08,120
Speaker 1: doing some of Caitlin's picks on the matre and this

1791
02:03:08,160 --> 02:03:11,400
Speaker 1: months we're doing face slash Off and we are doing it.

1792
02:03:11,400 --> 02:03:13,840
Speaker 1: What's the other one? Or doing Top Gun? Not because

1793
02:03:13,880 --> 02:03:16,680
Speaker 1: I vouch for the movie for either of these movies.

1794
02:03:16,760 --> 02:03:19,920
Speaker 1: It was honestly just like, Okay, the new Top Gun

1795
02:03:19,960 --> 02:03:23,400
Speaker 1: movies coming out, what better time, I guess than to

1796
02:03:23,480 --> 02:03:26,760
Speaker 1: cover the original Top Gun. And then also I was like,

1797
02:03:26,800 --> 02:03:32,120
Speaker 1: what's another like big loud action, goofy action movie that

1798
02:03:32,520 --> 02:03:36,240
Speaker 1: we can fold into the mix? And I was like,

1799
02:03:36,400 --> 02:03:38,440
Speaker 1: Face Off. I think would be a lot of fun

1800
02:03:38,600 --> 02:03:41,920
Speaker 1: for us to be like, what the funk is this movie?

1801
02:03:42,160 --> 02:03:45,600
Speaker 1: Love it? So that's the plan, folks, And that's the plan.

1802
02:03:45,720 --> 02:03:48,760
Speaker 1: And if you don't like it, go to hell to

1803
02:03:48,960 --> 02:03:54,160
Speaker 1: quote um. Okay, one's let in Titanic, Well, let's get

1804
02:03:54,160 --> 02:03:59,400
Speaker 1: out horror or follow me internal on the highways of

1805
02:03:59,520 --> 02:04:03,040
Speaker 1: the see you in Valhalla everyone and go to Valhalla.

1806
02:04:03,120 --> 02:04:07,160
Speaker 1: Deal with Valhallaco saw the Northman. I've had enough of Valhalla.

1807
02:04:07,240 --> 02:04:10,400
Speaker 1: Goodbye Episode I