WEBVTT - Mad Max Fury Road

0:00:00.960 --> 0:00:03.760
<v Speaker 1>On the Beck Doll Cast, the questions asked if movies

0:00:03.840 --> 0:00:07.440
<v Speaker 1>have women in them, are all their discussions just boyfriends

0:00:07.480 --> 0:00:11.680
<v Speaker 1>and husbands, or do they have individualism? The patriarchy? Zef

0:00:11.800 --> 0:00:17.680
<v Speaker 1>invest start changing it with the bec Del Cast. Jamie caivin,

0:00:18.440 --> 0:00:22.159
<v Speaker 1>Oh what a day, What a lovely day? Witness me.

0:00:22.680 --> 0:00:28.000
<v Speaker 1>It's my birthday. I'm oh, my god, I get it.

0:00:28.720 --> 0:00:31.520
<v Speaker 1>I get it. I understand. What a lovely day for

0:00:31.600 --> 0:00:33.720
<v Speaker 1>it to be my birthday. It's always a lovely day

0:00:33.760 --> 0:00:37.280
<v Speaker 1>for it to be your birthday. Happy birthday, Thank you,

0:00:37.880 --> 0:00:40.839
<v Speaker 1>I love you. What a day this is going to be.

0:00:41.000 --> 0:00:43.159
<v Speaker 1>I mean, this is We're not recording this on your birthday,

0:00:43.159 --> 0:00:45.640
<v Speaker 1>but I feel like it's good. We your birthday is

0:00:46.000 --> 0:00:49.040
<v Speaker 1>tends to be kind of an event. Yeah. I really

0:00:49.360 --> 0:00:52.280
<v Speaker 1>think that I'm a special person and really think that

0:00:52.320 --> 0:00:55.800
<v Speaker 1>my birthday is a special day for everyone and not

0:00:55.920 --> 0:00:58.520
<v Speaker 1>just me. Well, you're not a huge holiday person, so

0:00:58.600 --> 0:01:02.560
<v Speaker 1>this is your holiday. Like it all makes sense. Um,

0:01:02.840 --> 0:01:06.040
<v Speaker 1>I think I maybe I gave you or I didn't

0:01:06.040 --> 0:01:08.479
<v Speaker 1>give it to you because I haven't, but a part

0:01:08.560 --> 0:01:13.160
<v Speaker 1>of your birthday present the spirit channeled survivor of Titanic book,

0:01:13.200 --> 0:01:16.920
<v Speaker 1>I have to give to you amongst other things that

0:01:16.959 --> 0:01:22.959
<v Speaker 1>will be revealed at a later time. Happy birthday, thank you,

0:01:24.000 --> 0:01:27.120
<v Speaker 1>and we're doing a special I'm I'm excited. I'm excited

0:01:27.160 --> 0:01:29.520
<v Speaker 1>for this episode. I've been kind of nervous for it

0:01:29.560 --> 0:01:33.039
<v Speaker 1>because anytime we go into an episode where there's like

0:01:33.080 --> 0:01:36.920
<v Speaker 1>a lot of your like, there's just so much. But

0:01:38.040 --> 0:01:41.360
<v Speaker 1>but I'm glad. I'm glad that we're doing this. Here,

0:01:41.400 --> 0:01:46.040
<v Speaker 1>we are same, back in heaven where we live. And

0:01:46.560 --> 0:01:50.000
<v Speaker 1>what a lovely day it is. Uh. This is the

0:01:50.040 --> 0:01:52.680
<v Speaker 1>Bechtel Cast. My name is Caitlin Darante. My name is

0:01:52.720 --> 0:01:55.720
<v Speaker 1>Jamie Loftus, and this is our podcast where we examine

0:01:55.760 --> 0:01:59.640
<v Speaker 1>movies through an intersectional feminist lens, using the Bechtel Tests

0:01:59.640 --> 0:02:03.240
<v Speaker 1>simply as a jumping off point for our discussion. Jamie,

0:02:03.720 --> 0:02:08.480
<v Speaker 1>I need you to tell me on this lovely day, huh,

0:02:09.200 --> 0:02:12.800
<v Speaker 1>what the Bechdel test is. It's your birthday. I'm happy

0:02:13.000 --> 0:02:17.000
<v Speaker 1>to oblige. So. The Bechdel Test, sometimes called the Buckdel

0:02:17.040 --> 0:02:20.840
<v Speaker 1>Wallace test, is a media metric created by queer cartoonist

0:02:20.880 --> 0:02:25.920
<v Speaker 1>Alison Bechdel. There's many per mutations of this test, however,

0:02:26.360 --> 0:02:31.520
<v Speaker 1>the one we use requires the following that therapy two

0:02:32.560 --> 0:02:36.960
<v Speaker 1>characters of a marginalized gender. Sometimes sometimes my one of

0:02:37.000 --> 0:02:40.840
<v Speaker 1>my signapps is collapses mid sentence. Uh, this is like

0:02:40.960 --> 0:02:43.680
<v Speaker 1>our audition monologue that we do every week, right, because

0:02:43.680 --> 0:02:46.119
<v Speaker 1>it's like it feels so like, it feels very rehearsed

0:02:46.160 --> 0:02:48.440
<v Speaker 1>sometimes when I'm saying it, because I just like have

0:02:48.560 --> 0:02:50.919
<v Speaker 1>it so committed to memory that I'm like, wait, did

0:02:50.960 --> 0:02:54.560
<v Speaker 1>I like accidentally forget one of the That's It's just

0:02:54.760 --> 0:02:57.639
<v Speaker 1>it's a whole thing. Every time I trip myself up

0:02:57.720 --> 0:03:00.560
<v Speaker 1>because I I worry because it's so grained in my

0:03:00.600 --> 0:03:02.800
<v Speaker 1>brain that I'm going to switch a word and neither

0:03:02.880 --> 0:03:04.920
<v Speaker 1>of us will notice because we're just like, yep, that's

0:03:04.960 --> 0:03:08.440
<v Speaker 1>the monologue. This is our tomorrow and Tomorrow and tomorrow

0:03:08.480 --> 0:03:10.920
<v Speaker 1>creeps in this petty pace. Wait, what is that a

0:03:10.960 --> 0:03:13.160
<v Speaker 1>reference to? I don't think that this doesn't pass the

0:03:13.160 --> 0:03:16.680
<v Speaker 1>back because this is it's a Shakespeare passage. Everyone in

0:03:16.680 --> 0:03:19.639
<v Speaker 1>my high school had to memorize this one Shakespeare passage

0:03:19.840 --> 0:03:22.520
<v Speaker 1>Tomorrow and Tomorrow and Tomorrow creeps in this petty pace

0:03:23.280 --> 0:03:26.200
<v Speaker 1>to the last syllable of recorded time. I already sucked

0:03:26.240 --> 0:03:28.000
<v Speaker 1>it up, and all the shakespeare heads are going to

0:03:28.080 --> 0:03:34.079
<v Speaker 1>be like, you fucking do fist as as I was saying,

0:03:35.000 --> 0:03:40.760
<v Speaker 1>on your birthday, no less of all days, of all days.

0:03:40.920 --> 0:03:43.880
<v Speaker 1>So this also isn't coming out on my birthday, I

0:03:43.920 --> 0:03:46.920
<v Speaker 1>don't think, because my birthday is a Tuesday and we

0:03:46.960 --> 0:03:50.920
<v Speaker 1>always release episodes on But who knows, maybe we'll mix

0:03:50.920 --> 0:03:53.480
<v Speaker 1>it up this week. I don't know. Look, you'll find

0:03:53.480 --> 0:03:56.040
<v Speaker 1>out when you're listening. You'll know. And then if you're

0:03:56.040 --> 0:03:57.640
<v Speaker 1>listening to it, not the day it comes out, which

0:03:57.640 --> 0:04:00.200
<v Speaker 1>is probably a lot of people, you'll be like, shut up,

0:04:00.280 --> 0:04:04.200
<v Speaker 1>tell us what the Bechdel cantest is. Well, it's this,

0:04:05.760 --> 0:04:07.640
<v Speaker 1>here's the one we use. Now I'm really going to

0:04:07.720 --> 0:04:12.280
<v Speaker 1>suck it up. We were calling. We require that we

0:04:13.080 --> 0:04:19.800
<v Speaker 1>our version, you've got to have two characters of a

0:04:19.839 --> 0:04:24.000
<v Speaker 1>marginalized gender with names speak to each other about something

0:04:24.040 --> 0:04:27.200
<v Speaker 1>other than a man for more than two lines of dialogue.

0:04:27.360 --> 0:04:31.160
<v Speaker 1>And these lines of dialogue should be narratively significant in

0:04:31.279 --> 0:04:35.359
<v Speaker 1>some way, shape or form, not throw away dialogue for

0:04:35.480 --> 0:04:39.400
<v Speaker 1>crying out loud and uh, you know, because of the

0:04:39.440 --> 0:04:43.720
<v Speaker 1>movie we're covering, it's smooth sailing baby, not a problem.

0:04:43.760 --> 0:04:47.360
<v Speaker 1>It's not a problem from the director that brought you

0:04:47.480 --> 0:04:50.960
<v Speaker 1>Babe Pig in the City and Happy Feet one and two.

0:04:51.320 --> 0:04:55.680
<v Speaker 1>Oh my gosh, I found someone took it upon themselves

0:04:55.760 --> 0:05:00.480
<v Speaker 1>to write a passage on scholarly journal Wikipedia of about

0:05:00.520 --> 0:05:04.279
<v Speaker 1>the thematic similarities between happy Feet and mad Max Fury

0:05:04.360 --> 0:05:07.719
<v Speaker 1>Road and it actually completely scans. Yeah. Well, I talked

0:05:07.720 --> 0:05:12.279
<v Speaker 1>about happy Feet on blank check and I pointed out

0:05:13.160 --> 0:05:17.200
<v Speaker 1>speaking of being scholarly in a very scholarly way, I

0:05:17.360 --> 0:05:21.800
<v Speaker 1>pointed out some of those same similarities. So an environmental

0:05:22.240 --> 0:05:27.599
<v Speaker 1>family story. Also, like Hugo Weaving plays this penguin that

0:05:27.720 --> 0:05:33.159
<v Speaker 1>has this like extremist religious dogma that he's like trying

0:05:33.200 --> 0:05:36.960
<v Speaker 1>to foist on to the other penguins in the penguin community,

0:05:37.640 --> 0:05:42.280
<v Speaker 1>much like a Morton Joe is like foisting this extremist

0:05:42.320 --> 0:05:45.000
<v Speaker 1>religious dogma. Look, there's a lot of there's a lot

0:05:45.040 --> 0:05:47.760
<v Speaker 1>of similarities between Mad Max Fury Road and happy Feet,

0:05:47.920 --> 0:05:52.440
<v Speaker 1>is all we're saying. I love our canonical pronunciation of

0:05:52.480 --> 0:05:59.400
<v Speaker 1>happy feet, happy feet, happy feet. Uh, there's it reminds

0:05:59.400 --> 0:06:02.720
<v Speaker 1>me of There's is one acting choice that Tom from

0:06:02.720 --> 0:06:05.440
<v Speaker 1>Succession makes, and I believe that that's his Christian name

0:06:06.040 --> 0:06:09.400
<v Speaker 1>um where every time he says he's talking about how

0:06:09.480 --> 0:06:12.400
<v Speaker 1>Chiv cheated on him on on their wedding night, he says,

0:06:12.760 --> 0:06:15.520
<v Speaker 1>on our wedding night. And I'm like, why is he

0:06:15.680 --> 0:06:18.360
<v Speaker 1>saying it like that? But he says it like it has.

0:06:18.520 --> 0:06:22.400
<v Speaker 1>He keeps saying wedding night, and it drives me. It

0:06:22.520 --> 0:06:27.400
<v Speaker 1>drives me horny. I love it. Wedding night, happy feet,

0:06:27.400 --> 0:06:31.279
<v Speaker 1>wedding to night, happy feet. I'm like, is that Shakespeare? No,

0:06:31.839 --> 0:06:36.080
<v Speaker 1>that's maybe I am bic pentameter. No, it's not. You know,

0:06:36.200 --> 0:06:39.839
<v Speaker 1>it's something though, it's something though, it's you know, I trust,

0:06:40.000 --> 0:06:42.200
<v Speaker 1>I trust, I believe that it's got to be something.

0:06:42.400 --> 0:06:48.440
<v Speaker 1>And today we're talking about mad Max fury Road. Yeah,

0:06:48.480 --> 0:06:50.920
<v Speaker 1>we are Magic Mike and Mad Max in the same

0:06:50.960 --> 0:06:56.120
<v Speaker 1>couple of I mean, we're really describing these these monosyllabic men,

0:06:56.160 --> 0:07:00.320
<v Speaker 1>aren't we. Yeah, so I guess the Magical Michael version

0:07:00.400 --> 0:07:05.760
<v Speaker 1>of Mad Max would be like mat madgening Maxwell. That

0:07:05.800 --> 0:07:09.640
<v Speaker 1>doesn't quite work, but yeah, I guess. I guess. So. Also,

0:07:09.720 --> 0:07:13.160
<v Speaker 1>Steven Soderberg loves this movie. I found so many quotes

0:07:13.200 --> 0:07:16.760
<v Speaker 1>from him being like WHOA. I was like, Wow, Magic Mike,

0:07:16.840 --> 0:07:19.720
<v Speaker 1>Mad Max, It's all coming together. Do you think that

0:07:20.360 --> 0:07:23.080
<v Speaker 1>he loved the original Mad Max so much that he

0:07:23.920 --> 0:07:30.640
<v Speaker 1>subconsciously channeled it into magic. Mike, maybe I think we

0:07:30.680 --> 0:07:34.840
<v Speaker 1>should go with this theory. Okay, no one correct us.

0:07:34.920 --> 0:07:39.400
<v Speaker 1>It's Caitlin's birthday. We can't be wrong today, exactly. I

0:07:39.400 --> 0:07:41.880
<v Speaker 1>can be wrong. You can yell at me except that. Yeah,

0:07:41.880 --> 0:07:46.040
<v Speaker 1>but I am infallible today. You're untouchable. You should say

0:07:46.040 --> 0:07:52.040
<v Speaker 1>anything really fucked up? Alright, Caitlin. Okay. So, and and

0:07:52.320 --> 0:07:55.600
<v Speaker 1>last last thing. If if you're if you've been with

0:07:55.680 --> 0:07:58.640
<v Speaker 1>us since the beginning, almost six years at this point,

0:07:58.920 --> 0:08:02.480
<v Speaker 1>and you're like, hey, didn't these ladies cover Mad Max

0:08:02.520 --> 0:08:06.600
<v Speaker 1>at some point? Yes, we did. It was extremely early

0:08:06.720 --> 0:08:10.040
<v Speaker 1>in the podcast, one of our first episodes. Yeah, and

0:08:10.400 --> 0:08:13.360
<v Speaker 1>there was a couple early episodes that of about a

0:08:13.400 --> 0:08:14.680
<v Speaker 1>year and a half ago, We're like, we want to

0:08:14.680 --> 0:08:19.239
<v Speaker 1>redo these. We've learned so much through doing this show

0:08:19.400 --> 0:08:23.760
<v Speaker 1>and just through the general evolution of society and time,

0:08:23.880 --> 0:08:26.400
<v Speaker 1>and this was one of the movies we've always been

0:08:26.440 --> 0:08:30.120
<v Speaker 1>wanting to redo. So it's not in your imagination, but

0:08:30.280 --> 0:08:33.440
<v Speaker 1>this is the all new and improved Matt Max Fury

0:08:33.559 --> 0:08:38.360
<v Speaker 1>Road episode Exactly. We are now better equipped to tackle

0:08:38.600 --> 0:08:42.200
<v Speaker 1>the discussion that we want to have around this movie,

0:08:42.320 --> 0:08:46.520
<v Speaker 1>especially because it has since recording that original episode. It

0:08:46.559 --> 0:08:50.000
<v Speaker 1>has become one of my favorite movies of all time.

0:08:50.920 --> 0:08:54.320
<v Speaker 1>Hence also why we're doing it for my birthday, and

0:08:54.360 --> 0:08:56.080
<v Speaker 1>since it came out, because we covered it like about

0:08:56.120 --> 0:08:59.000
<v Speaker 1>a year after it came out, I think roughly something

0:08:59.040 --> 0:09:02.839
<v Speaker 1>like that, maybe yeah, because it came out in yeah,

0:09:02.880 --> 0:09:08.160
<v Speaker 1>this summer of and then we recorded the episode early.

0:09:09.760 --> 0:09:12.800
<v Speaker 1>It was not that long after. And now it's you know,

0:09:12.880 --> 0:09:16.680
<v Speaker 1>considered for many the greatest action movie ever made. So

0:09:16.920 --> 0:09:19.920
<v Speaker 1>we can talk about how the perception of the movie

0:09:19.960 --> 0:09:24.760
<v Speaker 1>has some evolved as well. Certainly there's there's just there's

0:09:24.800 --> 0:09:27.000
<v Speaker 1>you know, the passage of time and can I just

0:09:27.040 --> 0:09:33.720
<v Speaker 1>say from s to now no notes societally, so, um,

0:09:33.760 --> 0:09:37.319
<v Speaker 1>I don't think anything has really happened now we're living

0:09:37.400 --> 0:09:45.320
<v Speaker 1>in the greatest timeline. Um so. So Caitlin the birthday gal,

0:09:45.800 --> 0:09:49.240
<v Speaker 1>please do tell me what is your history with Mad

0:09:49.320 --> 0:09:53.000
<v Speaker 1>Max Fury Road. I did see it in theaters when

0:09:53.080 --> 0:09:55.520
<v Speaker 1>it came out, I think probably opening weekend. I was

0:09:55.559 --> 0:09:59.120
<v Speaker 1>pretty jazzed to see it based on the trailers in

0:09:59.160 --> 0:10:03.200
<v Speaker 1>the marketing and it thing, and I was blown away

0:10:04.240 --> 0:10:09.680
<v Speaker 1>and have only developed a greater appreciation for it more

0:10:09.720 --> 0:10:12.760
<v Speaker 1>and more as time goes on. I would say, I've

0:10:12.800 --> 0:10:18.480
<v Speaker 1>seen this movie somewhere between like sixty and seventy times. Yeah,

0:10:18.920 --> 0:10:22.400
<v Speaker 1>I didn't know it was that serious. It is. It's

0:10:22.440 --> 0:10:26.160
<v Speaker 1>pretty serious because it's one of those movies that I

0:10:26.200 --> 0:10:28.800
<v Speaker 1>am never not in the mood to watch. So like

0:10:28.880 --> 0:10:32.080
<v Speaker 1>I am just I will throw it on. It's my

0:10:32.200 --> 0:10:37.440
<v Speaker 1>plane movie. So anytime I on a flight, I will

0:10:37.480 --> 0:10:42.040
<v Speaker 1>watch this movie both times. So on my journey to

0:10:42.120 --> 0:10:45.120
<v Speaker 1>the place and then on my journey back home. I

0:10:45.200 --> 0:10:49.600
<v Speaker 1>watch it on dates all the time. Uh an emphasis

0:10:49.679 --> 0:10:52.680
<v Speaker 1>on all the time, because I'm always going on dates.

0:10:52.880 --> 0:10:57.560
<v Speaker 1>Having a Greg, you do go on many successful dates,

0:10:57.800 --> 0:11:02.160
<v Speaker 1>and I would not call them successful, but sorry, go ahead,

0:11:02.200 --> 0:11:06.080
<v Speaker 1>it's your birthday. I'm I'm I'm fluffing. I'm fluffing it's

0:11:06.080 --> 0:11:11.440
<v Speaker 1>your birthday. Yes, No, I'm so good at dating. I'm

0:11:11.480 --> 0:11:14.719
<v Speaker 1>so good at finding people I'm compatible with. It's an

0:11:14.720 --> 0:11:19.200
<v Speaker 1>incredible phenomenon. It's you can't stop falling in love. That

0:11:19.520 --> 0:11:22.680
<v Speaker 1>it is good to have go to date movies. I

0:11:23.200 --> 0:11:29.720
<v Speaker 1>my no, the jinks I was gonna says, I've got

0:11:29.720 --> 0:11:31.720
<v Speaker 1>to change it. I've got to grow as a person.

0:11:31.880 --> 0:11:35.080
<v Speaker 1>But that's one way where I very firmly I have

0:11:35.280 --> 0:11:38.840
<v Speaker 1>not that's okay, that's okay. You know, sometimes it's fine

0:11:38.880 --> 0:11:42.880
<v Speaker 1>to be absolutely static. Here's in some ways it is comforting.

0:11:43.360 --> 0:11:45.640
<v Speaker 1>But in that one, I would say, maybe it could

0:11:45.720 --> 0:11:50.320
<v Speaker 1>it could go. Um, Caitlin, were you Did you ever

0:11:50.520 --> 0:11:54.080
<v Speaker 1>watch the original Mad Max movies? Yes, so I have

0:11:54.160 --> 0:11:58.240
<v Speaker 1>seen all of those, but I have no real attachment

0:11:58.440 --> 0:12:01.200
<v Speaker 1>to them, especially compared to the Hatchman I feel to

0:12:01.280 --> 0:12:04.640
<v Speaker 1>this movie. That was what I was curious about, because

0:12:04.679 --> 0:12:09.120
<v Speaker 1>it seems like there's a few camps of fans of

0:12:09.200 --> 0:12:12.640
<v Speaker 1>this franchise, some of whom are like this movie, and

0:12:12.640 --> 0:12:17.000
<v Speaker 1>then some of whom are like all Max Cannon. Yeah,

0:12:17.160 --> 0:12:22.800
<v Speaker 1>um no, I am not thrilled with any of the others,

0:12:23.480 --> 0:12:28.560
<v Speaker 1>mainly that Mel Gibson cannot stomach watching anything he's in

0:12:28.640 --> 0:12:31.640
<v Speaker 1>except for Chicken Run, which you only hear his voice.

0:12:31.840 --> 0:12:34.280
<v Speaker 1>So I give it a path and it still feels bad.

0:12:34.679 --> 0:12:37.640
<v Speaker 1>And it still feels bad. Um yeah, I do. I mean,

0:12:37.679 --> 0:12:39.760
<v Speaker 1>there will will be talking about in plenty today, but

0:12:39.840 --> 0:12:42.760
<v Speaker 1>I do think that George Miller is a very interesting

0:12:43.520 --> 0:12:47.400
<v Speaker 1>case of a filmmaker who has demonstrated a lot of

0:12:47.600 --> 0:12:52.920
<v Speaker 1>growth throughout his career. Although there's a lot that I

0:12:53.000 --> 0:12:56.040
<v Speaker 1>learned about the protection of this movie. That sounded, uh,

0:12:56.160 --> 0:12:58.840
<v Speaker 1>not great. We'll get there, yeah, for sure. Um, but

0:12:58.920 --> 0:13:02.400
<v Speaker 1>it's really only this installment Fury Road that I have

0:13:02.559 --> 0:13:05.800
<v Speaker 1>any attachment to, so much that I got a tattoo

0:13:06.000 --> 0:13:11.440
<v Speaker 1>of the war rig that Furioso drives on my arm,

0:13:11.559 --> 0:13:16.880
<v Speaker 1>and that I think concludes my relationship with this movie. Jamie,

0:13:16.960 --> 0:13:21.200
<v Speaker 1>what is your history and relationship with Mad Max Fury Road? Um?

0:13:21.240 --> 0:13:25.600
<v Speaker 1>I had only seen it to prepare for the first time.

0:13:25.600 --> 0:13:27.880
<v Speaker 1>We did this episode about five years ago. That was

0:13:27.920 --> 0:13:30.000
<v Speaker 1>the first time I saw it. Didn't like it the

0:13:30.040 --> 0:13:32.600
<v Speaker 1>first time. This was in a phase of life where

0:13:32.760 --> 0:13:36.800
<v Speaker 1>I was deeply against any aesthetic I perceived to be

0:13:36.920 --> 0:13:42.079
<v Speaker 1>remotely steampunk. Look, I was in my early twenties. I

0:13:42.120 --> 0:13:45.480
<v Speaker 1>was just I. I had a hot take. I clung

0:13:45.559 --> 0:13:49.040
<v Speaker 1>to it. I don't stand by it, I will say,

0:13:49.080 --> 0:13:53.000
<v Speaker 1>speaking of growth, Speaking of growth, I really I've seen

0:13:53.000 --> 0:13:56.319
<v Speaker 1>this movie a couple of times in the interim, Um,

0:13:56.360 --> 0:13:59.360
<v Speaker 1>I think at least once with you, but I like

0:13:59.440 --> 0:14:01.280
<v Speaker 1>it more or each time I see it, I feel

0:14:01.280 --> 0:14:03.680
<v Speaker 1>like it. It has. It has a lot to do

0:14:03.720 --> 0:14:06.880
<v Speaker 1>with just like me understanding more about movies than I

0:14:06.880 --> 0:14:12.040
<v Speaker 1>did six years ago, understanding more about feminism, than I

0:14:12.080 --> 0:14:17.120
<v Speaker 1>did six years ago, understanding more about environmentalism than I

0:14:17.160 --> 0:14:22.240
<v Speaker 1>did sing here, and also like having a growing appreciation

0:14:22.600 --> 0:14:26.440
<v Speaker 1>for action movies. It's still not my genre. I don't

0:14:26.440 --> 0:14:30.000
<v Speaker 1>think it will ever be my genre. However, I feel

0:14:30.040 --> 0:14:34.680
<v Speaker 1>like I can now appreciate a well crafted, paste looking

0:14:35.840 --> 0:14:41.120
<v Speaker 1>ass action movie. So I've really grown to Uh. I

0:14:41.200 --> 0:14:43.720
<v Speaker 1>really love this movie. And I and I had a

0:14:44.560 --> 0:14:48.560
<v Speaker 1>really daunting, slash fun time preparing for this episode. There's

0:14:48.640 --> 0:14:51.440
<v Speaker 1>so much to go through, there's so much to talk about.

0:14:51.480 --> 0:14:55.400
<v Speaker 1>It's very dense, but it doesn't feel dense. It's such

0:14:56.040 --> 0:14:59.840
<v Speaker 1>I mean, it's I guess it's like it's so dystopian.

0:15:00.000 --> 0:15:03.920
<v Speaker 1>It's a dystopian romp. It is a romp, but it

0:15:04.040 --> 0:15:07.880
<v Speaker 1>is it's a serious upsetting. I think you you nailed it.

0:15:07.880 --> 0:15:12.440
<v Speaker 1>It's it's not totally light yet. It is still a romp,

0:15:12.560 --> 0:15:15.640
<v Speaker 1>but it is literally never not moving. That's the beauty

0:15:15.640 --> 0:15:20.520
<v Speaker 1>of romps. It's a spectrum and it's very inclusive. In

0:15:20.560 --> 0:15:23.760
<v Speaker 1>this essay, we will no but for real, probably for

0:15:23.800 --> 0:15:27.600
<v Speaker 1>a couple of hours. So that's my history. Uh. Used

0:15:27.600 --> 0:15:30.800
<v Speaker 1>to be a hater, and then I got educated and

0:15:30.880 --> 0:15:33.480
<v Speaker 1>I grew up literally as how I would describe what

0:15:33.560 --> 0:15:38.000
<v Speaker 1>happened that warms my heart? Is it my favorite George

0:15:38.000 --> 0:15:42.040
<v Speaker 1>Miller movie? It is not. That is still Babe, but

0:15:42.360 --> 0:15:46.680
<v Speaker 1>this is a close second because Happy Feet is one

0:15:46.800 --> 0:15:48.400
<v Speaker 1>we I think we've maybe talked about this in our

0:15:48.400 --> 0:15:51.600
<v Speaker 1>Babe episode which is on the Matreon, and I think

0:15:51.600 --> 0:15:54.320
<v Speaker 1>it's quite a good episode. You did an incredible segment

0:15:54.440 --> 0:15:58.440
<v Speaker 1>on how movie animals are treated in that episode. But

0:15:59.000 --> 0:16:01.880
<v Speaker 1>in any case, Happy Feet is one of those movies

0:16:02.480 --> 0:16:06.080
<v Speaker 1>that I know I have seen at least three times,

0:16:06.120 --> 0:16:07.600
<v Speaker 1>and I could not tell you a single thing that

0:16:07.640 --> 0:16:10.520
<v Speaker 1>happens in the movie. I have the same issue with

0:16:10.560 --> 0:16:13.120
<v Speaker 1>a lot of Wes Anderson movies where I'm like, I

0:16:13.160 --> 0:16:15.760
<v Speaker 1>remember how it looks, I remember how I was feeling,

0:16:16.080 --> 0:16:19.640
<v Speaker 1>couldn't tell you what happened. I could try to tell you,

0:16:19.720 --> 0:16:22.200
<v Speaker 1>and this isn't the time or place, because I've seen

0:16:22.200 --> 0:16:24.440
<v Speaker 1>it a couple of times to prepare for the blank

0:16:24.480 --> 0:16:27.800
<v Speaker 1>Check episode I did. And I think I'm in the

0:16:27.840 --> 0:16:33.720
<v Speaker 1>minority because I think that movie absolutely sucks shit. No,

0:16:33.880 --> 0:16:36.080
<v Speaker 1>I think that people didn't. I don't think that there

0:16:36.560 --> 0:16:39.200
<v Speaker 1>it was like nominated for Academy Awards like I think

0:16:39.360 --> 0:16:43.560
<v Speaker 1>it was like, but people responded to it well like audiences.

0:16:43.720 --> 0:16:47.480
<v Speaker 1>Was it well reviewed? It was well reviewed? Bizarre? I mean,

0:16:47.560 --> 0:16:52.280
<v Speaker 1>I understand why kids, my my. Anyways, you know what, ultimately,

0:16:52.600 --> 0:16:55.920
<v Speaker 1>if Happy Feet hadn't performed while the box office in critically,

0:16:56.000 --> 0:16:58.520
<v Speaker 1>we wouldn't have Mad Max Fury Road, now, would we?

0:16:59.000 --> 0:17:02.360
<v Speaker 1>Or so I read is true? Yeah? So you know,

0:17:02.440 --> 0:17:06.879
<v Speaker 1>no matter where you fall on the Happy Feet criticism enjoyment,

0:17:06.960 --> 0:17:10.600
<v Speaker 1>o'met or um, you gotta hand it, you gotta foot

0:17:10.640 --> 0:17:14.520
<v Speaker 1>it to the Happy Feet because if that boring ass

0:17:14.560 --> 0:17:18.840
<v Speaker 1>movie I can't remember with Elijah Wood Penguin, am I correct? Correct? Correct?

0:17:19.440 --> 0:17:21.640
<v Speaker 1>You know, then we wouldn't have this awesome movie we're

0:17:21.680 --> 0:17:26.160
<v Speaker 1>talking about today. True? Should we start talking about it? Yeah?

0:17:26.320 --> 0:17:28.520
<v Speaker 1>Let me do the recap, shall I? Let's do it.

0:17:28.760 --> 0:17:31.720
<v Speaker 1>So we hear some sound bites at the very beginning

0:17:31.960 --> 0:17:36.760
<v Speaker 1>about water and fossil fuel shortages. We hear about wars

0:17:36.840 --> 0:17:39.840
<v Speaker 1>that have happened as a result. We hear about like

0:17:40.280 --> 0:17:44.000
<v Speaker 1>nuclear skirmish. We see a barren wasteland, and then we

0:17:44.040 --> 0:17:48.280
<v Speaker 1>meet Max Rockatanski played by Tom Hardy. We get some

0:17:48.359 --> 0:17:51.719
<v Speaker 1>voice over from him in which he says that the

0:17:51.760 --> 0:17:56.280
<v Speaker 1>only thing he cares about is survival. Max is then

0:17:56.359 --> 0:18:00.760
<v Speaker 1>pursued by war boys who capture him and take him

0:18:00.760 --> 0:18:04.000
<v Speaker 1>to this place called the Citadel, which is ruled by

0:18:04.240 --> 0:18:09.040
<v Speaker 1>and Morton Joe played by Hugh keys Burn. He is

0:18:09.119 --> 0:18:13.560
<v Speaker 1>this tyrannical leader who controls access to people's food and

0:18:13.640 --> 0:18:16.240
<v Speaker 1>water in the Citadel. Right. He has a bunch of

0:18:16.280 --> 0:18:20.520
<v Speaker 1>people working for him, many of whom are his offspring Others.

0:18:20.520 --> 0:18:23.920
<v Speaker 1>On the Wikipedia page someone it might not be true

0:18:23.960 --> 0:18:25.760
<v Speaker 1>by the time you listen to this episode, but someone

0:18:25.880 --> 0:18:28.880
<v Speaker 1>keeps referring to one of the sons as his large

0:18:28.920 --> 0:18:33.280
<v Speaker 1>adult son um. Would that be Rectus erectus. Yes, yes,

0:18:33.359 --> 0:18:36.159
<v Speaker 1>Rectus erectus is repeatedly referred to as a large adult

0:18:36.240 --> 0:18:40.280
<v Speaker 1>son and uh an accurate description of the character. It

0:18:40.400 --> 0:18:42.600
<v Speaker 1>is hard to tell because of how they're at this.

0:18:42.720 --> 0:18:46.760
<v Speaker 1>They're stylized. You're like, which which son is which? It's confusing, sure,

0:18:47.240 --> 0:18:51.040
<v Speaker 1>but that's the point that. Yeah. Others are people that

0:18:51.119 --> 0:18:57.240
<v Speaker 1>he has either enslaved or manipulated via this religious ideology

0:18:57.320 --> 0:19:00.280
<v Speaker 1>where a Morton Joe has convinced them that he is

0:19:00.359 --> 0:19:03.159
<v Speaker 1>their redeemer and they will ride with him eternal on

0:19:03.200 --> 0:19:06.080
<v Speaker 1>the highways of Valhalla. It is all I mean, and

0:19:06.119 --> 0:19:08.600
<v Speaker 1>I do I do appreciate the use of Like any

0:19:08.640 --> 0:19:14.200
<v Speaker 1>time there's like Norse mythology popping up, you're like, mmmm,

0:19:15.000 --> 0:19:17.719
<v Speaker 1>this is probably not a character I'm going to end

0:19:17.800 --> 0:19:22.520
<v Speaker 1>up rooting for, which is an interesting story convention that

0:19:22.560 --> 0:19:26.280
<v Speaker 1>pops up all the time. Yeah. Then we meet Furiosa,

0:19:26.400 --> 0:19:29.520
<v Speaker 1>played by Charlie's Thearren. She seems to be pretty high

0:19:29.600 --> 0:19:33.240
<v Speaker 1>up in a Morton Joe's ranks. She drives a war

0:19:33.400 --> 0:19:38.000
<v Speaker 1>rig which she boards to head to Gastown and the

0:19:38.040 --> 0:19:41.840
<v Speaker 1>Bullet Farm, to neighboring communities that barter and trade with

0:19:41.960 --> 0:19:44.800
<v Speaker 1>the Citadel. We will soon find out that they have

0:19:45.240 --> 0:19:52.439
<v Speaker 1>similar tyrannical warmongering leadership. As Furiosa is driving, she veers

0:19:52.520 --> 0:19:54.960
<v Speaker 1>off course. We are not sure why at first, but

0:19:55.000 --> 0:19:58.200
<v Speaker 1>then we realized that in her war rig, furio Set

0:19:58.440 --> 0:20:02.679
<v Speaker 1>has Morton Joe's wives a k a. Women who he

0:20:02.800 --> 0:20:06.840
<v Speaker 1>has enslaved and who he assaults in order to bear

0:20:06.960 --> 0:20:11.920
<v Speaker 1>him healthy offspring, and Furiosa is attempting to rescue these

0:20:12.080 --> 0:20:15.600
<v Speaker 1>women and escape once and for all, and they are

0:20:15.640 --> 0:20:20.800
<v Speaker 1>headed to somewhere called the Green Place. When Morton Joe

0:20:20.880 --> 0:20:23.440
<v Speaker 1>discovers this, he sends out a bunch of his war

0:20:23.520 --> 0:20:27.640
<v Speaker 1>boys in their vehicles to chase after and catch Furiosa

0:20:27.680 --> 0:20:31.359
<v Speaker 1>and bring the wives back again. I just love the

0:20:31.400 --> 0:20:34.080
<v Speaker 1>simple turn of phrase that is war boys, because that's

0:20:34.080 --> 0:20:37.240
<v Speaker 1>how I would describe them if I didn't know what

0:20:37.280 --> 0:20:39.560
<v Speaker 1>they were called. And that is just what they're called.

0:20:39.560 --> 0:20:42.600
<v Speaker 1>That it's just what they're called. Yes, this movie is

0:20:42.640 --> 0:20:48.960
<v Speaker 1>perhaps not subtle, no, but but you know that. But

0:20:49.040 --> 0:20:51.199
<v Speaker 1>that's how we why we go to action movies. We

0:20:51.240 --> 0:20:54.119
<v Speaker 1>don't go to action movies for the subtlety. I go

0:20:54.200 --> 0:20:59.840
<v Speaker 1>to Babe for subtlety. And I kind of mean that. Yeah.

0:21:00.160 --> 0:21:04.159
<v Speaker 1>So one such war boy is Nuts, played by Nicholas Holt,

0:21:04.640 --> 0:21:08.119
<v Speaker 1>who Max has been rigged up to as Nux is

0:21:08.440 --> 0:21:11.200
<v Speaker 1>blood bag because a lot of the war boys are

0:21:11.320 --> 0:21:16.720
<v Speaker 1>dying from radiation poisoning and they need regular blood transfusions. Right,

0:21:16.800 --> 0:21:20.640
<v Speaker 1>So you immediately see how characters of all genders are

0:21:20.720 --> 0:21:26.600
<v Speaker 1>reduced to the basic functions of their body by and

0:21:26.760 --> 0:21:32.720
<v Speaker 1>Morton Joe at all, Right, exactly, So Nucks wanting to

0:21:32.760 --> 0:21:38.119
<v Speaker 1>participate in this chase to catch Furiosa, he takes Max

0:21:38.160 --> 0:21:42.520
<v Speaker 1>along with him in this pursuit. Uh. Then we get

0:21:42.560 --> 0:21:46.080
<v Speaker 1>the first big chase of the movie, where Furiosa manages

0:21:46.240 --> 0:21:49.600
<v Speaker 1>to lose a Morton Joe and his war party in

0:21:49.720 --> 0:21:56.040
<v Speaker 1>a sandstorm, but afterward Max finds her and the other women,

0:21:56.119 --> 0:22:01.440
<v Speaker 1>the wives who are splendid and her played by Rosie

0:22:01.480 --> 0:22:06.159
<v Speaker 1>Huntington's Whiteley. Okay, transformers. Oh that's the only other thing

0:22:06.200 --> 0:22:09.480
<v Speaker 1>I know. She wasn't got it yep capable played by

0:22:09.680 --> 0:22:13.520
<v Speaker 1>Riley Kyo, who I've seen this movie a bazillion times

0:22:13.640 --> 0:22:18.040
<v Speaker 1>and when I was watching Zola to prep for that episode,

0:22:18.320 --> 0:22:21.240
<v Speaker 1>did not realize it was the same actor. I mean,

0:22:21.640 --> 0:22:26.160
<v Speaker 1>the power of a red Die job cannot be understated.

0:22:26.200 --> 0:22:28.600
<v Speaker 1>I think she's great in this movie, too. Agree, Yeah,

0:22:28.640 --> 0:22:30.040
<v Speaker 1>I mean I think all the all the wives are

0:22:30.160 --> 0:22:33.800
<v Speaker 1>are very talented for sure. We've also got Toast the

0:22:33.880 --> 0:22:39.080
<v Speaker 1>Knowing played by Zoe Kravitz. We've got name Cheeto, the

0:22:39.119 --> 0:22:44.800
<v Speaker 1>fragile played by Courtney Eaton, and we've got name and

0:22:44.880 --> 0:22:50.640
<v Speaker 1>we've got the Dag played by Abby Lee. So when

0:22:50.720 --> 0:22:54.159
<v Speaker 1>Max comes upon them, he and Furious to fight, and

0:22:54.440 --> 0:22:58.160
<v Speaker 1>Max attempts to hijack Furious as war rig and leave

0:22:58.680 --> 0:23:01.320
<v Speaker 1>all of the women to be captured by a Morton Joe,

0:23:01.720 --> 0:23:05.880
<v Speaker 1>but Furiosa has kill switches enabled on the rig, so

0:23:06.320 --> 0:23:09.639
<v Speaker 1>Max cannot drive away, and she bargains with him, and

0:23:09.680 --> 0:23:13.320
<v Speaker 1>then they all set off together, with Furiosa driving but

0:23:13.680 --> 0:23:20.399
<v Speaker 1>Max holding them all hostage. Then Furiosa drives to this

0:23:20.640 --> 0:23:24.720
<v Speaker 1>canyon where she has bartered for safe passage through, but

0:23:24.920 --> 0:23:27.320
<v Speaker 1>a Morton Joe has caught back up to them, along

0:23:27.359 --> 0:23:31.399
<v Speaker 1>with the people eater of gas Town and the bullet

0:23:31.440 --> 0:23:35.080
<v Speaker 1>farmer from You'll never guess this the Bullet Farm. I

0:23:35.119 --> 0:23:38.439
<v Speaker 1>do appreciate. Yeah, again, just with the simplicity of the names.

0:23:39.000 --> 0:23:42.080
<v Speaker 1>It's helpful. There's a lot of characters, and I just

0:23:42.240 --> 0:23:45.679
<v Speaker 1>like how he names them by what they do or

0:23:45.840 --> 0:23:47.679
<v Speaker 1>sort of how you would kind of describe what you

0:23:47.720 --> 0:23:51.840
<v Speaker 1>think they might do. Right, It's helpful. It is so

0:23:52.000 --> 0:23:55.679
<v Speaker 1>wait quick question, Yeah, is it Nicholas Holt that you

0:23:55.760 --> 0:23:58.080
<v Speaker 1>have a huge crush on? I do have an enormous

0:23:58.160 --> 0:24:01.919
<v Speaker 1>crush on Nicholas Holt, is true, Okay, I was just

0:24:02.000 --> 0:24:08.439
<v Speaker 1>checking in about that. Thank you for confirming and taking

0:24:08.480 --> 0:24:17.600
<v Speaker 1>away love a little aside where we simply cannot pass

0:24:17.680 --> 0:24:21.560
<v Speaker 1>the Bectel test. Look, we're no one's asking life to

0:24:21.640 --> 0:24:25.560
<v Speaker 1>pass the Actel test, although it, you know, could be

0:24:25.600 --> 0:24:32.120
<v Speaker 1>it would probably be a generally better experience life, but um,

0:24:32.160 --> 0:24:34.360
<v Speaker 1>you know, it's a quick detour to be horny about

0:24:34.440 --> 0:24:40.800
<v Speaker 1>Nicholas Holt, no further questions. I also didn't realize that

0:24:41.080 --> 0:24:43.720
<v Speaker 1>Nux is Nicholas Holt, because I mean, it's a it's

0:24:43.760 --> 0:24:47.240
<v Speaker 1>a really good performance, but it could be any person

0:24:47.359 --> 0:24:52.480
<v Speaker 1>in there. A lot of his recognizable features are they're

0:24:52.480 --> 0:24:57.919
<v Speaker 1>all kind of like buff looking slenderman bob a Duke types.

0:24:59.520 --> 0:25:02.240
<v Speaker 1>The war Yeah, yeah, yeah, the war Boys are Yeah,

0:25:02.480 --> 0:25:08.400
<v Speaker 1>just to pack a slenderman Zimbaba Dukes. Yes. Okay. So

0:25:08.600 --> 0:25:13.720
<v Speaker 1>with these three war parties in hot pursuit, everything goes

0:25:13.800 --> 0:25:17.399
<v Speaker 1>wrong in this like situation where Furious is trying to

0:25:17.480 --> 0:25:21.080
<v Speaker 1>barter for safe passage. There's another big chase. This one

0:25:21.160 --> 0:25:24.359
<v Speaker 1>is my favorite one of the movie, by the way,

0:25:24.720 --> 0:25:29.359
<v Speaker 1>during and after which Max and Furiosa go from being

0:25:29.520 --> 0:25:33.960
<v Speaker 1>enemies where he is holding her hostage. Two allies who

0:25:34.040 --> 0:25:37.119
<v Speaker 1>are working together who are slowly realizing that they have

0:25:37.680 --> 0:25:43.800
<v Speaker 1>not too dissimilar backstory. Sure. Also during this chase, Angered

0:25:44.160 --> 0:25:47.760
<v Speaker 1>is killed or maybe at this point just fatally wounded,

0:25:48.280 --> 0:25:51.640
<v Speaker 1>which slows down and morton Joe for a while because

0:25:51.840 --> 0:25:56.080
<v Speaker 1>she was his favorite and she also had a nearly

0:25:56.160 --> 0:25:59.920
<v Speaker 1>full term pregnancy and he is concerned about the baby surviving.

0:26:00.400 --> 0:26:04.280
<v Speaker 1>So this allows Furioso, Max and the rest of the

0:26:04.320 --> 0:26:07.560
<v Speaker 1>wives to get away and they drive onward toward the

0:26:07.600 --> 0:26:13.560
<v Speaker 1>green Place. Meanwhile, Capable discovers nuts on the rig. He's

0:26:13.600 --> 0:26:18.120
<v Speaker 1>having a crisis. The two of them become friends, and

0:26:18.200 --> 0:26:23.880
<v Speaker 1>he switches sides and becomes an ally too. Furiosa and friends.

0:26:25.280 --> 0:26:27.600
<v Speaker 1>I would watch that. I would watch that children's show

0:26:27.720 --> 0:26:32.680
<v Speaker 1>that's spin off. Yes. Meanwhile and Morton, Joe and the

0:26:32.720 --> 0:26:36.359
<v Speaker 1>war parties are not far behind again, and they're all

0:26:36.440 --> 0:26:41.840
<v Speaker 1>driving through this like marshy swampy area. Everyone is getting stuck.

0:26:42.200 --> 0:26:46.160
<v Speaker 1>Our friends get unstuck with Nux's help, and they continue

0:26:46.200 --> 0:26:51.600
<v Speaker 1>onward and eventually they come upon the Volvelini, this band

0:26:51.720 --> 0:26:54.800
<v Speaker 1>of women who live in the middle of the desert.

0:26:55.480 --> 0:26:59.919
<v Speaker 1>It's the clan not a very subtle nation. I was like,

0:27:00.000 --> 0:27:05.920
<v Speaker 1>are they saying Volvolini and it's it's volvoly It does

0:27:06.040 --> 0:27:12.000
<v Speaker 1>sound like it's vagina pasta that is being described for me.

0:27:12.760 --> 0:27:17.960
<v Speaker 1>For me, it sounded like a plate full of vagina. Yeah,

0:27:18.160 --> 0:27:21.640
<v Speaker 1>I don't disagree. They are also known as the Many Mothers.

0:27:22.520 --> 0:27:25.359
<v Speaker 1>They are the clan that Furiosa used to be a

0:27:25.359 --> 0:27:28.520
<v Speaker 1>part of until she was kidnapped, stolen, and taken to

0:27:28.840 --> 0:27:33.480
<v Speaker 1>the citadel. They tell Furiosa that the green place no

0:27:33.520 --> 0:27:38.439
<v Speaker 1>longer exists. Earth had become to sour, the water became poison,

0:27:38.560 --> 0:27:41.840
<v Speaker 1>nothing would grow, so they had to get out of there.

0:27:41.840 --> 0:27:48.000
<v Speaker 1>Not a relatable thing at all there are, I mean yeah,

0:27:48.040 --> 0:27:50.159
<v Speaker 1>and each time you watch this movie, you're just like, wof,

0:27:50.840 --> 0:27:54.480
<v Speaker 1>had you told me that in six years? Perhaps not

0:27:54.640 --> 0:28:00.600
<v Speaker 1>the aesthetic, but the water wars. They're a common baby

0:28:00.800 --> 0:28:03.600
<v Speaker 1>people and maybe I need to stop doing this, or

0:28:03.600 --> 0:28:06.720
<v Speaker 1>maybe I need to do it more. But anytime someone where,

0:28:09.680 --> 0:28:16.160
<v Speaker 1>anytime someone refers to how things might be in like

0:28:16.400 --> 0:28:21.240
<v Speaker 1>twenty or thirty years from now, I'm like, yeah, that's plausible,

0:28:21.280 --> 0:28:24.600
<v Speaker 1>assuming we're not all killing each other during the water Wars.

0:28:25.119 --> 0:28:30.000
<v Speaker 1>And then they're like oh um uh yep, a little

0:28:30.040 --> 0:28:33.520
<v Speaker 1>bit nervous. But now people are like, oh no, do

0:28:33.560 --> 0:28:41.160
<v Speaker 1>you have information? So that is I think a feasible reality.

0:28:41.480 --> 0:28:45.040
<v Speaker 1>I think now more than ever, keep plugging the water wars.

0:28:45.040 --> 0:28:47.160
<v Speaker 1>People are gonna love to hear you say I told

0:28:47.200 --> 0:28:50.480
<v Speaker 1>you so all the time water Wars are on, and

0:28:50.520 --> 0:28:52.720
<v Speaker 1>then they'll shoot me in my face and then and

0:28:52.720 --> 0:28:55.760
<v Speaker 1>then steal my water. Yeah. I mean if if this

0:28:55.920 --> 0:29:03.720
<v Speaker 1>Australian documentary is do we believe Yes, it's very possible. Okay,

0:29:04.120 --> 0:29:06.720
<v Speaker 1>Furious to learning about the Green Place no longer existing

0:29:06.840 --> 0:29:10.360
<v Speaker 1>is absolutely devastating to her, especially because there's now no

0:29:10.520 --> 0:29:14.040
<v Speaker 1>place that she can kind of find this redemption she

0:29:14.120 --> 0:29:16.720
<v Speaker 1>was looking for in terms of like bringing these women

0:29:16.720 --> 0:29:20.440
<v Speaker 1>to safety and just having a place where they can

0:29:20.640 --> 0:29:24.680
<v Speaker 1>stay and survive. And then Max is like, well, wait

0:29:24.680 --> 0:29:26.760
<v Speaker 1>a minute, what if we go back to the citadel

0:29:27.240 --> 0:29:31.760
<v Speaker 1>and take control while it's undefended. Sorry, I'm gonna let

0:29:31.800 --> 0:29:37.200
<v Speaker 1>that loud motorcycle pass Martin Joe. So they turn around

0:29:37.600 --> 0:29:42.560
<v Speaker 1>and charge back towards the citadel and Morton Joe realizes

0:29:42.640 --> 0:29:46.480
<v Speaker 1>what they're doing, so he goes after them again. There's

0:29:46.520 --> 0:29:51.600
<v Speaker 1>one last, you know, big act three climactic chase. There's

0:29:51.600 --> 0:29:54.440
<v Speaker 1>a lot of ups and downs. We've got Joe trying

0:29:54.480 --> 0:29:59.280
<v Speaker 1>to abduct the wives. Furious so gets stabbed, but then

0:29:59.280 --> 0:30:02.520
<v Speaker 1>she crawls onto with Morton Joe's vehicle and rips his

0:30:02.800 --> 0:30:07.440
<v Speaker 1>face off. Oh is that a And and speaking of

0:30:07.600 --> 0:30:12.360
<v Speaker 1>face off, if you head of urture Matreon this one,

0:30:13.840 --> 0:30:18.080
<v Speaker 1>there's gonna be some faces coming off. Look big month

0:30:18.200 --> 0:30:21.720
<v Speaker 1>for no face. This is the right and no face

0:30:21.920 --> 0:30:27.360
<v Speaker 1>because no face in spirited way. This is no face

0:30:27.560 --> 0:30:34.400
<v Speaker 1>may wild, Oh God, the best of luck to future

0:30:34.520 --> 0:30:40.680
<v Speaker 1>us trying to observe this a second time. It's gonna

0:30:40.720 --> 0:30:44.719
<v Speaker 1>be all to be original horror movies. Although did you

0:30:44.760 --> 0:30:49.520
<v Speaker 1>notice there Roku originals? I think Roku Originals. I'll put

0:30:49.560 --> 0:30:51.920
<v Speaker 1>this on wax. I think Roku Originals is trying to

0:30:52.840 --> 0:30:56.080
<v Speaker 1>is trying to do something, because that that new weird

0:30:56.080 --> 0:30:59.840
<v Speaker 1>al movie starring Daniel Radcliffe is a Roku original, is it?

0:31:00.320 --> 0:31:02.680
<v Speaker 1>I did not realize that. I didn't realize they had

0:31:02.680 --> 0:31:05.960
<v Speaker 1>two nickels to rub together. Turns out they've got Harry

0:31:06.000 --> 0:31:13.000
<v Speaker 1>Potter money wild um okay, So Furious pulls a face

0:31:13.040 --> 0:31:18.800
<v Speaker 1>off Parentheses, starring Nicolas Cage and John Travolta. She rips

0:31:18.960 --> 0:31:23.600
<v Speaker 1>and morton Joe's face off, but she's also very badly injured.

0:31:24.160 --> 0:31:28.080
<v Speaker 1>So Max gives her a blood transfusion and he's like,

0:31:28.120 --> 0:31:30.040
<v Speaker 1>by the way, my name is Max. And then she's

0:31:30.040 --> 0:31:32.280
<v Speaker 1>able to get right back up on her happy feet,

0:31:32.720 --> 0:31:42.480
<v Speaker 1>and she's looking like a babe. She's looking like a babe,

0:31:43.040 --> 0:31:46.040
<v Speaker 1>and she's back in this. She's in the City Dell

0:31:46.560 --> 0:31:54.560
<v Speaker 1>on her happy feet, happy and another George Miller movie, wait,

0:31:54.960 --> 0:31:57.960
<v Speaker 1>the other one, and the Witches of Eastwick. I just

0:31:58.040 --> 0:32:01.760
<v Speaker 1>got the Wives of Eastwick with her Oh my word, wow,

0:32:01.920 --> 0:32:06.320
<v Speaker 1>is Lorenzo's oil at George Lorenzo's oil? Yeah? What does

0:32:06.360 --> 0:32:10.360
<v Speaker 1>that mean? I don't need to know. It's fine, let's

0:32:10.400 --> 0:32:13.560
<v Speaker 1>never talk about it again. Okay, not my business. Which

0:32:13.560 --> 0:32:16.800
<v Speaker 1>is a east Wick though? Check out that episode on

0:32:16.840 --> 0:32:19.880
<v Speaker 1>our Matreon. Everyone. Yeah, we have Actually we're kind of

0:32:19.920 --> 0:32:25.240
<v Speaker 1>like almost Miller completionists, wow in a way, minus Lorenzo's oil. Okay,

0:32:25.440 --> 0:32:28.640
<v Speaker 1>So Max is like, my name is Max because earlier

0:32:28.680 --> 0:32:35.840
<v Speaker 1>he refused no ship. And then they arrive at the citadel,

0:32:36.600 --> 0:32:43.360
<v Speaker 1>they gain control of it, the implication being Furiosa is

0:32:43.440 --> 0:32:50.640
<v Speaker 1>the new leader. They unleash water, so the unleash the crack. Yeah,

0:32:51.360 --> 0:32:53.880
<v Speaker 1>the people now have access to the water. And then

0:32:54.320 --> 0:32:57.520
<v Speaker 1>Max SLINKs away because he's a lone ranger or whatever,

0:32:57.920 --> 0:33:01.240
<v Speaker 1>and that is how the movie ends. So let's take

0:33:01.440 --> 0:33:11.280
<v Speaker 1>a quick break and will come back to discuss, and

0:33:11.320 --> 0:33:16.000
<v Speaker 1>we're back. Where would you like to begin? Uh? We

0:33:16.200 --> 0:33:21.240
<v Speaker 1>I know we both have truly absurd amount of notes

0:33:21.280 --> 0:33:23.440
<v Speaker 1>and things to go through. Where where would you like

0:33:23.560 --> 0:33:26.600
<v Speaker 1>to begin? My birthday friend, thank you so much. I

0:33:26.600 --> 0:33:29.400
<v Speaker 1>would like to start with I don't know if I

0:33:29.400 --> 0:33:32.600
<v Speaker 1>want to start with what I really appreciate about the

0:33:32.600 --> 0:33:37.360
<v Speaker 1>movie or what missteps I think the movie makes, because

0:33:37.400 --> 0:33:41.520
<v Speaker 1>there are certainly some of those. Yes, there certainly are

0:33:41.600 --> 0:33:44.120
<v Speaker 1>and I and there, I mean, I guess let's start there,

0:33:44.120 --> 0:33:47.440
<v Speaker 1>because I think that that list, uh, while there's plenty

0:33:47.480 --> 0:33:52.960
<v Speaker 1>to talk about, is generally shorter. So I found some

0:33:53.200 --> 0:33:57.280
<v Speaker 1>writing about this. But one thing that stood out to

0:33:57.320 --> 0:33:59.080
<v Speaker 1>me the first time I saw this movie and still

0:33:59.120 --> 0:34:05.000
<v Speaker 1>does now is um because this is such broad storytelling, uh.

0:34:05.240 --> 0:34:09.680
<v Speaker 1>And I find it frustrating because it's like George Miller

0:34:09.719 --> 0:34:14.280
<v Speaker 1>finds so many ways to subvert a lot of common

0:34:14.680 --> 0:34:19.160
<v Speaker 1>action tropes and stock character assumptions in this movie. But

0:34:19.280 --> 0:34:25.360
<v Speaker 1>I do think he uses um atypical bodies to indicate

0:34:25.560 --> 0:34:32.399
<v Speaker 1>evil or lack of morality quite a lot in yes movie. Yeah,

0:34:32.480 --> 0:34:37.440
<v Speaker 1>And it's it's a complicated discussion because disability is treated

0:34:37.480 --> 0:34:42.920
<v Speaker 1>differently or atypical bodies are treated differently based on the character. Yes,

0:34:43.080 --> 0:34:46.320
<v Speaker 1>because there is a lot of disability visibility in this movie,

0:34:46.400 --> 0:34:49.080
<v Speaker 1>but it is used in different ways. So on one hand,

0:34:49.680 --> 0:34:54.719
<v Speaker 1>you have Furiosa, the protagonist of the movie. She has

0:34:54.719 --> 0:34:58.560
<v Speaker 1>a physical disability. Her I think left arm has been

0:34:59.360 --> 0:35:04.719
<v Speaker 1>amputatd below the elbow. She uses a mechanical arm, and

0:35:04.800 --> 0:35:09.040
<v Speaker 1>attention is drawn to this, but not in a way

0:35:09.080 --> 0:35:13.680
<v Speaker 1>that's ever like she's disabled and she's so bitter about it,

0:35:14.280 --> 0:35:18.080
<v Speaker 1>the way that disabled characters are often treated in media.

0:35:18.320 --> 0:35:21.400
<v Speaker 1>It's just a part of her character. She's presented in

0:35:21.400 --> 0:35:26.240
<v Speaker 1>the movie as being extremely physically competent. She's a strong fighter,

0:35:26.320 --> 0:35:29.879
<v Speaker 1>she's a skilled marks person, and her disability is never

0:35:29.920 --> 0:35:34.000
<v Speaker 1>shown as impeding her skills in any way. Right, And

0:35:34.040 --> 0:35:39.319
<v Speaker 1>we also see her with and without the mechanical arm. Yeah, right,

0:35:39.760 --> 0:35:42.560
<v Speaker 1>And it's never like it's never commented on or drawn

0:35:42.600 --> 0:35:47.000
<v Speaker 1>attention to positive or negative. Like, it's just neutral. This

0:35:47.120 --> 0:35:50.120
<v Speaker 1>is just an aspect of her character. We are given

0:35:50.120 --> 0:35:55.640
<v Speaker 1>no information about it other than just seeing it visually.

0:35:55.760 --> 0:35:59.360
<v Speaker 1>We don't know any kind of backstory regarding this. But

0:36:00.120 --> 0:36:02.839
<v Speaker 1>it's just presented as one of the many aspects of

0:36:02.880 --> 0:36:06.759
<v Speaker 1>her character in a way that to me felt like

0:36:06.800 --> 0:36:10.319
<v Speaker 1>it had a normalizing effect, which I think is one

0:36:10.400 --> 0:36:13.480
<v Speaker 1>of the goals when it comes to representing disability in movies.

0:36:14.520 --> 0:36:19.759
<v Speaker 1>But then you have a character like and Morton Joe

0:36:20.000 --> 0:36:27.920
<v Speaker 1>who is covered in tumors, presumably having radiation poisoning. He

0:36:28.000 --> 0:36:33.480
<v Speaker 1>also uses breathing apparatus, and his disability is used to

0:36:34.200 --> 0:36:38.719
<v Speaker 1>make him seem like a more formidable opponent, especially like

0:36:38.760 --> 0:36:41.680
<v Speaker 1>in the way that the mask that he uses just

0:36:41.760 --> 0:36:46.920
<v Speaker 1>like aesthetically makes him seem scarier. Yeah, I mean, and

0:36:47.160 --> 0:36:51.040
<v Speaker 1>it's as with a lot of these issues in the movie.

0:36:51.040 --> 0:36:54.920
<v Speaker 1>It's it very much has to do with framing and

0:36:55.200 --> 0:37:00.960
<v Speaker 1>music and like how these atypical qualities are introduced to you,

0:37:01.840 --> 0:37:04.120
<v Speaker 1>because it's very I mean, it's like, there couldn't be

0:37:04.160 --> 0:37:09.360
<v Speaker 1>a more villain intro than showing a morton Joe's body

0:37:09.480 --> 0:37:12.040
<v Speaker 1>at the at the opening right to the movie. It's

0:37:12.200 --> 0:37:14.960
<v Speaker 1>very very clear how you're supposed to feel about him.

0:37:15.239 --> 0:37:19.319
<v Speaker 1>It's like movie shorthand for like, look how grotesque he is.

0:37:19.520 --> 0:37:25.560
<v Speaker 1>Obviously he's the villain. Look at this breathing apparatus he uses,

0:37:26.440 --> 0:37:29.200
<v Speaker 1>and I guess maybe you could make the argument that, like,

0:37:29.360 --> 0:37:34.240
<v Speaker 1>of course this type of tyrannical dictator would wear something

0:37:34.320 --> 0:37:38.759
<v Speaker 1>to make him seem more intimidating, because his mask is

0:37:38.800 --> 0:37:42.960
<v Speaker 1>this sort of grotesque, exaggerated thing with like huge teeth

0:37:43.000 --> 0:37:45.960
<v Speaker 1>that looks like an animal skull. But because there's such

0:37:46.000 --> 0:37:49.399
<v Speaker 1>a long history of this specific thing in media of

0:37:50.320 --> 0:37:53.719
<v Speaker 1>disability being used to make a villain seem more intimidating

0:37:54.040 --> 0:37:59.960
<v Speaker 1>or scarier or more unattractive, this choice just feels extremely

0:38:00.560 --> 0:38:05.160
<v Speaker 1>pointed and completely unnecessary. Yeah, and like beneath what the

0:38:05.200 --> 0:38:10.279
<v Speaker 1>movie generally tends to be as well. Right, And then

0:38:10.360 --> 0:38:14.840
<v Speaker 1>like I remember talking about this on our Casino Royal

0:38:15.000 --> 0:38:20.800
<v Speaker 1>episode where our guest Cannie Smobily brought up that villains

0:38:20.800 --> 0:38:27.520
<v Speaker 1>are often given asthma or some other type of like breathing,

0:38:27.600 --> 0:38:31.360
<v Speaker 1>and I was like, of course, Darth fade Arth and

0:38:31.600 --> 0:38:36.399
<v Speaker 1>I was born in it. Isn't that another Tom Hardy character? Bain? Yeah, Bain,

0:38:37.320 --> 0:38:40.080
<v Speaker 1>I never I don't know Bain's name. I just go

0:38:40.280 --> 0:38:42.040
<v Speaker 1>I was born on it. And people know what I'm

0:38:42.080 --> 0:38:47.120
<v Speaker 1>talking about. Tom Hardy is so uh just exhausting to

0:38:47.200 --> 0:38:50.399
<v Speaker 1>hear about any anecdote with him. You're just like I

0:38:50.480 --> 0:38:54.560
<v Speaker 1>am annoyed and asleep. But boy, you can't take that

0:38:54.640 --> 0:38:58.360
<v Speaker 1>line read from him, Kenya. You can't take uh, you

0:38:58.400 --> 0:39:01.040
<v Speaker 1>can't take the Bain line, and you can't take my

0:39:01.200 --> 0:39:04.640
<v Speaker 1>favorite Tom Hardy moment. And then I mean, I know

0:39:04.760 --> 0:39:08.920
<v Speaker 1>we are going to discuss him, but I just not

0:39:09.160 --> 0:39:13.799
<v Speaker 1>I mean whatever method not necessary, okay, which we'll get

0:39:13.840 --> 0:39:18.839
<v Speaker 1>to because Charlie Sarron had just a great moment for like, uh,

0:39:19.040 --> 0:39:23.640
<v Speaker 1>stop making my life difficult. Um, But I do I

0:39:23.719 --> 0:39:26.239
<v Speaker 1>do really like his line read of like suggesting we

0:39:26.320 --> 0:39:31.040
<v Speaker 1>go back the way we came. Like that's you know,

0:39:32.080 --> 0:39:34.920
<v Speaker 1>he was born in it, baby. There's one thing I

0:39:34.960 --> 0:39:37.279
<v Speaker 1>know about Tom Hardy. He's born in IT. And I

0:39:37.320 --> 0:39:40.160
<v Speaker 1>will say, not only do I not mind him, I

0:39:40.200 --> 0:39:41.920
<v Speaker 1>would even go so far as to say I like

0:39:42.080 --> 0:39:45.720
<v Speaker 1>Tom Hardy. I may regret saying this at a later date,

0:39:46.280 --> 0:39:50.680
<v Speaker 1>but for now I'm cool with Tom Hardy. Generally, he's fine.

0:39:50.719 --> 0:39:55.880
<v Speaker 1>I just have a general general dislike of method actors

0:39:56.040 --> 0:39:59.279
<v Speaker 1>and the stories you tend to hear. He's definitely not

0:39:59.360 --> 0:40:01.640
<v Speaker 1>the worst of the method actors, but it does sound

0:40:01.640 --> 0:40:04.280
<v Speaker 1>like he has made the lives of his co stars

0:40:04.600 --> 0:40:08.600
<v Speaker 1>very unpleasant at different times in his career. Um. And

0:40:08.600 --> 0:40:11.440
<v Speaker 1>of course, when we say Tom Hardy was born into IT,

0:40:12.239 --> 0:40:15.440
<v Speaker 1>we mean that he was born into a wealthy arts family.

0:40:15.560 --> 0:40:18.600
<v Speaker 1>He was born in it, um, and that's why he

0:40:19.080 --> 0:40:21.480
<v Speaker 1>gets to be a professional actor. He was born and

0:40:21.560 --> 0:40:25.080
<v Speaker 1>it did. I realized that his dad's name is Chips

0:40:25.160 --> 0:40:29.440
<v Speaker 1>Hardy question mark Chips plural, Yeah, like the ones in

0:40:29.480 --> 0:40:39.360
<v Speaker 1>the Bags Chips Partney. Anyways, Um, back to this discussion. Okay,

0:40:39.400 --> 0:40:43.839
<v Speaker 1>So there's another layer of this where Morton Joe and

0:40:44.280 --> 0:40:47.839
<v Speaker 1>one of his sons Rictus Erectus a k a. His

0:40:48.160 --> 0:40:53.759
<v Speaker 1>large adult son who also uses an oxygen tank to

0:40:53.840 --> 0:40:58.680
<v Speaker 1>help him breathe. Both of their breathing apparatuses are used

0:40:58.840 --> 0:41:02.000
<v Speaker 1>to either kill or injure those characters in some way,

0:41:02.719 --> 0:41:07.680
<v Speaker 1>where Furiosa rips Joe's mask off and also his face

0:41:07.840 --> 0:41:12.560
<v Speaker 1>off starring Nicolas Cage and John Travolta heard of it,

0:41:12.719 --> 0:41:17.560
<v Speaker 1>and Max uses Rictus Erectus's oxygen tank to beat him

0:41:17.680 --> 0:41:21.560
<v Speaker 1>in the face. So it's just another layer of like

0:41:21.640 --> 0:41:26.600
<v Speaker 1>not only our disabilities being used to further villainize these villains,

0:41:26.719 --> 0:41:31.279
<v Speaker 1>but then also the apparatus they use because of their

0:41:31.280 --> 0:41:36.640
<v Speaker 1>disability is then used against them violently, which feels especially pointed.

0:41:37.920 --> 0:41:42.839
<v Speaker 1>So there's that. Um, there are other characters like the

0:41:42.880 --> 0:41:47.440
<v Speaker 1>people Eader you know has severe inflammation in his feet.

0:41:48.200 --> 0:41:51.640
<v Speaker 1>I think that and his obesity are his traits that

0:41:51.680 --> 0:41:55.640
<v Speaker 1>are intended to make him seem grotesque and more villainous.

0:41:56.520 --> 0:41:58.960
<v Speaker 1>Then you see a lot of disability in the people

0:41:59.000 --> 0:42:04.160
<v Speaker 1>who live of in the citadel. Some are citizens who

0:42:04.200 --> 0:42:08.560
<v Speaker 1>I think you can assume survived nuclear war, some are

0:42:08.560 --> 0:42:12.239
<v Speaker 1>probably just dealing with malnutrition. It mostly feels like these

0:42:12.320 --> 0:42:16.400
<v Speaker 1>characters are just used as a part of the world building,

0:42:16.760 --> 0:42:20.640
<v Speaker 1>which because we know nothing about them and they're just

0:42:20.680 --> 0:42:25.879
<v Speaker 1>sort of scenery, it feels like pointed set dressing. Yeah.

0:42:26.040 --> 0:42:29.880
<v Speaker 1>Sort of similar is the character of Corpus Colossus played

0:42:29.920 --> 0:42:34.480
<v Speaker 1>by Quentin Kenahan, who is one of the Morton Joe's sons.

0:42:35.400 --> 0:42:39.960
<v Speaker 1>We do not learn anything about that character, and just

0:42:40.040 --> 0:42:44.160
<v Speaker 1>in general, none of these disabled characters or characters with

0:42:44.239 --> 0:42:50.480
<v Speaker 1>atypical bodies are given any focus in this story. All

0:42:50.520 --> 0:42:55.040
<v Speaker 1>of the major characters, with the exception of Furiosa and

0:42:55.520 --> 0:42:59.400
<v Speaker 1>you could argue Knucks, who is also affected by radiation poisoning,

0:43:00.280 --> 0:43:02.120
<v Speaker 1>All the rest of the main characters that we are

0:43:02.200 --> 0:43:08.399
<v Speaker 1>rooting for are able bodied. They are very attractive by

0:43:08.480 --> 0:43:13.560
<v Speaker 1>Western beauty standards, and even I would argue Furiosa and

0:43:14.040 --> 0:43:18.520
<v Speaker 1>Nuts are kind of able to pass as able bodied,

0:43:18.640 --> 0:43:21.520
<v Speaker 1>especially compared to the characters like Morton Joe and the

0:43:21.560 --> 0:43:26.000
<v Speaker 1>people Eater, where again their disabilities are are used to

0:43:26.040 --> 0:43:31.440
<v Speaker 1>further villainize them or its characters who we learn nothing about,

0:43:32.200 --> 0:43:35.840
<v Speaker 1>which I do also feel has to do at least

0:43:35.840 --> 0:43:42.120
<v Speaker 1>in part with how the characters are framed, where Furiosa,

0:43:42.480 --> 0:43:47.040
<v Speaker 1>like Furious, has a mechanical arm, but it's not brought

0:43:47.080 --> 0:43:50.520
<v Speaker 1>to your attention explicitly all the time, in the way

0:43:50.560 --> 0:43:54.600
<v Speaker 1>that when a villain has a disability, your eye is

0:43:54.680 --> 0:43:59.359
<v Speaker 1>constantly being very very intentionally drawn to it. Yea. And

0:43:59.440 --> 0:44:04.160
<v Speaker 1>of course, of these main characters like Furiosa, Nux and Morton,

0:44:04.280 --> 0:44:07.520
<v Speaker 1>Joe and the People Leader, they are played by actors

0:44:07.600 --> 0:44:13.640
<v Speaker 1>who are not disabled. So that's something that we come

0:44:13.960 --> 0:44:20.359
<v Speaker 1>upon again and again. Yeah, not great, not great at all,

0:44:20.960 --> 0:44:26.480
<v Speaker 1>simply not great. Sort of related to the discussion of bodies.

0:44:27.480 --> 0:44:29.800
<v Speaker 1>One of the things that it took me a while

0:44:29.880 --> 0:44:34.240
<v Speaker 1>for this to click for me, and I'm honestly embarrassed

0:44:34.280 --> 0:44:40.320
<v Speaker 1>about how long it took. But so the women, the

0:44:40.400 --> 0:44:45.960
<v Speaker 1>quote unquote wives that Furiosa is trying to bring to safety,

0:44:46.000 --> 0:44:51.000
<v Speaker 1>are all very traditionally attractive by Western beauty standards. That

0:44:51.040 --> 0:44:52.960
<v Speaker 1>didn't take. That's not the thing that took me a

0:44:53.000 --> 0:44:57.799
<v Speaker 1>while to figure out that I obviously noticed quite obvious. Yes,

0:44:57.960 --> 0:45:01.719
<v Speaker 1>it's very very obvious. Zoe crab is there, so we

0:45:02.200 --> 0:45:07.319
<v Speaker 1>like several professional models are among the people cast in

0:45:07.360 --> 0:45:10.960
<v Speaker 1>those roles. The thing that I was like, wait a minute,

0:45:12.120 --> 0:45:16.000
<v Speaker 1>So we see a group of women at the Citadel

0:45:16.760 --> 0:45:21.520
<v Speaker 1>who are again used for the very kind of like

0:45:21.880 --> 0:45:26.160
<v Speaker 1>basic function of like bodily function. They're they're hooked up

0:45:26.160 --> 0:45:31.160
<v Speaker 1>to breast pumps. They're basically treated like milk cows. And

0:45:31.440 --> 0:45:35.120
<v Speaker 1>they are all fat women who I think Western beauty

0:45:35.120 --> 0:45:39.719
<v Speaker 1>standards would consider not attractive. And again, with the way

0:45:39.719 --> 0:45:42.480
<v Speaker 1>that the camera is framing and drawing your eye, it

0:45:42.560 --> 0:45:46.120
<v Speaker 1>seems like the movie is not pushing against that in

0:45:46.160 --> 0:45:49.839
<v Speaker 1>any way. Right. Yeah, So the thing that I was like,

0:45:49.880 --> 0:45:55.319
<v Speaker 1>what the fuck FURIOUSA doesn't try to save them, Like

0:45:55.440 --> 0:45:57.879
<v Speaker 1>for unknown reasons, what the hell? Like, were they not

0:45:58.080 --> 0:46:01.840
<v Speaker 1>hot enough to save? Were they not considered? What's the

0:46:01.880 --> 0:46:04.880
<v Speaker 1>deal with that? Why were they not among the women

0:46:05.200 --> 0:46:08.160
<v Speaker 1>that God? I mean, because there, you know, I always

0:46:08.200 --> 0:46:10.880
<v Speaker 1>want to get furious that the benefit of the doubt.

0:46:10.960 --> 0:46:13.560
<v Speaker 1>She makes it seem she makes it seem as if

0:46:13.600 --> 0:46:18.040
<v Speaker 1>she's done stuff like this before. Perhaps that is a

0:46:18.120 --> 0:46:22.040
<v Speaker 1>separate trip. We're also told that the wives explicitly asked

0:46:22.120 --> 0:46:25.120
<v Speaker 1>her to help them do this. She didn't take them.

0:46:25.160 --> 0:46:28.600
<v Speaker 1>They begged her to go, says Miss Giddy. Yeah, but yeah,

0:46:28.600 --> 0:46:31.040
<v Speaker 1>I also picked up on that as well, where it's again,

0:46:31.480 --> 0:46:34.759
<v Speaker 1>most of the characters, or many of the characters who

0:46:34.800 --> 0:46:39.839
<v Speaker 1>are not you know, classically Western beauty standard slim and

0:46:39.840 --> 0:46:43.440
<v Speaker 1>and look a very particular way like they are treated

0:46:43.440 --> 0:46:48.040
<v Speaker 1>as said dressing, and that is very much Yeah, how

0:46:48.080 --> 0:46:53.040
<v Speaker 1>how those characters are presented. Yeah, I just I would

0:46:53.080 --> 0:46:55.799
<v Speaker 1>have liked a version of this story where even if

0:46:55.840 --> 0:46:59.640
<v Speaker 1>it was the wives, there's gotta be a better name

0:46:59.719 --> 0:47:04.560
<v Speaker 1>for them. But even if it was their idea for

0:47:04.680 --> 0:47:09.040
<v Speaker 1>Furious to take them away from the citadel, couldn't Furious

0:47:09.040 --> 0:47:12.640
<v Speaker 1>to be like, hey, hey, you guys in like the

0:47:12.680 --> 0:47:16.480
<v Speaker 1>milking room, I'm I'm going on a trip. I'm saving

0:47:16.520 --> 0:47:20.480
<v Speaker 1>some people want to come come on. Yeah, At very

0:47:20.560 --> 0:47:23.399
<v Speaker 1>least I guess that they, they along with the rest

0:47:23.400 --> 0:47:26.120
<v Speaker 1>of the citadel, are are liberated at the end of

0:47:26.360 --> 0:47:28.960
<v Speaker 1>the flim We do see another shot of them at

0:47:28.960 --> 0:47:32.799
<v Speaker 1>the end. Yes, they are, they are freed, but I think, yeah,

0:47:32.800 --> 0:47:35.960
<v Speaker 1>the larger point here is that there are no fat

0:47:36.040 --> 0:47:40.160
<v Speaker 1>characters who are heroes who we are rooting for exactly,

0:47:40.239 --> 0:47:42.400
<v Speaker 1>which is just kind of another way in which this

0:47:42.680 --> 0:47:46.720
<v Speaker 1>very broad movie does not push back on very well

0:47:46.719 --> 0:47:51.920
<v Speaker 1>worn movie media stereotypes in a way that would have

0:47:51.960 --> 0:47:56.759
<v Speaker 1>been so simple not to like that true, Like, there's

0:47:56.800 --> 0:47:59.320
<v Speaker 1>no reason that one of the I don't know what else,

0:48:00.080 --> 0:48:04.480
<v Speaker 1>one of the his wives, but they are being sex trafficked.

0:48:04.560 --> 0:48:06.919
<v Speaker 1>I mean, what one of the what should we let's

0:48:07.000 --> 0:48:09.520
<v Speaker 1>let's come up with something right now. One of the

0:48:09.560 --> 0:48:15.000
<v Speaker 1>women in beige, the women, the women in gauze, Yeah,

0:48:15.080 --> 0:48:16.759
<v Speaker 1>one of the I mean one of the there there's

0:48:16.760 --> 0:48:20.840
<v Speaker 1>no reason one of the gauzy gauzy women, Um, couldn't

0:48:21.120 --> 0:48:23.480
<v Speaker 1>couldn't have been a fat woman. There's just there's just

0:48:23.520 --> 0:48:26.920
<v Speaker 1>simply no reason. Yeah, there's It's it's interesting because, yeah,

0:48:26.960 --> 0:48:28.880
<v Speaker 1>this movie is less than ten years old, but already

0:48:28.920 --> 0:48:32.359
<v Speaker 1>you're like, oh, I mean, based on how we are

0:48:32.440 --> 0:48:34.880
<v Speaker 1>needing to discuss it a second time, you can already

0:48:35.040 --> 0:48:38.040
<v Speaker 1>you can still pick up on things that were dated

0:48:38.920 --> 0:48:43.760
<v Speaker 1>at that time, that probably were not commented on extensively

0:48:44.520 --> 0:48:46.920
<v Speaker 1>at the time. But it says there's been so much

0:48:46.920 --> 0:48:49.200
<v Speaker 1>written about this movie when it came out, but also

0:48:49.280 --> 0:48:51.120
<v Speaker 1>just over the years. It's interesting to kind of watch

0:48:51.120 --> 0:48:55.080
<v Speaker 1>how people's views on how bodies are treated in this movie.

0:48:55.320 --> 0:48:58.480
<v Speaker 1>I wanted to quickly go back to the Tom Hearty

0:48:58.520 --> 0:49:02.600
<v Speaker 1>thing because there is have you read about the confrontation

0:49:02.600 --> 0:49:07.600
<v Speaker 1>between him and Charlie's barren, not extensively, so please feel

0:49:07.640 --> 0:49:11.480
<v Speaker 1>free to fill me in. Okay, so this is not

0:49:11.600 --> 0:49:14.040
<v Speaker 1>I mean, I didn't know very much about the production

0:49:14.280 --> 0:49:21.520
<v Speaker 1>of this movie. It sounded like an absolutely hellacious shoot

0:49:22.040 --> 0:49:26.080
<v Speaker 1>that went on for like nine months in the desert.

0:49:26.719 --> 0:49:31.400
<v Speaker 1>Riley Keo got hypothermia. George Miller says, there was a

0:49:31.600 --> 0:49:35.040
<v Speaker 1>there's two oral history pieces I'd read about this movie.

0:49:35.280 --> 0:49:37.839
<v Speaker 1>One came out in one came out earlier this year

0:49:38.640 --> 0:49:41.359
<v Speaker 1>New York Times and I think Vanity Fair respectively. But

0:49:41.880 --> 0:49:45.360
<v Speaker 1>in the New York Times one. Yeah, the actors, it

0:49:45.480 --> 0:49:47.479
<v Speaker 1>is kind of interesting. I feel like you, I'm trying

0:49:47.520 --> 0:49:49.279
<v Speaker 1>to think of other I mean, I guess that you

0:49:49.280 --> 0:49:53.000
<v Speaker 1>could use a Titanic parable here too, because literally hypothermia,

0:49:53.840 --> 0:49:55.800
<v Speaker 1>or I guess in Kate Win's was a case pneumonia.

0:49:55.920 --> 0:49:59.960
<v Speaker 1>But you know, a movie that was extremely difficult to shoot,

0:50:00.680 --> 0:50:03.240
<v Speaker 1>that sounds like it was absolute torture for the actors

0:50:03.239 --> 0:50:07.120
<v Speaker 1>at different points that later on, because the movie was

0:50:07.120 --> 0:50:09.200
<v Speaker 1>a huge success and was a classic, they're kind of

0:50:09.239 --> 0:50:12.240
<v Speaker 1>like Yeah, that wasn't great, But I'm glad the movie

0:50:12.320 --> 0:50:15.600
<v Speaker 1>was a hit, you know, like a little but but

0:50:15.880 --> 0:50:19.040
<v Speaker 1>you know, it sounded like this was a um a

0:50:19.120 --> 0:50:22.920
<v Speaker 1>shoot where everyone slowly lost their grip on reality, cast

0:50:23.000 --> 0:50:27.120
<v Speaker 1>and crew. There were several cases of actors getting sick,

0:50:27.640 --> 0:50:30.120
<v Speaker 1>Like I just said, Riley Ko got hypothermia because it

0:50:30.160 --> 0:50:33.000
<v Speaker 1>was so cold shooting in the desert at night. The

0:50:33.040 --> 0:50:35.400
<v Speaker 1>actors are shooting in the middle of the desert, and

0:50:35.440 --> 0:50:38.720
<v Speaker 1>they're not because of their costumes. They're literally in gauze

0:50:38.840 --> 0:50:40.480
<v Speaker 1>for a lot of it, and so there's not a

0:50:40.520 --> 0:50:43.719
<v Speaker 1>lot of protection from the elements. A lot of stories

0:50:43.920 --> 0:50:48.000
<v Speaker 1>like that. And then there was also some onset tension

0:50:48.080 --> 0:50:52.360
<v Speaker 1>between Charlie's Thearren and Tom Hardy, which has expanded a

0:50:52.400 --> 0:50:55.760
<v Speaker 1>little more in the Vanity Fair article. So I guess

0:50:55.760 --> 0:51:00.239
<v Speaker 1>that Charlie Sarren had recently had a baby when she

0:51:00.920 --> 0:51:04.279
<v Speaker 1>was shooting this movie, and so she's I get she

0:51:04.360 --> 0:51:07.520
<v Speaker 1>has like a reputation for being very professional, shows up

0:51:07.560 --> 0:51:10.760
<v Speaker 1>on time, expects to be released at the correct time,

0:51:11.560 --> 0:51:15.440
<v Speaker 1>as is her right. That's union ship. Tom Hardy is

0:51:15.480 --> 0:51:17.520
<v Speaker 1>known to be a method guy, known to never show

0:51:17.600 --> 0:51:20.759
<v Speaker 1>up on time, known to be a little bit combative

0:51:21.360 --> 0:51:24.759
<v Speaker 1>at times, and he and Charlie's well, they simply did

0:51:24.800 --> 0:51:28.800
<v Speaker 1>not like each other. And there is a story in

0:51:28.840 --> 0:51:33.160
<v Speaker 1>which Charlie's Thearren was there on time, sitting in the

0:51:33.160 --> 0:51:38.440
<v Speaker 1>war Wig waiting for mad Jical Michael to show up.

0:51:41.480 --> 0:51:45.040
<v Speaker 1>So he's not showing up. This was day five trillion

0:51:45.120 --> 0:51:48.120
<v Speaker 1>of shooting in the war Wig. At this point, the

0:51:48.200 --> 0:51:52.040
<v Speaker 1>women in Gauze had openly talked about Tom Hardy in

0:51:52.080 --> 0:51:54.960
<v Speaker 1>front of him. Everyone was sick of him. Then he

0:51:55.040 --> 0:51:59.160
<v Speaker 1>gets there late, Charlie's Thearren yells at him in front

0:51:59.200 --> 0:52:03.759
<v Speaker 1>of everybody. She says, and I quote, find the fucking

0:52:03.960 --> 0:52:07.160
<v Speaker 1>cunt a hundred thousand dollars for every minute he's held

0:52:07.239 --> 0:52:11.719
<v Speaker 1>up this crew. How disrespectful you are. Love that for her,

0:52:12.040 --> 0:52:18.440
<v Speaker 1>and then Tom Hardy physically charges at her, and uh,

0:52:18.760 --> 0:52:21.040
<v Speaker 1>you know, says what did you do to me? And

0:52:21.120 --> 0:52:25.480
<v Speaker 1>like lit like physically charges at her. She felt the

0:52:25.560 --> 0:52:30.200
<v Speaker 1>need to request a producer for protection for the remainder

0:52:30.680 --> 0:52:34.120
<v Speaker 1>of the shoot because things got so tense between the

0:52:34.160 --> 0:52:37.960
<v Speaker 1>two of them. It sounds like they have since reconciled.

0:52:39.160 --> 0:52:43.040
<v Speaker 1>But I guess make of that story what you will,

0:52:43.200 --> 0:52:46.719
<v Speaker 1>But I don't think Tom Hardy comes off particularly well

0:52:46.719 --> 0:52:50.880
<v Speaker 1>in It's certainly not and I take back what I

0:52:50.920 --> 0:52:54.680
<v Speaker 1>said about him methin actors truly. I mean, I just

0:52:54.880 --> 0:52:58.600
<v Speaker 1>I don't know my crush. Will Poulter said it best

0:52:58.880 --> 0:53:04.360
<v Speaker 1>when he said something like, I don't like it. Yeah,

0:53:04.480 --> 0:53:06.759
<v Speaker 1>what it was a good quote. We should look it

0:53:06.840 --> 0:53:09.760
<v Speaker 1>up and let's find it. I'm because I love quoting,

0:53:09.880 --> 0:53:13.920
<v Speaker 1>as you know, I'm always happy to google Will Poulter.

0:53:14.640 --> 0:53:17.319
<v Speaker 1>It's easy for me to do. Oh he said, it's

0:53:17.400 --> 0:53:22.000
<v Speaker 1>quote an excuse for inappropriate behavior unquote. So that's that. Um.

0:53:22.040 --> 0:53:25.040
<v Speaker 1>Should we take a quick break and then come back

0:53:25.080 --> 0:53:27.520
<v Speaker 1>and talk some more. Yeah, let's take a quick break

0:53:33.800 --> 0:53:36.799
<v Speaker 1>and we're back. We are back. Where would you like

0:53:36.960 --> 0:53:40.600
<v Speaker 1>to go from here at Caitlin, Oh, my goodness. I

0:53:40.600 --> 0:53:43.479
<v Speaker 1>would like to talk about how the movie handles race,

0:53:44.400 --> 0:53:50.600
<v Speaker 1>which is another thing that is not particularly good, y'all.

0:53:50.719 --> 0:53:55.439
<v Speaker 1>This has been discussed before. We're not really pointing out

0:53:55.480 --> 0:54:00.520
<v Speaker 1>anything new, but for the sake of a complete episode exactly.

0:54:01.320 --> 0:54:08.320
<v Speaker 1>The movie largely centers white people, which has been pointed

0:54:08.360 --> 0:54:14.520
<v Speaker 1>out as being especially strange in this context of like

0:54:14.680 --> 0:54:19.759
<v Speaker 1>the world that this movie exists within. I want to

0:54:19.840 --> 0:54:25.440
<v Speaker 1>pull a quote from and then also shout out a

0:54:26.200 --> 0:54:31.720
<v Speaker 1>book which is a series of four different essays, all

0:54:31.800 --> 0:54:38.560
<v Speaker 1>written by scholars I heard of them. The book is

0:54:38.719 --> 0:54:43.919
<v Speaker 1>entitled Furious Feminisms Alternate Routes on mad Max Fury Road.

0:54:45.160 --> 0:54:48.800
<v Speaker 1>There is a quote I will pull from the essay

0:54:48.960 --> 0:54:52.440
<v Speaker 1>entitled just a Warrior at the End of the World

0:54:52.440 --> 0:54:57.959
<v Speaker 1>by Barbaraker. This brighter put it better than I think

0:54:58.000 --> 0:55:02.560
<v Speaker 1>I could. So quote Max's story, like so many in

0:55:02.640 --> 0:55:06.680
<v Speaker 1>dystopian fiction, begs the question why do only white people

0:55:06.760 --> 0:55:11.799
<v Speaker 1>survive the apocalypse? The absence of indigenous bodies, indeed of

0:55:11.880 --> 0:55:16.480
<v Speaker 1>people of color generally throughout all four films, meaning all

0:55:16.480 --> 0:55:20.919
<v Speaker 1>four of the Mad Max films reflect the white supremacists

0:55:21.000 --> 0:55:25.400
<v Speaker 1>arc of settler colonialism in Australia. The presumed geography of

0:55:25.440 --> 0:55:28.719
<v Speaker 1>the film and elsewhere and further is a narrative that

0:55:28.760 --> 0:55:32.680
<v Speaker 1>seemingly relies on gender, but is always already raised as

0:55:32.719 --> 0:55:36.280
<v Speaker 1>only certain bodies are visible, only certain bodies are active,

0:55:36.680 --> 0:55:40.120
<v Speaker 1>only certain bodies are worthy of survival after the end

0:55:40.160 --> 0:55:43.200
<v Speaker 1>of the world end quote. This is not to say

0:55:43.239 --> 0:55:47.280
<v Speaker 1>that there are no people of color in the movie

0:55:47.480 --> 0:55:51.040
<v Speaker 1>and in the main cast, because of course you have

0:55:51.320 --> 0:55:57.319
<v Speaker 1>Zoey Kravitz. You also have the character of Cheetoh the

0:55:57.360 --> 0:56:02.200
<v Speaker 1>Fragile who is played by Courtney Eaton, who is Maori

0:56:02.440 --> 0:56:08.200
<v Speaker 1>and Cook Islander. Also shout out to the Ali Naughty

0:56:08.239 --> 0:56:12.520
<v Speaker 1>Test because this character passes the Ali Naughty Test. This

0:56:12.600 --> 0:56:17.520
<v Speaker 1>test examines representation of Indigenous women in media. In order

0:56:17.560 --> 0:56:22.239
<v Speaker 1>to pass, a character must be an Indigenous or Aboriginal

0:56:22.280 --> 0:56:26.440
<v Speaker 1>woman who is a main character. She must not fall

0:56:26.480 --> 0:56:29.640
<v Speaker 1>in love with a white man. And she is not

0:56:29.840 --> 0:56:32.839
<v Speaker 1>raped or murdered at any point in the story. And

0:56:32.920 --> 0:56:37.040
<v Speaker 1>according to the actor Courtney Eaton, Cheeto is the only

0:56:37.080 --> 0:56:41.799
<v Speaker 1>one of the wives who was not assaulted by Morton,

0:56:41.920 --> 0:56:46.040
<v Speaker 1>Joe or anyone else. So, okay, that's good, that's good

0:56:46.080 --> 0:56:48.480
<v Speaker 1>to know. We'll we'll get to this. I was very

0:56:48.520 --> 0:56:52.000
<v Speaker 1>fascinated at how those actors got to develop their own

0:56:52.440 --> 0:56:56.080
<v Speaker 1>character's history and story and that kind of collaborative process.

0:56:56.120 --> 0:56:59.360
<v Speaker 1>But we'll get there. But but yes, I am I'm

0:56:59.400 --> 0:57:04.280
<v Speaker 1>happy to here that that Cheeto passes the Ali Naty Test.

0:57:04.440 --> 0:57:08.040
<v Speaker 1>I do wish that characters that passed the Alien Nati

0:57:08.080 --> 0:57:11.200
<v Speaker 1>Test were more prominent in the story. She certainly has

0:57:11.320 --> 0:57:14.480
<v Speaker 1>important moments in the story, but she's you know, I

0:57:14.480 --> 0:57:18.400
<v Speaker 1>think kind of one of the less prominent of the

0:57:18.840 --> 0:57:22.000
<v Speaker 1>of the women in Gauze and when you are just

0:57:22.040 --> 0:57:26.880
<v Speaker 1>sort of like isolating screen time and just kind of

0:57:26.920 --> 0:57:32.760
<v Speaker 1>like narrative significance, Definitely Max and Furiosa are the two

0:57:33.240 --> 0:57:39.240
<v Speaker 1>most prominent characters. They share a dual protagonist situation. All

0:57:39.320 --> 0:57:42.160
<v Speaker 1>this to say that the majority of the characters that

0:57:42.200 --> 0:57:47.120
<v Speaker 1>we are rooting for are white characters. Yeah, I mean

0:57:47.240 --> 0:57:51.800
<v Speaker 1>our to the two lead characters or I know that.

0:57:52.160 --> 0:57:55.120
<v Speaker 1>God I've read so much of like actually Max is

0:57:55.160 --> 0:58:01.160
<v Speaker 1>a deuteragamist and I'm just like, okay, with all due respect,

0:58:01.800 --> 0:58:05.520
<v Speaker 1>shut the funk up, Um, I don't want to hear it.

0:58:06.160 --> 0:58:08.600
<v Speaker 1>But yes, there are two are two leading characters who

0:58:08.600 --> 0:58:10.440
<v Speaker 1>were supposed to I mean, the two people on the

0:58:10.440 --> 0:58:15.400
<v Speaker 1>fucking poster are sis white movie stars. And thank you

0:58:15.440 --> 0:58:17.080
<v Speaker 1>for thank you for sharing that quote. Because but now

0:58:17.240 --> 0:58:21.760
<v Speaker 1>we've covered um several I think Australian movies where where

0:58:21.800 --> 0:58:27.560
<v Speaker 1>this issue has been brought up? Um, what shall we

0:58:27.640 --> 0:58:31.560
<v Speaker 1>address next? So I wanted to just this is another

0:58:31.640 --> 0:58:36.240
<v Speaker 1>production note, but since it came up via learning a

0:58:36.280 --> 0:58:41.520
<v Speaker 1>little bit about Courtney Eaton's Um character backstory, something I

0:58:41.640 --> 0:58:47.120
<v Speaker 1>thought was quite interesting was and again just like an

0:58:47.120 --> 0:58:52.240
<v Speaker 1>interesting showing of growth in a director over time. Is

0:58:52.240 --> 0:58:58.160
<v Speaker 1>that George Miller brought in a consultant to help. It

0:58:58.240 --> 0:59:01.720
<v Speaker 1>seems like primarily Charlie Scarron and the women in Gauze

0:59:01.760 --> 0:59:06.840
<v Speaker 1>developed their characters. I don't know if the uh the

0:59:06.960 --> 0:59:12.200
<v Speaker 1>VOLI I was gonna say, VOLVIONI So there you go,

0:59:14.880 --> 0:59:18.520
<v Speaker 1>so like a damn Mario character. Okay, yeah, I I

0:59:19.160 --> 0:59:22.320
<v Speaker 1>don't know about um the women in that area of

0:59:22.360 --> 0:59:26.600
<v Speaker 1>the story. But George So, George Miller brought in Eve Ensler,

0:59:26.800 --> 0:59:31.280
<v Speaker 1>who most famously wrote the Vagina Monologues, which is very

0:59:31.320 --> 0:59:34.760
<v Speaker 1>dated in many ways. Uh, you know, we're not caping

0:59:34.800 --> 0:59:37.800
<v Speaker 1>for the Vagina monologue, but she's she's been a feminist

0:59:37.880 --> 0:59:42.120
<v Speaker 1>activist for a very long time, and he specifically requested

0:59:42.160 --> 0:59:47.280
<v Speaker 1>that she be available to the actors who were playing

0:59:47.600 --> 0:59:51.000
<v Speaker 1>um women who were being sex trafficked. And it experienced

0:59:51.040 --> 0:59:53.280
<v Speaker 1>quite a bit of trauma because eve Ensler has a

0:59:53.280 --> 0:59:58.640
<v Speaker 1>lot of experience working with survivors of sex trafficking. And

0:59:58.640 --> 1:00:00.720
<v Speaker 1>I guess that that is like what she was doing

1:00:00.800 --> 1:00:05.919
<v Speaker 1>when George Miller originally reached out. And so what they

1:00:05.960 --> 1:00:08.360
<v Speaker 1>did in a way that I think it seems to

1:00:08.560 --> 1:00:12.400
<v Speaker 1>have um Again, this is like we we cannot speak

1:00:12.520 --> 1:00:15.680
<v Speaker 1>from personal experience here, but it seems to generally elevate

1:00:16.160 --> 1:00:19.600
<v Speaker 1>those characters. And I feel like those characters are generally

1:00:19.640 --> 1:00:25.439
<v Speaker 1>treated with respect. And you see, you know, even through

1:00:25.440 --> 1:00:29.360
<v Speaker 1>the five women in gaul As, you see a bunch

1:00:29.360 --> 1:00:34.080
<v Speaker 1>of different um reactions to like they're all distinct characters

1:00:34.120 --> 1:00:35.560
<v Speaker 1>in a way that I think if the movie was

1:00:35.600 --> 1:00:40.080
<v Speaker 1>made twenty years before probably wouldn't have been true. Um.

1:00:40.200 --> 1:00:45.440
<v Speaker 1>Not only do they have different skills and strengths where

1:00:45.720 --> 1:00:47.560
<v Speaker 1>and I'm not going to get the names right. So

1:00:47.720 --> 1:00:51.240
<v Speaker 1>Zoe Kravitz, for example, can handle a gun like she

1:00:51.280 --> 1:00:56.080
<v Speaker 1>knows her ship in that department, Riley Kio really strongly

1:00:56.120 --> 1:00:59.160
<v Speaker 1>wants to go back for Rosie Huntington Whitely. They have

1:00:59.280 --> 1:01:01.600
<v Speaker 1>different opinions on what they should do with knocks like

1:01:01.640 --> 1:01:07.240
<v Speaker 1>there there's constantly disagreement, and even though many of them

1:01:07.480 --> 1:01:11.760
<v Speaker 1>have experienced similar kinds of abuse, they are all interpreting

1:01:11.800 --> 1:01:16.440
<v Speaker 1>it very very differently, which I thought was effective and

1:01:16.600 --> 1:01:19.240
<v Speaker 1>um done kind of seamlessly with the story. But I

1:01:19.280 --> 1:01:27.160
<v Speaker 1>wanted to share a quote from Eve and Sler in

1:01:27.360 --> 1:01:31.400
<v Speaker 1>that New York Times Oral History just to give some

1:01:31.480 --> 1:01:34.880
<v Speaker 1>insight into how they did it, so, she says, quote,

1:01:35.120 --> 1:01:37.320
<v Speaker 1>it was really surprising for me. George would send me

1:01:37.400 --> 1:01:39.760
<v Speaker 1>pieces of the script for feedback, and we began to

1:01:39.760 --> 1:01:41.760
<v Speaker 1>get into a dialogue about the women who were going

1:01:41.800 --> 1:01:44.400
<v Speaker 1>to play these sex slaves and how they would know

1:01:44.440 --> 1:01:49.120
<v Speaker 1>what that lived experience was. Eventually he invited me to Namibia,

1:01:49.160 --> 1:01:51.840
<v Speaker 1>which is where the movie was shot, to spend time

1:01:51.920 --> 1:01:54.640
<v Speaker 1>with them in workshops, and my contribution was really to

1:01:54.680 --> 1:01:57.680
<v Speaker 1>help those actresses become confident in that world. I think

1:01:57.680 --> 1:01:59.600
<v Speaker 1>it was a really radical thing that he asked me

1:01:59.640 --> 1:02:04.120
<v Speaker 1>to do that unquote. Um, I'm generally inclined to agree.

1:02:04.200 --> 1:02:06.840
<v Speaker 1>And it seems like the actors got a lot out

1:02:06.840 --> 1:02:11.160
<v Speaker 1>of it. Uh. They were asked to write their own backstories,

1:02:11.280 --> 1:02:16.360
<v Speaker 1>essentially write letters in character to their abusers. I mean,

1:02:16.400 --> 1:02:19.360
<v Speaker 1>it just seemed like a very immersive way of of

1:02:19.440 --> 1:02:24.320
<v Speaker 1>building characters. And I do appreciate when a male OH

1:02:24.480 --> 1:02:28.160
<v Speaker 1>tour such as George Miller knows when he's out of

1:02:28.240 --> 1:02:31.920
<v Speaker 1>his depth and brings someone in who is not out

1:02:31.960 --> 1:02:35.280
<v Speaker 1>of their depth. And I'm sure that those actors are

1:02:35.320 --> 1:02:38.120
<v Speaker 1>more comfortable talking to Eve Ensler than they would be

1:02:38.120 --> 1:02:41.760
<v Speaker 1>talking to George Miller about this topic. Um, So I

1:02:41.800 --> 1:02:46.000
<v Speaker 1>just thought that was a good creative choice, whereas um,

1:02:46.000 --> 1:02:50.680
<v Speaker 1>really Kio being left vulnerable enough to get hypothermia was

1:02:50.720 --> 1:02:55.120
<v Speaker 1>perhaps not as good. Yeah, the shoot of this movie

1:02:55.240 --> 1:03:00.680
<v Speaker 1>just sounded absolutely fucking wild, and you can tell by

1:03:00.720 --> 1:03:04.040
<v Speaker 1>watching it because so many of the so many I mean,

1:03:04.400 --> 1:03:09.640
<v Speaker 1>they're on location. It's practical effects in a desert in winter,

1:03:10.640 --> 1:03:16.320
<v Speaker 1>sand blowing and everyone's faces and being exposed to the elements.

1:03:16.520 --> 1:03:18.880
<v Speaker 1>And I mean, I don't even mean to be too

1:03:18.880 --> 1:03:21.760
<v Speaker 1>hard on George Miller specifically with that. I mean the

1:03:21.800 --> 1:03:24.920
<v Speaker 1>buckstocks with him because he's a director. But but like,

1:03:25.440 --> 1:03:28.280
<v Speaker 1>nine months in the fucking desert with a gigantic crew

1:03:28.360 --> 1:03:31.280
<v Speaker 1>and you're all doing practical effects of some of the

1:03:31.280 --> 1:03:33.120
<v Speaker 1>wildest shit I've ever seen in my life. It's a

1:03:33.240 --> 1:03:37.560
<v Speaker 1>miracle that everyone lived, um, which is also what one

1:03:37.600 --> 1:03:40.280
<v Speaker 1>of the things that Steven Soderberg said. He's like, how

1:03:40.280 --> 1:03:45.200
<v Speaker 1>did a hundred people not die? Right? So, so not

1:03:45.360 --> 1:03:49.480
<v Speaker 1>to you know, getting hypothermia on at work is horrible,

1:03:50.160 --> 1:03:54.240
<v Speaker 1>but given the scale of the movie, shocking that everyone survived. Yeah.

1:03:54.240 --> 1:03:57.800
<v Speaker 1>I read that a stuntman suffered a broken leg on

1:03:57.880 --> 1:04:02.560
<v Speaker 1>this movie. Hopefully he got workman's comp I know, I

1:04:02.960 --> 1:04:05.880
<v Speaker 1>hope he got that workman's comp million. Baby. I hope

1:04:05.880 --> 1:04:09.520
<v Speaker 1>he's I hope he's doing well. That is God, stunt

1:04:09.600 --> 1:04:14.000
<v Speaker 1>work is so terrifying. Yes, okay, so I did. Yeah.

1:04:14.000 --> 1:04:15.880
<v Speaker 1>I wanted to just kind of shout out the rare

1:04:16.760 --> 1:04:19.840
<v Speaker 1>male filmmaker, knowing when he's out of his depth, it

1:04:19.880 --> 1:04:23.160
<v Speaker 1>shouldn't be impressive, but it is. But it kind of

1:04:23.320 --> 1:04:26.080
<v Speaker 1>is to the point where even even Sler was like,

1:04:26.160 --> 1:04:31.240
<v Speaker 1>I was also shocked he wanted to do to do that,

1:04:32.040 --> 1:04:33.480
<v Speaker 1>and I like, I think we talked about this in

1:04:33.520 --> 1:04:37.280
<v Speaker 1>the Babe episode. Perhaps I don't remember, but a woman

1:04:37.440 --> 1:04:42.800
<v Speaker 1>edited this movie. George Miller's partner, Margaret six Cell, edited

1:04:42.800 --> 1:04:44.960
<v Speaker 1>this movie. I think we've brought up in the show

1:04:45.000 --> 1:04:49.200
<v Speaker 1>a couple of different times that women editing a movie

1:04:49.280 --> 1:04:51.960
<v Speaker 1>of this scale is again quite a big deal, and

1:04:52.000 --> 1:04:53.800
<v Speaker 1>she wanted an oscar. I was gonna say, the editing

1:04:53.840 --> 1:04:57.920
<v Speaker 1>is absolutely incredible. Yeah, it's absolutely it's I also didn't

1:04:58.040 --> 1:05:00.640
<v Speaker 1>reading about the production of this movie was so like

1:05:00.760 --> 1:05:04.600
<v Speaker 1>I didn't get really excited like into it because you're

1:05:04.640 --> 1:05:07.440
<v Speaker 1>just like, holy shit, any epic You're just like this

1:05:07.480 --> 1:05:11.080
<v Speaker 1>is how how where they like didn't have the budget

1:05:11.120 --> 1:05:14.840
<v Speaker 1>to shoot the scenes at the Citadel, and so she

1:05:15.040 --> 1:05:18.400
<v Speaker 1>edited most of the movie with nothing at the beginning

1:05:18.480 --> 1:05:22.840
<v Speaker 1>or end like that sounds so awful, like for her, like,

1:05:22.840 --> 1:05:25.360
<v Speaker 1>that's so stressful. Yeah, I think they had to go

1:05:25.360 --> 1:05:29.280
<v Speaker 1>back and do reshoots, and yeah, the production went way

1:05:29.280 --> 1:05:31.480
<v Speaker 1>over budget and you know all the things that you

1:05:31.480 --> 1:05:34.640
<v Speaker 1>would expect when you watch the movie. The movie didn't

1:05:34.640 --> 1:05:40.000
<v Speaker 1>technically make money after like all the stuff incurred. Yeah, okay,

1:05:40.040 --> 1:05:43.080
<v Speaker 1>So when I had one last behind the scenes thing

1:05:43.160 --> 1:05:47.800
<v Speaker 1>I wanted to draw to that, I think we'll hopefully

1:05:48.120 --> 1:05:54.040
<v Speaker 1>transition into a bigger discussion question mark, let's see, and

1:05:54.160 --> 1:05:59.000
<v Speaker 1>that is the costume design of this movie. Uh, it

1:05:59.200 --> 1:06:04.280
<v Speaker 1>was You're headed by Jenny Beavan, who also spoke in

1:06:04.600 --> 1:06:08.160
<v Speaker 1>this oral history, and it sounds like what I what

1:06:08.200 --> 1:06:11.000
<v Speaker 1>I thought was really interesting about it is that it

1:06:11.040 --> 1:06:14.800
<v Speaker 1>sounds as if the character designs and the costume designs

1:06:14.800 --> 1:06:18.640
<v Speaker 1>since this movie went, you know, was first conceptualized in

1:06:19.720 --> 1:06:24.480
<v Speaker 1>seven like before Zoe Kravitz existed on this physical plane,

1:06:25.520 --> 1:06:28.440
<v Speaker 1>what Furious As character was going to look like it

1:06:28.800 --> 1:06:32.320
<v Speaker 1>changed quite a bit and again was like collaborative with

1:06:32.520 --> 1:06:36.400
<v Speaker 1>the actors. So Jenny Beavan says, quote, I am not

1:06:36.520 --> 1:06:39.360
<v Speaker 1>into fashion wild thing for a costume designer to say

1:06:39.360 --> 1:06:41.880
<v Speaker 1>I love it. I also had that thought as I

1:06:41.880 --> 1:06:45.320
<v Speaker 1>wrote that quote. I am not into fashion and I

1:06:45.320 --> 1:06:48.400
<v Speaker 1>don't particularly care what people look like. The clothes have

1:06:48.480 --> 1:06:50.720
<v Speaker 1>to come out of the stories they tell, since she

1:06:50.760 --> 1:06:53.880
<v Speaker 1>travels long distances, furious and needed very practical clothing. And

1:06:53.880 --> 1:06:55.760
<v Speaker 1>when I met with Charlie's that was one of the

1:06:55.800 --> 1:06:58.080
<v Speaker 1>things we talked about that and what on earth should

1:06:58.120 --> 1:06:59.880
<v Speaker 1>she would she do with her hair? So, because it

1:07:00.040 --> 1:07:02.360
<v Speaker 1>is Charlie's there own's idea to be the baldest woman

1:07:02.360 --> 1:07:05.640
<v Speaker 1>in charge, which is the episode where we started talking

1:07:05.640 --> 1:07:08.720
<v Speaker 1>about that, I believe it is true. Yeah, that's uh,

1:07:08.800 --> 1:07:12.440
<v Speaker 1>one of the things we we did lose our I

1:07:12.520 --> 1:07:16.600
<v Speaker 1>p by removing that episode from the feed is the

1:07:16.640 --> 1:07:20.560
<v Speaker 1>origin of the baldest woman in Charge. But hey, we're

1:07:20.560 --> 1:07:24.280
<v Speaker 1>bringing it back. We weren't completely you know, useless in

1:07:25.080 --> 1:07:29.360
<v Speaker 1>we were just mostly useless. Um. But but yeah, I

1:07:29.400 --> 1:07:33.640
<v Speaker 1>thought that the talking about the costume design is an

1:07:33.680 --> 1:07:37.880
<v Speaker 1>interesting discussion because I feel like I'm interested in your

1:07:37.880 --> 1:07:41.120
<v Speaker 1>opinion because I think, furiosa, that's a pretty straightforward discussion.

1:07:41.240 --> 1:07:46.280
<v Speaker 1>Like she is, I think dressed pretty appropriately for the

1:07:46.320 --> 1:07:50.040
<v Speaker 1>work that she's doing, and she's you know, she's protected.

1:07:50.160 --> 1:07:53.840
<v Speaker 1>It seems like generally like that makes sense. And then

1:07:54.440 --> 1:07:57.760
<v Speaker 1>with the with the women in gauze, they're definitely like

1:07:57.840 --> 1:08:02.720
<v Speaker 1>their bodies are there's more attention drawn to their bodies

1:08:03.360 --> 1:08:07.080
<v Speaker 1>and it so it was tricky because I remember the

1:08:07.080 --> 1:08:08.959
<v Speaker 1>first time we had this discussion, I think that maybe

1:08:09.040 --> 1:08:11.640
<v Speaker 1>we kind of oversimplified it where it was like, oh,

1:08:11.680 --> 1:08:17.839
<v Speaker 1>these hot models and they're wearing hot outfits. Yes. However,

1:08:20.240 --> 1:08:23.439
<v Speaker 1>me is more inclined to say, like, well, in story,

1:08:23.520 --> 1:08:27.679
<v Speaker 1>that does technically make sense given who was dressing them

1:08:27.760 --> 1:08:32.040
<v Speaker 1>and where they were coming from. Meaning like a Morton

1:08:32.160 --> 1:08:38.720
<v Speaker 1>Joe would have selected like the most trophyist wives to

1:08:38.760 --> 1:08:41.880
<v Speaker 1>be his trophy wives, and yes, would have put them

1:08:42.520 --> 1:08:46.280
<v Speaker 1>in these outfits. And then we also see them in

1:08:47.080 --> 1:08:51.040
<v Speaker 1>chastity belts that we see them the first thing they

1:08:51.360 --> 1:08:55.280
<v Speaker 1>do when they get any amount of liberation is used

1:08:55.400 --> 1:08:59.519
<v Speaker 1>bolt cutters to take them off, take off the chastity belts. Yeah,

1:08:59.720 --> 1:09:02.880
<v Speaker 1>so I didn't really have And then when you meet

1:09:02.960 --> 1:09:07.360
<v Speaker 1>the you say it again, the Volgolini, Volgali okay, Volvolini, Okay,

1:09:07.400 --> 1:09:09.479
<v Speaker 1>I think I've got it now. They I think, for

1:09:09.520 --> 1:09:12.080
<v Speaker 1>the most part, I mean they're basically a biker gang

1:09:12.280 --> 1:09:15.040
<v Speaker 1>and they're like weather Gang and they're doing biker gang

1:09:15.080 --> 1:09:19.240
<v Speaker 1>ship ganges, so that generally makes sense. I think the

1:09:19.320 --> 1:09:21.720
<v Speaker 1>only character you see, the character who is known as

1:09:21.800 --> 1:09:27.559
<v Speaker 1>the Valkyrie, she is nude when you first see her

1:09:27.800 --> 1:09:30.639
<v Speaker 1>question mark or she's like mostly unclad and she put

1:09:30.880 --> 1:09:34.120
<v Speaker 1>I don't know, it didn't particularly bother me. I don't know.

1:09:34.479 --> 1:09:37.160
<v Speaker 1>The only thing that really bothers me about any of

1:09:37.400 --> 1:09:42.759
<v Speaker 1>the costume design or like just kind of general character

1:09:42.800 --> 1:09:49.800
<v Speaker 1>design is how do the women in Gauze never get

1:09:50.760 --> 1:09:55.559
<v Speaker 1>dirtier than they are at the very beginning, considering they're like,

1:09:56.600 --> 1:10:01.479
<v Speaker 1>you know, tumbling through sand and marsha is and yes,

1:10:01.720 --> 1:10:06.280
<v Speaker 1>but they stay like perfectly quoft and without like smudges

1:10:06.400 --> 1:10:09.640
<v Speaker 1>on their face, and that is Yeah, I think we

1:10:09.720 --> 1:10:12.360
<v Speaker 1>talked about that in the first time, and yeah, I

1:10:13.120 --> 1:10:15.920
<v Speaker 1>agree with you. You would think that it would I mean,

1:10:16.200 --> 1:10:20.960
<v Speaker 1>continuity wise, that sounds like someone's worst nightmare. But I

1:10:21.000 --> 1:10:25.679
<v Speaker 1>think in story that would have been more appropriate, which

1:10:25.760 --> 1:10:29.040
<v Speaker 1>I guess kind of does bring me around too. There

1:10:29.040 --> 1:10:35.640
<v Speaker 1>has been some criticism of this movie on gender essentialism.

1:10:35.680 --> 1:10:39.040
<v Speaker 1>So we've discussed this on the show many many times,

1:10:39.120 --> 1:10:42.919
<v Speaker 1>but it's it is a tricky discussion as it pertains

1:10:43.040 --> 1:10:49.200
<v Speaker 1>to this movie because in a Morton Joe's hyper patriarchal

1:10:49.960 --> 1:10:55.240
<v Speaker 1>capitalist society, the way he views women are as baby

1:10:55.280 --> 1:10:59.559
<v Speaker 1>making machines when the reality is that not all women

1:11:00.080 --> 1:11:05.840
<v Speaker 1>have uteruses, have wombs, can have babies. Like the definition

1:11:05.960 --> 1:11:10.519
<v Speaker 1>of womanhood that Morton Joe's society cast them as is

1:11:10.720 --> 1:11:14.960
<v Speaker 1>extremely it's just false. And we know that everything that

1:11:15.080 --> 1:11:19.679
<v Speaker 1>Morton Joe does is deeply wrong. Where it gets confusing

1:11:19.960 --> 1:11:22.760
<v Speaker 1>for me as I it's at times hard for me

1:11:22.840 --> 1:11:26.760
<v Speaker 1>to understand what the movie believes, which I think is

1:11:26.800 --> 1:11:32.320
<v Speaker 1>like evidenced in the fact that the again, like the

1:11:32.400 --> 1:11:35.840
<v Speaker 1>characters who we are focusing on and who were rooting

1:11:35.880 --> 1:11:39.080
<v Speaker 1>for and who are brought along for the journey are

1:11:40.080 --> 1:11:45.599
<v Speaker 1>these Western beauty standard attractive people, and then everyone else

1:11:46.080 --> 1:11:49.800
<v Speaker 1>is either a villain or just gets left out of

1:11:49.840 --> 1:11:54.000
<v Speaker 1>the narrative and is only there as like world building,

1:11:55.040 --> 1:11:58.320
<v Speaker 1>set dressing. But then, but then there's a lot of

1:11:58.600 --> 1:12:01.160
<v Speaker 1>cool stuff that the movie is doing that subverts a

1:12:01.160 --> 1:12:07.080
<v Speaker 1>lot of existing archetypes and tropes. So I've i've I've

1:12:07.080 --> 1:12:10.280
<v Speaker 1>read arguments on both sides of this that. So i've

1:12:10.320 --> 1:12:13.400
<v Speaker 1>i've I've read some stuff that argues that the script

1:12:13.520 --> 1:12:18.360
<v Speaker 1>overly essentializes and defines, um, you know, is like baby

1:12:18.439 --> 1:12:22.120
<v Speaker 1>making equals only way to be woman, which we know

1:12:22.720 --> 1:12:27.240
<v Speaker 1>very well is false. But then I've also read counter

1:12:27.479 --> 1:12:32.719
<v Speaker 1>arguments to that argument that are a little more recent. Interestingly, Uh,

1:12:32.800 --> 1:12:35.280
<v Speaker 1>and this is yeah, I guess for our listeners, I'm

1:12:35.320 --> 1:12:39.680
<v Speaker 1>like kind of synthesizing this in real time. But that

1:12:40.000 --> 1:12:44.640
<v Speaker 1>argue that the movie actually does push against that essentialism

1:12:44.840 --> 1:12:51.960
<v Speaker 1>in text through the women of the Volvolini. And I

1:12:52.000 --> 1:12:56.519
<v Speaker 1>will say that Volvolini does not help that argument at all,

1:12:57.080 --> 1:12:59.960
<v Speaker 1>especially because they're like other name is the many mothers,

1:13:01.760 --> 1:13:05.240
<v Speaker 1>but also you don't see any of them as mothers,

1:13:05.280 --> 1:13:09.320
<v Speaker 1>like there they don't or it's not clear. They're kind

1:13:09.320 --> 1:13:12.639
<v Speaker 1>of like this utopian like it just seems like they

1:13:12.720 --> 1:13:17.000
<v Speaker 1>just yeah, they they function as a family, but there doesn't.

1:13:17.400 --> 1:13:19.280
<v Speaker 1>I don't know. But then the Keeper of the Seed

1:13:20.120 --> 1:13:23.720
<v Speaker 1>that like it's I don't know where I land in

1:13:23.760 --> 1:13:27.280
<v Speaker 1>this argument. However, Uh, the counter argument, just to present

1:13:27.360 --> 1:13:30.920
<v Speaker 1>it is that the women of the Wolglini, many of

1:13:30.960 --> 1:13:34.040
<v Speaker 1>whom I think most of whom are older, are not

1:13:34.479 --> 1:13:39.000
<v Speaker 1>of childbearing age. If they ever were able to bear

1:13:39.080 --> 1:13:41.560
<v Speaker 1>child we don't know right, who gives a ship U

1:13:42.000 --> 1:13:44.599
<v Speaker 1>people alone? But but I think you know, because they

1:13:44.640 --> 1:13:49.679
<v Speaker 1>are older in the eyes of Morton Joe, that makes

1:13:49.720 --> 1:13:54.200
<v Speaker 1>them not useful productive members of his society. In the

1:13:54.240 --> 1:13:57.320
<v Speaker 1>world of the movie. And to the women in Gauze,

1:13:57.320 --> 1:14:02.400
<v Speaker 1>to mad Maximilian to fear Riosa, they are very valuable

1:14:02.439 --> 1:14:05.759
<v Speaker 1>because they are valued for wisdom. They are just as capable,

1:14:05.800 --> 1:14:11.040
<v Speaker 1>if not more capable warriors, and it is very clear

1:14:11.080 --> 1:14:15.960
<v Speaker 1>in text that they are extremely important to the mission

1:14:16.040 --> 1:14:23.800
<v Speaker 1>being a success. So it's it's certainly complicated. There are

1:14:24.439 --> 1:14:29.400
<v Speaker 1>certainly ways to interpret what is presented to us differently.

1:14:30.080 --> 1:14:32.960
<v Speaker 1>I see both sides, although I tend to be of

1:14:33.040 --> 1:14:40.479
<v Speaker 1>the mind, not us being centrists. Um I And maybe

1:14:40.479 --> 1:14:45.240
<v Speaker 1>it's just because I love this movie so much that

1:14:45.520 --> 1:14:48.719
<v Speaker 1>I'm going to go to bat for it pretty hard.

1:14:48.840 --> 1:14:51.800
<v Speaker 1>But sure do I love this movie so much because

1:14:52.439 --> 1:14:56.559
<v Speaker 1>I think it's doing a lot of good things. That

1:14:57.000 --> 1:15:00.519
<v Speaker 1>is part of it. So I want to just sort

1:15:00.560 --> 1:15:05.000
<v Speaker 1>of talk about sort of just like generally speaking, here,

1:15:05.920 --> 1:15:09.400
<v Speaker 1>this movie presents a world in which you know, this

1:15:09.560 --> 1:15:14.280
<v Speaker 1>extremely toxic, tyrannical leader of a Morton Joe. He's obsessed

1:15:14.320 --> 1:15:17.720
<v Speaker 1>with war, he's obsessed with controlling people. He owns all

1:15:17.760 --> 1:15:21.439
<v Speaker 1>of the wealth. He is patriarchy, the guy, the man.

1:15:22.400 --> 1:15:28.080
<v Speaker 1>He manipulates people. He sees women as property and you know,

1:15:28.200 --> 1:15:30.880
<v Speaker 1>like you said, baby making machines, he sees his son.

1:15:31.080 --> 1:15:34.520
<v Speaker 1>I mean, I think it's also interesting how he everyone

1:15:34.840 --> 1:15:38.160
<v Speaker 1>is a means to an end. The gender nature of

1:15:38.200 --> 1:15:43.040
<v Speaker 1>how he views women is pointed and particularly brutal. But

1:15:42.640 --> 1:15:45.519
<v Speaker 1>I but I never, like, really, I don't know. I

1:15:45.520 --> 1:15:48.360
<v Speaker 1>hadn't watched this movie with Bechtel Castle in like goggles

1:15:48.360 --> 1:15:50.519
<v Speaker 1>on in a long time, but you see really early

1:15:50.560 --> 1:15:54.160
<v Speaker 1>on that like you know, mad Max is a fucking bloodbag,

1:15:54.280 --> 1:15:59.040
<v Speaker 1>like he's used for what Morton Joe thinks is valuable

1:15:59.120 --> 1:16:03.679
<v Speaker 1>about District viewing him as an object as well. Right, yes,

1:16:03.960 --> 1:16:07.879
<v Speaker 1>and all of these things are shown by the movie

1:16:07.960 --> 1:16:12.960
<v Speaker 1>as being wrong and toxic and worth fighting against. And

1:16:13.000 --> 1:16:15.160
<v Speaker 1>of course sometimes it gets a little on the nose.

1:16:15.240 --> 1:16:19.000
<v Speaker 1>It's not very subtle, but you know, the intentions are

1:16:19.520 --> 1:16:22.280
<v Speaker 1>clear what the film is trying to say and do.

1:16:22.560 --> 1:16:26.439
<v Speaker 1>And just to have an action movie that is a

1:16:26.479 --> 1:16:32.160
<v Speaker 1>critique of toxic masculinity and like hegemonic masculinity is pretty

1:16:32.160 --> 1:16:39.160
<v Speaker 1>remarkable since most action movies celebrate toxic masculinity. Yeah, so

1:16:39.680 --> 1:16:42.720
<v Speaker 1>that's kind of step one of what we're dealing with here,

1:16:43.800 --> 1:16:50.080
<v Speaker 1>because I even though so many action movies celebrate toxic masculinity,

1:16:50.320 --> 1:16:54.920
<v Speaker 1>I love the genre, but I especially love action movies

1:16:55.080 --> 1:16:58.840
<v Speaker 1>with substance and interesting world building and that have something

1:16:58.880 --> 1:17:01.720
<v Speaker 1>to say. So that's why I've really latched on to

1:17:01.880 --> 1:17:07.640
<v Speaker 1>this one. Now, Furiosa, there are different interpretations of the

1:17:07.720 --> 1:17:10.600
<v Speaker 1>kind of like Max and furious A dynamic. From a

1:17:10.720 --> 1:17:13.880
<v Speaker 1>character function point of view, I consider them to be

1:17:14.439 --> 1:17:21.680
<v Speaker 1>dual protagonists, and they share protagonists. Actually actually, um, I

1:17:21.680 --> 1:17:27.080
<v Speaker 1>would actually call maximist, and in this essay I'll talk

1:17:27.120 --> 1:17:29.680
<v Speaker 1>about why that's screwed up because it's his name in

1:17:29.680 --> 1:17:35.000
<v Speaker 1>the movie. UM. Sorry, I continue, I I agree with you. So,

1:17:35.920 --> 1:17:39.080
<v Speaker 1>just to come at this from a screenwriting point of view, um,

1:17:39.120 --> 1:17:42.320
<v Speaker 1>not that I would ever, you know, mention a master's

1:17:42.320 --> 1:17:46.240
<v Speaker 1>degree that I have in screenwriting from Boston University. Certainly

1:17:46.240 --> 1:17:49.080
<v Speaker 1>not on your birthday, no less, certainly not on my birthday.

1:17:49.400 --> 1:17:53.480
<v Speaker 1>But they share protagonist functions in the sense that Furiosa

1:17:53.680 --> 1:17:59.200
<v Speaker 1>has the stronger motivation, the more distinct goal, which is

1:17:59.240 --> 1:18:01.559
<v Speaker 1>the thing that dry it is the narrative, and the

1:18:01.640 --> 1:18:06.639
<v Speaker 1>higher stakes whereas Max has the more significant character arc.

1:18:07.320 --> 1:18:10.719
<v Speaker 1>You know, he goes from being this like borderline animal

1:18:11.680 --> 1:18:18.440
<v Speaker 1>survival boy to someone with like human empathy. Both characters

1:18:18.479 --> 1:18:22.800
<v Speaker 1>are equally active and the story is told from their

1:18:22.840 --> 1:18:26.960
<v Speaker 1>point of view in pretty equal distribution. So that's why

1:18:26.960 --> 1:18:30.800
<v Speaker 1>I contend that they are dual protagonists. Um, which means

1:18:30.840 --> 1:18:33.840
<v Speaker 1>we have one of the protagonists in the movie being

1:18:34.120 --> 1:18:38.200
<v Speaker 1>a woman, which is pretty rare for an action movie

1:18:39.160 --> 1:18:44.080
<v Speaker 1>Furious especially of course, because she is one of two

1:18:44.200 --> 1:18:48.720
<v Speaker 1>leading characters, is participating in the action and fighting. And

1:18:48.760 --> 1:18:51.120
<v Speaker 1>again that makes sense because this is an action movie

1:18:51.640 --> 1:18:54.360
<v Speaker 1>just as much as Max, more so even in the

1:18:54.400 --> 1:18:59.040
<v Speaker 1>first act, because Max is restrained and chained to a

1:18:59.080 --> 1:19:02.920
<v Speaker 1>car so he can't do anything for a while. There

1:19:02.920 --> 1:19:06.040
<v Speaker 1>are moments where she gets to take the lead because

1:19:06.040 --> 1:19:10.240
<v Speaker 1>she has more skills than him. There's that scene where

1:19:10.920 --> 1:19:13.280
<v Speaker 1>she shoots the guys on the motorcycle that are coming

1:19:13.320 --> 1:19:19.200
<v Speaker 1>after them because she has like better marksmanship, and also

1:19:19.280 --> 1:19:23.600
<v Speaker 1>she's done this before and he hasn't. Like that's established

1:19:23.600 --> 1:19:26.800
<v Speaker 1>really early on, where like she this is like not

1:19:26.920 --> 1:19:29.479
<v Speaker 1>quite a day at the office for her, but like

1:19:29.920 --> 1:19:34.160
<v Speaker 1>you know, I don't, she's more experienced and like he's

1:19:34.240 --> 1:19:38.800
<v Speaker 1>like a cop, so he in theory has like experience

1:19:39.040 --> 1:19:41.960
<v Speaker 1>shooting a gun. But like, oh no, I didn't mean

1:19:42.000 --> 1:19:44.879
<v Speaker 1>like she, but I meant like in terms of knowing

1:19:44.920 --> 1:19:50.840
<v Speaker 1>the war raging like that, Like she, yeah, like has

1:19:50.960 --> 1:19:54.280
<v Speaker 1>more not like I feel like it's presented very early

1:19:54.320 --> 1:19:58.880
<v Speaker 1>on that she has more relevant information and skills than

1:19:59.080 --> 1:20:01.639
<v Speaker 1>he does for the situation they're in. But they're both

1:20:01.720 --> 1:20:04.880
<v Speaker 1>very skilled, right right, right, okay, yes, yes, um right,

1:20:04.920 --> 1:20:07.799
<v Speaker 1>and she just like has power over him in knowing

1:20:08.360 --> 1:20:13.160
<v Speaker 1>the like code, the Da Vinci code, the unlocks, the

1:20:13.240 --> 1:20:16.479
<v Speaker 1>killed switches or whatever. Do you remember that famous scene

1:20:16.600 --> 1:20:20.599
<v Speaker 1>or furious Selene's over to Mad Max and she says apple,

1:20:22.160 --> 1:20:24.760
<v Speaker 1>and then he goes, oh, my name's Max, so I

1:20:24.920 --> 1:20:29.720
<v Speaker 1>have it in She's like he has to tell She's like,

1:20:30.080 --> 1:20:34.280
<v Speaker 1>here's how to disable to kill switches. It's a p

1:20:34.280 --> 1:20:38.760
<v Speaker 1>p L E. And then he goes, wow, I can't

1:20:38.760 --> 1:20:44.080
<v Speaker 1>believe I read six hundre pages to get to this. So,

1:20:45.120 --> 1:20:47.160
<v Speaker 1>uh yeah, And it's just I mean, just the fact

1:20:47.160 --> 1:20:50.839
<v Speaker 1>that she is driving the war rig for a large

1:20:51.000 --> 1:20:53.639
<v Speaker 1>chunk of the movie. I hate that that is such

1:20:53.680 --> 1:20:55.720
<v Speaker 1>a big deal. But it's a big deal. That's a

1:20:55.760 --> 1:20:59.160
<v Speaker 1>big deal. One of the best hand to hand combat

1:20:59.320 --> 1:21:02.519
<v Speaker 1>fight scenes in an action movie that I've ever seen

1:21:03.280 --> 1:21:07.040
<v Speaker 1>is that early one between Furios and Max. We have

1:21:07.200 --> 1:21:09.879
<v Speaker 1>a man and a woman fighting, which, as we've discussed

1:21:09.880 --> 1:21:13.240
<v Speaker 1>on the show, does not happen often. We've discussed how

1:21:13.479 --> 1:21:16.759
<v Speaker 1>in a lot of action movies where like the rarer

1:21:16.760 --> 1:21:19.360
<v Speaker 1>cases where a woman is allowed to participate in the action,

1:21:19.960 --> 1:21:24.920
<v Speaker 1>she is often fighting other women. So to see this

1:21:25.040 --> 1:21:30.960
<v Speaker 1>like very equally balanced fight between a man and a

1:21:31.000 --> 1:21:35.200
<v Speaker 1>woman where they are both extremely capable, is again shouldn't

1:21:35.240 --> 1:21:38.000
<v Speaker 1>be groundbreaking, but I'm like, oh my gosh, this is

1:21:38.080 --> 1:21:41.559
<v Speaker 1>so cool to see. It's wild. And uh. Something else

1:21:41.600 --> 1:21:44.720
<v Speaker 1>that I liked about this fight that felt a little

1:21:44.800 --> 1:21:47.760
<v Speaker 1>unusual watching it this time around was I feel like

1:21:47.760 --> 1:21:54.479
<v Speaker 1>you rarely see a male action protagonist fight because they're

1:21:54.600 --> 1:22:00.400
<v Speaker 1>very obviously scared. Like Max is really scared in that scene,

1:22:00.479 --> 1:22:05.519
<v Speaker 1>and like, I like, he's behaving brutally, but it's I

1:22:05.520 --> 1:22:09.160
<v Speaker 1>I feel like, you know, a slight tip of that

1:22:09.479 --> 1:22:13.639
<v Speaker 1>whatever to Tom Hardy, Like you can tell that it's

1:22:13.680 --> 1:22:17.160
<v Speaker 1>like he's not doing the like hyper masculine action starting

1:22:17.240 --> 1:22:21.240
<v Speaker 1>He's afraid and that is why he's fighting, And i'e

1:22:21.240 --> 1:22:23.800
<v Speaker 1>like you don't. That's just not something you get from

1:22:23.840 --> 1:22:27.360
<v Speaker 1>a male action hero very often. True. I'm about to

1:22:27.400 --> 1:22:30.200
<v Speaker 1>go into a bunch of ways in which the female

1:22:30.240 --> 1:22:34.839
<v Speaker 1>characters in this movie subvert a lot of action movie tropes.

1:22:35.080 --> 1:22:38.000
<v Speaker 1>But there's a lot of stuff also that's subverted about

1:22:38.040 --> 1:22:42.160
<v Speaker 1>Max's character. Like, I mean, he's, like what you said,

1:22:42.360 --> 1:22:47.000
<v Speaker 1>he's got PTSD that really strongly affects him, And I mean,

1:22:47.040 --> 1:22:50.160
<v Speaker 1>I guess that that's not unheard of in this genre,

1:22:50.280 --> 1:22:54.880
<v Speaker 1>but to have it presented as something as scary and

1:22:55.120 --> 1:22:59.800
<v Speaker 1>debilitating as it is to him, I feel like, is unusual.

1:23:00.000 --> 1:23:05.559
<v Speaker 1>I think, I think so. I think also that again,

1:23:05.640 --> 1:23:08.519
<v Speaker 1>him being kind of like incapacitated for the first act

1:23:08.600 --> 1:23:12.080
<v Speaker 1>of the movie and not being allowed or able to

1:23:12.120 --> 1:23:15.920
<v Speaker 1>participate in the fighting and action is a subversion. I

1:23:15.960 --> 1:23:23.280
<v Speaker 1>think that his arc being that he learns empathy is

1:23:23.560 --> 1:23:28.160
<v Speaker 1>a very interesting arc for a male action hero. I

1:23:28.160 --> 1:23:31.080
<v Speaker 1>don't know, just like a lot of fascinating things to me,

1:23:31.320 --> 1:23:34.240
<v Speaker 1>But not as interesting as furious a baby, not as

1:23:34.240 --> 1:23:37.519
<v Speaker 1>interesting as Furiosa. So back to that hand to hand

1:23:38.080 --> 1:23:42.000
<v Speaker 1>combat fight between Max and Furiosa. Also during that fight,

1:23:42.800 --> 1:23:47.599
<v Speaker 1>the women in Gauze, though not trained warriors, at all,

1:23:47.680 --> 1:23:51.120
<v Speaker 1>they are still participating in the action. For example, one

1:23:51.160 --> 1:23:54.320
<v Speaker 1>of them tosses a weapon to Furiosa for her to

1:23:54.400 --> 1:23:57.880
<v Speaker 1>use against Max. At different points they kind of rally

1:23:57.960 --> 1:24:04.400
<v Speaker 1>together to either pull acts or nuts away from Furiosa. Um.

1:24:04.439 --> 1:24:06.360
<v Speaker 1>There are other moments throughout the rest of the story

1:24:06.520 --> 1:24:10.080
<v Speaker 1>where they the Kravitz does know how to shoot again.

1:24:10.320 --> 1:24:14.080
<v Speaker 1>For yes, you know, like someone that she knows. Yeah,

1:24:14.080 --> 1:24:17.120
<v Speaker 1>she knows how to like load reload a weapon. She

1:24:17.160 --> 1:24:20.519
<v Speaker 1>knows how to Like she knows. And this doesn't like

1:24:21.000 --> 1:24:24.200
<v Speaker 1>seem that impressive. But also like if someone's like, here's

1:24:24.200 --> 1:24:26.200
<v Speaker 1>a pile of a bunch of different bullets, here's a

1:24:26.200 --> 1:24:28.799
<v Speaker 1>pile of a bunch of different guns. Match the guns

1:24:28.800 --> 1:24:32.800
<v Speaker 1>to the bullets. I can't. I wouldn't know where to begin. Yeah,

1:24:33.280 --> 1:24:38.559
<v Speaker 1>no fucking clue there. It's it's like it's cool like there,

1:24:38.600 --> 1:24:41.080
<v Speaker 1>and I forget how we view this. View this the

1:24:41.080 --> 1:24:43.479
<v Speaker 1>first time around, but watching it back, you're like, oh,

1:24:43.600 --> 1:24:47.240
<v Speaker 1>this is like having the women in Gauze. I feel like,

1:24:47.439 --> 1:24:52.960
<v Speaker 1>in a less capable team's hands could either have gone

1:24:53.280 --> 1:24:59.679
<v Speaker 1>super merry Sue or completely sidelined those characters in the action.

1:24:59.760 --> 1:25:02.360
<v Speaker 1>But I feel like the action you get from them

1:25:02.600 --> 1:25:07.760
<v Speaker 1>is significant. It's narratively impactful, and it's not like ridiculous,

1:25:07.800 --> 1:25:11.280
<v Speaker 1>like they're a fucking swat team, because like that wouldn't

1:25:11.280 --> 1:25:14.720
<v Speaker 1>make sense with their lived experience, right, it tracks with

1:25:14.920 --> 1:25:19.439
<v Speaker 1>their background. They are able to do things like use

1:25:19.720 --> 1:25:25.880
<v Speaker 1>bolt cutters, they create diversions to help them escape dangerous situations.

1:25:25.880 --> 1:25:29.680
<v Speaker 1>You know, it's just like they are given opportunities to

1:25:29.800 --> 1:25:33.000
<v Speaker 1>be able to do things that impact the story in

1:25:33.040 --> 1:25:36.760
<v Speaker 1>ways that other action movies don't afford those opportunities to

1:25:36.800 --> 1:25:42.760
<v Speaker 1>women usually. And then, like we've mentioned the team up

1:25:42.840 --> 1:25:47.320
<v Speaker 1>with the Wovelini, the Many Mothers, and you know what

1:25:47.439 --> 1:25:50.680
<v Speaker 1>it's reminding me of. It's reminding me of the VOLTUREI

1:25:51.040 --> 1:25:55.400
<v Speaker 1>from fucking Twilight. Oh my gosh, the Italian vampire team.

1:25:55.520 --> 1:25:58.160
<v Speaker 1>I was like, I was like, it sounds like Vagina pasta,

1:25:58.240 --> 1:26:00.439
<v Speaker 1>but it also sounds like something else. It sounds like

1:26:00.439 --> 1:26:03.839
<v Speaker 1>the Vulture led by I believed the code of Fanning.

1:26:04.240 --> 1:26:09.080
<v Speaker 1>That sounds right, memory serves anyways, Sorry, that was that

1:26:09.160 --> 1:26:12.000
<v Speaker 1>was bugging me. Now now I remember. I'm glad we

1:26:12.280 --> 1:26:15.599
<v Speaker 1>I'm glad we worked through that. So they meet up

1:26:15.640 --> 1:26:20.000
<v Speaker 1>with the Wovelini and like the number of female characters

1:26:20.160 --> 1:26:22.960
<v Speaker 1>doubles or maybe even more than doubles, and then it's

1:26:23.000 --> 1:26:26.559
<v Speaker 1>like they're all trained warriors in a way that makes

1:26:26.600 --> 1:26:30.200
<v Speaker 1>total sense. Right, there's a lot of cool stuff happening there.

1:26:30.439 --> 1:26:35.599
<v Speaker 1>And then more specifically, so I would recommend a video

1:26:35.880 --> 1:26:39.880
<v Speaker 1>essay series from Innuendo Studios that was written and narrated

1:26:39.920 --> 1:26:45.599
<v Speaker 1>by Ian Danskin, who is a cisman but he does

1:26:45.760 --> 1:26:49.959
<v Speaker 1>make a lot of points that I agree with and

1:26:49.960 --> 1:26:51.880
<v Speaker 1>and and brings a lot of insights. He does say

1:26:51.960 --> 1:26:55.200
<v Speaker 1>due to ragamus quite though he does, and I will

1:26:55.240 --> 1:26:59.480
<v Speaker 1>forgive him for that. Yeah, it's a good series. The

1:26:59.560 --> 1:27:03.760
<v Speaker 1>videos series is called Bringing Back What's Stolen, Fury Road

1:27:03.840 --> 1:27:07.439
<v Speaker 1>and the Avenging Feminine. So this video series has a

1:27:07.439 --> 1:27:10.679
<v Speaker 1>lot of insight about how female characters in Fury Road

1:27:10.920 --> 1:27:16.680
<v Speaker 1>compare to female characters in other action movies. Or he

1:27:16.760 --> 1:27:19.880
<v Speaker 1>keeps calling them violent movies because he also introduces some

1:27:20.000 --> 1:27:24.320
<v Speaker 1>examples from like horror slasher movies. UM, So if you're

1:27:24.360 --> 1:27:27.479
<v Speaker 1>just kind of like using the umbrella of violent movies. Um,

1:27:27.520 --> 1:27:32.240
<v Speaker 1>A lot of tropes and archetypes have emerged over the

1:27:32.360 --> 1:27:37.519
<v Speaker 1>years that Fury Road tends to avoid. So I'll just

1:27:37.640 --> 1:27:41.760
<v Speaker 1>kind of quickly go through this. I recommend watching the

1:27:41.800 --> 1:27:44.719
<v Speaker 1>whole series, but it pointed out a lot of things

1:27:44.760 --> 1:27:50.200
<v Speaker 1>that I wasn't really able to articulate very clearly. So yeah,

1:27:50.240 --> 1:27:53.240
<v Speaker 1>it's very very streamlined. It's it's really good. So. One

1:27:53.280 --> 1:27:57.360
<v Speaker 1>of the archetypes of female characters in action slash violent

1:27:57.479 --> 1:28:01.639
<v Speaker 1>movies is the innocent um based sally when a woman

1:28:01.760 --> 1:28:08.120
<v Speaker 1>is captured, damseled, brutalized to provide steaks for the male hero.

1:28:08.880 --> 1:28:11.320
<v Speaker 1>We talk about this all the time. It often takes

1:28:11.360 --> 1:28:15.080
<v Speaker 1>the form of a woman being captured and damseled and

1:28:15.360 --> 1:28:19.479
<v Speaker 1>needing to be saved by a man. Obviously, Furiosa doesn't

1:28:19.479 --> 1:28:23.240
<v Speaker 1>fall into this archetype, and neither do the wives because

1:28:23.280 --> 1:28:26.599
<v Speaker 1>even though Furiosa is taking them away from a Morton

1:28:26.680 --> 1:28:30.360
<v Speaker 1>Joe to safety, as we've discussed, they're not helpless. They

1:28:30.360 --> 1:28:33.200
<v Speaker 1>are participating in the action. Yeah, and it was also

1:28:33.320 --> 1:28:36.599
<v Speaker 1>like I thought it was a smart, subtle choice that

1:28:36.960 --> 1:28:39.680
<v Speaker 1>it was their idea for it to happen in the

1:28:39.720 --> 1:28:43.160
<v Speaker 1>first place, Like they weren't just like doi I want,

1:28:43.280 --> 1:28:46.360
<v Speaker 1>Like they were highly motivated to get out of their situation,

1:28:46.439 --> 1:28:49.960
<v Speaker 1>and they sought out someone who could help them, like huge,

1:28:50.120 --> 1:28:54.800
<v Speaker 1>like literally graffiting on their walls the reasons saying like

1:28:55.280 --> 1:28:58.840
<v Speaker 1>our babies will not be war lords. We are not

1:28:59.120 --> 1:29:03.920
<v Speaker 1>things that whole I mean, And that's there's some I

1:29:03.960 --> 1:29:07.200
<v Speaker 1>think that some of the issues we've discussed as it

1:29:07.240 --> 1:29:10.519
<v Speaker 1>pertains to like gender, I feel like part of it

1:29:10.560 --> 1:29:13.640
<v Speaker 1>is because there is that really strong like seizing the

1:29:13.720 --> 1:29:18.880
<v Speaker 1>means of production energy to this movie, Like where for

1:29:19.120 --> 1:29:22.040
<v Speaker 1>the majority of like the characters in this movie, the

1:29:22.120 --> 1:29:26.200
<v Speaker 1>means of production is like reclaiming your own body, which

1:29:26.280 --> 1:29:29.160
<v Speaker 1>is like you know, by liberating themselves from a morton

1:29:29.240 --> 1:29:33.800
<v Speaker 1>Joe and refusing to have his children like that is

1:29:34.360 --> 1:29:37.839
<v Speaker 1>their means of production. Same thing goes for like Max,

1:29:37.920 --> 1:29:40.080
<v Speaker 1>Like the difference between Max being used as a blood

1:29:40.320 --> 1:29:43.680
<v Speaker 1>bag for Nicholas Holt and Max giving his blood to

1:29:43.800 --> 1:29:46.360
<v Speaker 1>Furious at the end is like he sees the means

1:29:46.360 --> 1:29:48.000
<v Speaker 1>of his own production. It's the same thing, but the

1:29:48.040 --> 1:29:55.920
<v Speaker 1>context is uh. Anyways, The next archetype that this video

1:29:56.320 --> 1:30:00.960
<v Speaker 1>series identifies is they call it the Vasquez named after

1:30:01.000 --> 1:30:05.080
<v Speaker 1>the character Vasquez in Aliens. Listened to that episode for

1:30:05.120 --> 1:30:10.400
<v Speaker 1>our discussion on that character specifically. There's a lot going on,

1:30:11.000 --> 1:30:15.280
<v Speaker 1>but it's the female action movie archetype where the woman

1:30:15.640 --> 1:30:20.320
<v Speaker 1>is one of the guys and ends up embodying traits

1:30:20.360 --> 1:30:25.200
<v Speaker 1>of toxic masculinity, which is again subverted in this movie

1:30:25.479 --> 1:30:31.480
<v Speaker 1>because Fury Road explores a more nuanced and less binary

1:30:31.640 --> 1:30:37.599
<v Speaker 1>spectrum of gender, of masculinity and femininity. That one, I mean,

1:30:37.640 --> 1:30:41.160
<v Speaker 1>that was wild in that particular video section, with that

1:30:41.320 --> 1:30:44.720
<v Speaker 1>super cut of all the different women protagonists that have

1:30:44.760 --> 1:30:49.040
<v Speaker 1>said suck my dick. Different You're like, oh, yeah, I

1:30:49.080 --> 1:30:51.600
<v Speaker 1>guess that that is a that is a thing that

1:30:51.680 --> 1:30:55.080
<v Speaker 1>happens quite a bit, uh, in a certain era of

1:30:55.400 --> 1:30:59.040
<v Speaker 1>but also like still kind of now anyway sometimes Yeah.

1:30:59.320 --> 1:31:04.360
<v Speaker 1>One of these archetypes has been dubbed the dominatrix. Uh.

1:31:04.400 --> 1:31:10.439
<v Speaker 1>This is the highly violent and also highly sexualized female character.

1:31:10.680 --> 1:31:14.439
<v Speaker 1>She is often the villain or anti hero. Old school

1:31:14.479 --> 1:31:18.280
<v Speaker 1>Catwoman's stuff exactly like leans into the hyper sexualization of

1:31:18.360 --> 1:31:24.240
<v Speaker 1>women's bodies. I maintain that even though we see, especially

1:31:24.280 --> 1:31:30.240
<v Speaker 1>the women in Gauze, they are arguably kind of scantily clad,

1:31:31.400 --> 1:31:36.920
<v Speaker 1>they're not sexualized in an exploitative way. I would agree

1:31:36.960 --> 1:31:39.120
<v Speaker 1>with that. You could you could make an argument against that,

1:31:39.160 --> 1:31:42.479
<v Speaker 1>and I and I would listen and probably agree with

1:31:42.960 --> 1:31:45.120
<v Speaker 1>some of it. But I think that there is an art.

1:31:45.200 --> 1:31:47.920
<v Speaker 1>There's definitely an argument for it, but it just it's

1:31:47.920 --> 1:31:50.559
<v Speaker 1>hard to describe. It doesn't feel like the movie is

1:31:51.200 --> 1:31:55.920
<v Speaker 1>trying to titilate with shots of their body. I always

1:31:55.920 --> 1:31:59.080
<v Speaker 1>think of the shot of like pregnant Rosie Huntington Whiteley

1:31:59.160 --> 1:32:01.719
<v Speaker 1>and the Hose where you're like a still of that.

1:32:02.080 --> 1:32:04.880
<v Speaker 1>I could see the argument, but presented in context, I

1:32:04.920 --> 1:32:07.200
<v Speaker 1>didn't feel like it was supposed to be a titilating

1:32:07.640 --> 1:32:12.599
<v Speaker 1>shot right right. The video essay points out that most

1:32:12.640 --> 1:32:18.439
<v Speaker 1>other action movie directors would frame that scene in question,

1:32:18.479 --> 1:32:21.240
<v Speaker 1>which is the one where Max comes upon the war

1:32:21.320 --> 1:32:25.800
<v Speaker 1>rig for the first time when it's like cartoon wolf.

1:32:27.800 --> 1:32:30.400
<v Speaker 1>And then it would because they're like posing each other

1:32:30.479 --> 1:32:33.439
<v Speaker 1>down there, like cleaning off after this first big chase.

1:32:34.000 --> 1:32:37.040
<v Speaker 1>They are drinking water, you know, all this stuff. That's

1:32:37.080 --> 1:32:39.280
<v Speaker 1>when they say so fresh face. Throughout the movie, they

1:32:39.760 --> 1:32:45.160
<v Speaker 1>occasionally rents off they're taking baths. That's true. Um. The

1:32:45.240 --> 1:32:48.120
<v Speaker 1>video essay points out that like most other directors, and

1:32:48.120 --> 1:32:51.080
<v Speaker 1>I'm especially thinking of like how Michael Bay would shoot this,

1:32:51.160 --> 1:32:53.280
<v Speaker 1>but they would like shoot that scene like a wet

1:32:53.320 --> 1:32:58.640
<v Speaker 1>T shirt contest. But this scene is mostly like the

1:32:58.720 --> 1:33:02.680
<v Speaker 1>women at a far distance or like tight shots of

1:33:02.720 --> 1:33:07.880
<v Speaker 1>their face in a way that we're not seeing like disembodied,

1:33:08.080 --> 1:33:12.720
<v Speaker 1>you know, like breasts and asses and stuff like that. Yeah,

1:33:12.920 --> 1:33:18.400
<v Speaker 1>so uh that's another subversion um. The next action movie

1:33:18.600 --> 1:33:23.240
<v Speaker 1>archetype is the Mama Bear, which is typically a pretty

1:33:23.240 --> 1:33:27.080
<v Speaker 1>feminine woman who will become violent in order to protect

1:33:27.120 --> 1:33:31.439
<v Speaker 1>her children. Think like Ripley and Aliens. Thanks Gina Davis's

1:33:31.560 --> 1:33:34.920
<v Speaker 1>character in The Long Kiss Goodnight, Um, I can't, I

1:33:34.920 --> 1:33:39.640
<v Speaker 1>haven't seen it. Okay, then don't think about it. The

1:33:39.720 --> 1:33:43.960
<v Speaker 1>video essay goes into detail about how Fury Road subverts

1:33:44.000 --> 1:33:46.559
<v Speaker 1>this and that even though there is the idea of

1:33:46.600 --> 1:33:51.439
<v Speaker 1>like motherhood presented in that, like the way, we're more

1:33:51.560 --> 1:33:56.120
<v Speaker 1>rooted in our refusal to uh like right, yeah, it's

1:33:56.160 --> 1:34:00.120
<v Speaker 1>it's it's more rooted in I mean and full disclosure,

1:34:00.120 --> 1:34:03.160
<v Speaker 1>we are we're recording as in a big week for

1:34:03.439 --> 1:34:08.760
<v Speaker 1>bodily autonomy talk. But it is like the most one

1:34:08.800 --> 1:34:12.360
<v Speaker 1>of the most dystopian examples of trying to regain your

1:34:12.439 --> 1:34:18.320
<v Speaker 1>bodily autonomy by refusing to have a child that you

1:34:18.720 --> 1:34:23.360
<v Speaker 1>don't want that was a product of assault. Like period. Yeah, yes,

1:34:24.200 --> 1:34:27.160
<v Speaker 1>bad week, bad week, that's a really bad week. The

1:34:27.200 --> 1:34:30.840
<v Speaker 1>next archetype um being the final girl. This is already

1:34:30.840 --> 1:34:35.639
<v Speaker 1>a familiar thing, most common in horror slash slasher movies.

1:34:36.120 --> 1:34:39.720
<v Speaker 1>This video essay examines how kind of the idea of

1:34:40.240 --> 1:34:45.559
<v Speaker 1>specialness and being quote not like the other girls is

1:34:45.720 --> 1:34:50.320
<v Speaker 1>the thing that enables the final girl to survive, where

1:34:50.640 --> 1:34:54.960
<v Speaker 1>in this movie, Fury Road subverts this by not presenting

1:34:55.000 --> 1:35:01.120
<v Speaker 1>anyone as like more deserving or more special than anyone else.

1:35:01.240 --> 1:35:06.559
<v Speaker 1>Although see my point again about the trophy wives being

1:35:07.080 --> 1:35:13.120
<v Speaker 1>rescued but not the women who are being milked. Yeah,

1:35:13.200 --> 1:35:16.160
<v Speaker 1>I don't think that that's universally true, but of the

1:35:16.240 --> 1:35:20.400
<v Speaker 1>characters we know we are, that's generally true. And I

1:35:20.439 --> 1:35:23.680
<v Speaker 1>also thought it was like, uh, just a choice that

1:35:23.840 --> 1:35:26.840
<v Speaker 1>made sense in the genre. That I mean, none of

1:35:26.840 --> 1:35:28.880
<v Speaker 1>the none of the we don't lose the women in gods,

1:35:28.960 --> 1:35:35.840
<v Speaker 1>but there are a few of the vulture the vampires, yes,

1:35:36.040 --> 1:35:41.400
<v Speaker 1>the Italian vampires that do die in in battle, and uh,

1:35:41.439 --> 1:35:45.400
<v Speaker 1>and there's also plenty of war boys who die in battle. Certainly,

1:35:46.000 --> 1:35:48.559
<v Speaker 1>I don't think that, I mean, we haven't really brought

1:35:48.600 --> 1:35:51.160
<v Speaker 1>up nuts too much. There's not too much to talk

1:35:51.200 --> 1:35:53.240
<v Speaker 1>about there. But I do think that it's interesting that

1:35:53.280 --> 1:35:58.719
<v Speaker 1>he ties into this theme of redemption that the movie

1:35:58.840 --> 1:36:02.160
<v Speaker 1>has that it would be it would have been very,

1:36:02.280 --> 1:36:05.840
<v Speaker 1>very easy for them to just kill him, and they

1:36:05.880 --> 1:36:08.800
<v Speaker 1>consider it, like the Furiosa has a knife to his

1:36:08.880 --> 1:36:13.240
<v Speaker 1>throat at one point. Yeah, but but after the women

1:36:13.280 --> 1:36:15.519
<v Speaker 1>in Gauze sort of talk it out a little bit

1:36:15.520 --> 1:36:19.519
<v Speaker 1>and Furiosa weighs in that they I think it's Rosie

1:36:19.600 --> 1:36:24.280
<v Speaker 1>Huntington Whitely who who ultimately says like, basically, this is

1:36:24.400 --> 1:36:29.360
<v Speaker 1>a kid who's been indoctrinated into this fucking horrible place

1:36:29.439 --> 1:36:34.439
<v Speaker 1>and sort of suggests that killing him is not the

1:36:34.479 --> 1:36:37.559
<v Speaker 1>way to go, which ends up serving the story. And

1:36:37.600 --> 1:36:42.680
<v Speaker 1>I like that this movie is, you know, there's like

1:36:42.720 --> 1:36:46.120
<v Speaker 1>the whatever restorative justice is at play for a lot

1:36:46.160 --> 1:36:48.880
<v Speaker 1>of it because even though Nuxt still dies, he like

1:36:49.240 --> 1:36:52.120
<v Speaker 1>is redeemed by and and in a way that isn't

1:36:52.160 --> 1:36:55.960
<v Speaker 1>like an annoying movie redemption. It's not like Adam Drivers

1:36:55.960 --> 1:37:00.919
<v Speaker 1>Star Wars Redemption. You know, it's it's like it's efficient.

1:37:01.040 --> 1:37:04.640
<v Speaker 1>You know that he has been indoctrinated. He makes an

1:37:04.640 --> 1:37:07.720
<v Speaker 1>emotional connection with one of the women in Gas, the

1:37:07.840 --> 1:37:11.320
<v Speaker 1>Riley Kio character, who I mean, it just sounds like

1:37:11.360 --> 1:37:16.200
<v Speaker 1>he's basically shown mercy and like empathy as opposed to

1:37:16.840 --> 1:37:20.040
<v Speaker 1>gas lighting and a fucking spray cand of the face

1:37:20.760 --> 1:37:23.320
<v Speaker 1>for the first time in his life. You could argue

1:37:23.400 --> 1:37:27.400
<v Speaker 1>that having only women display those qualities is pointed, but

1:37:27.720 --> 1:37:31.679
<v Speaker 1>I thought it worked in the movie. But that's also

1:37:31.720 --> 1:37:35.400
<v Speaker 1>an interesting arc for him to have to where like

1:37:35.800 --> 1:37:39.160
<v Speaker 1>he starts out as being, you know, this product of

1:37:39.400 --> 1:37:45.919
<v Speaker 1>his environment of being like extremely radicalized in this very toxic,

1:37:46.040 --> 1:37:52.040
<v Speaker 1>warmongering way, and then as soon as one person shows

1:37:52.120 --> 1:37:56.479
<v Speaker 1>him any amount of empathy and patience, riley Ko literally

1:37:56.520 --> 1:38:03.799
<v Speaker 1>says like, oh that sucks, and he's like it blows

1:38:03.880 --> 1:38:06.360
<v Speaker 1>his mind. He's like, wait, someone is it yelling at

1:38:06.360 --> 1:38:11.360
<v Speaker 1>me and calling me mediocre? Don't call Nicholas whole mediocre,

1:38:13.520 --> 1:38:17.439
<v Speaker 1>but yeah, Like his arc revolving around, similar to Max

1:38:17.600 --> 1:38:23.040
<v Speaker 1>is like being responsive to empathy, yeah, or like having

1:38:23.479 --> 1:38:29.800
<v Speaker 1>a healthier relationship with empathy. Is both of what the

1:38:29.880 --> 1:38:35.040
<v Speaker 1>main male characters arcs revolve around, which is I think

1:38:35.080 --> 1:38:40.760
<v Speaker 1>really interesting and cool. Um I agree. The final archetype,

1:38:41.320 --> 1:38:47.320
<v Speaker 1>as discussed in this video essay, is the rape revenger,

1:38:47.680 --> 1:38:53.519
<v Speaker 1>which again deals more commonly with like rape revenge horror movies,

1:38:54.439 --> 1:38:58.559
<v Speaker 1>but based on the context of and like backstory of

1:38:58.920 --> 1:39:04.040
<v Speaker 1>the women in Gauze it's applicable here where the general

1:39:04.160 --> 1:39:09.360
<v Speaker 1>trope slash archetype presents women in a usually very exploitative

1:39:09.360 --> 1:39:14.200
<v Speaker 1>way that kind of revels in the physical and or

1:39:14.280 --> 1:39:19.519
<v Speaker 1>sexual violence that happens towards the women in these stories

1:39:19.640 --> 1:39:24.240
<v Speaker 1>and revels in their suffering, whereas Fury Road opts not

1:39:24.360 --> 1:39:28.240
<v Speaker 1>to show any of this exploitative violence and suffering. We

1:39:28.360 --> 1:39:31.800
<v Speaker 1>understood that it has happened to them, but any of

1:39:31.840 --> 1:39:35.960
<v Speaker 1>the violence toward women in the movie is just the

1:39:36.000 --> 1:39:40.840
<v Speaker 1>women actively engaging in battle as warriors and not that

1:39:40.920 --> 1:39:46.559
<v Speaker 1>kind of like exploitative violence towards women. And the video

1:39:47.240 --> 1:39:50.479
<v Speaker 1>ends with a proposal of like a new and like

1:39:50.520 --> 1:39:55.400
<v Speaker 1>a new future archetype that Furiosa falls into, which is

1:39:55.560 --> 1:39:59.200
<v Speaker 1>called the avenging feminine, in which, uh, you know, a

1:39:59.280 --> 1:40:02.800
<v Speaker 1>woman takes what is hers, she fights because it's her

1:40:02.880 --> 1:40:06.360
<v Speaker 1>right to fight against men who tell her it's not

1:40:06.439 --> 1:40:10.240
<v Speaker 1>her right, among other traits. Um I found the whole

1:40:10.240 --> 1:40:14.920
<v Speaker 1>thing really insightful. I don't necessarily drive with every single moment,

1:40:15.160 --> 1:40:19.280
<v Speaker 1>but um I found it generally it really cool. Yeah,

1:40:19.320 --> 1:40:21.880
<v Speaker 1>we'll link it um if anyone wants to check it out.

1:40:21.960 --> 1:40:26.599
<v Speaker 1>But it helped me because like it identified action movie

1:40:26.840 --> 1:40:31.280
<v Speaker 1>tropes that are ascribed to female characters that I just

1:40:31.320 --> 1:40:34.760
<v Speaker 1>like didn't have like the vocabulary for and stuff. So yeah,

1:40:34.760 --> 1:40:36.799
<v Speaker 1>I just I found it really helpful, and I agree

1:40:36.840 --> 1:40:40.480
<v Speaker 1>with most of the analysis of how Fury Road subverts

1:40:40.640 --> 1:40:46.479
<v Speaker 1>those archetypes. So it's true. That's my little piece about that,

1:40:46.840 --> 1:40:51.360
<v Speaker 1>and I think all of it is very cool and

1:40:51.400 --> 1:40:54.679
<v Speaker 1>again largely why I love this movie so much. It's perfect.

1:40:54.840 --> 1:41:01.280
<v Speaker 1>I'm I'm rictus erectus just here in it, uh, And

1:41:01.360 --> 1:41:06.799
<v Speaker 1>that's my little contribution. Thank you. What a wonderful birthday

1:41:06.800 --> 1:41:13.040
<v Speaker 1>gift the birthday. Yeah, I mean, Furious it is just

1:41:13.080 --> 1:41:16.200
<v Speaker 1>like a fucking awesome character for for all the reasons

1:41:16.200 --> 1:41:19.439
<v Speaker 1>you describe. And also I mean just a very I

1:41:19.479 --> 1:41:21.920
<v Speaker 1>feel like it's fun to see a character of any

1:41:22.160 --> 1:41:27.559
<v Speaker 1>gender kind of arrive fully formed, like when you meet

1:41:27.720 --> 1:41:30.559
<v Speaker 1>Furious that she's highly motivated. She's one of the only

1:41:30.640 --> 1:41:33.559
<v Speaker 1>characters that we meet who already has a vested interest

1:41:33.640 --> 1:41:35.680
<v Speaker 1>in people who are not just herself. It's kind of

1:41:35.680 --> 1:41:39.120
<v Speaker 1>her and the women and gods who care about each other. Um,

1:41:39.200 --> 1:41:42.240
<v Speaker 1>and that that isn't because I feel like sometimes empathy

1:41:42.520 --> 1:41:45.880
<v Speaker 1>and this isn't like the worst trope in the entire world.

1:41:45.920 --> 1:41:49.560
<v Speaker 1>But it is a trope where empathy and emotional intelligence

1:41:49.680 --> 1:41:53.479
<v Speaker 1>is more often attributed to women characters. It's not a

1:41:53.520 --> 1:41:57.880
<v Speaker 1>trope that comes from nowhere, I would say, uh, but

1:41:57.880 --> 1:42:00.120
<v Speaker 1>but it is a common trope, and I think sometimes

1:42:00.120 --> 1:42:03.000
<v Speaker 1>in movies it's applied rather sloppily, where it's like women's

1:42:03.000 --> 1:42:06.760
<v Speaker 1>intuition and ship like that. Sure, but with Furiosa, I mean,

1:42:06.920 --> 1:42:11.240
<v Speaker 1>you get explicit context as to why she has a

1:42:11.320 --> 1:42:15.160
<v Speaker 1>collective mindset and because that's how she was raised. She

1:42:15.280 --> 1:42:19.760
<v Speaker 1>was raised in a feminist utopia that prioritized the collectives,

1:42:19.840 --> 1:42:24.479
<v Speaker 1>so the fact that she retains those values as an

1:42:24.520 --> 1:42:29.200
<v Speaker 1>adult makes total sense. But also there are moments where

1:42:29.240 --> 1:42:32.240
<v Speaker 1>she does not display empathy, like the part where she's

1:42:32.280 --> 1:42:36.160
<v Speaker 1>about to kill nuts. Uh. There's there's the part where

1:42:36.160 --> 1:42:40.200
<v Speaker 1>she's like Rosie rolled off the war rig. We gotta

1:42:40.280 --> 1:42:43.120
<v Speaker 1>keep going baby, we gotta keep going right, which is like,

1:42:43.200 --> 1:42:47.920
<v Speaker 1>that's just pragmatic ship. Unfortunately for Rosie. Glad she made

1:42:47.920 --> 1:42:51.439
<v Speaker 1>it exactly. But it's something so I've talked about this

1:42:51.439 --> 1:42:55.040
<v Speaker 1>on the show before, but something that drives me absolutely

1:42:55.600 --> 1:42:59.960
<v Speaker 1>wild about horror movies especially, and it's usually like the

1:43:00.040 --> 1:43:03.120
<v Speaker 1>Final Girl, but you see this in some action movies too,

1:43:03.400 --> 1:43:07.439
<v Speaker 1>and other genres. But like whoever, the most important female

1:43:07.520 --> 1:43:11.560
<v Speaker 1>character of the movie is she has so much empathy

1:43:11.760 --> 1:43:13.479
<v Speaker 1>that she has put in a position where she has

1:43:13.520 --> 1:43:18.160
<v Speaker 1>the opportunity to badly maim and or kill the person

1:43:18.200 --> 1:43:21.240
<v Speaker 1>who is trying to kill her. But because she has

1:43:21.280 --> 1:43:23.479
<v Speaker 1>so much empathy, she's like, I can't do it. I can't.

1:43:24.040 --> 1:43:27.680
<v Speaker 1>I mean, which, which I think in certain you know

1:43:27.800 --> 1:43:30.080
<v Speaker 1>that I feel like that's super case to case, but

1:43:30.200 --> 1:43:33.439
<v Speaker 1>can be super sloppy and trophy if it just seems

1:43:33.439 --> 1:43:36.880
<v Speaker 1>like it's because it's because girl, girl is nice, girl

1:43:36.960 --> 1:43:40.479
<v Speaker 1>has feeling right and that and that's some women are

1:43:40.520 --> 1:43:45.000
<v Speaker 1>fucking heartless and you should remember that. But um, often

1:43:45.000 --> 1:43:48.640
<v Speaker 1>when I see it, it's it's very infuriating in Furious

1:43:49.000 --> 1:43:55.920
<v Speaker 1>curiousting because of the way it's presented. Um And in

1:43:55.960 --> 1:44:01.040
<v Speaker 1>this case, we see Furiosa killing people all the time

1:44:01.120 --> 1:44:05.640
<v Speaker 1>because they are actively trying to kill her. So but

1:44:05.720 --> 1:44:08.879
<v Speaker 1>she kind of but but I also appreciate that she doesn't.

1:44:09.600 --> 1:44:12.400
<v Speaker 1>I don't know, no, when I guess this is like

1:44:12.479 --> 1:44:14.880
<v Speaker 1>part of why they're the hear like, no one is

1:44:15.000 --> 1:44:19.240
<v Speaker 1>killing for fun, they're killing for survival. Um, where like

1:44:19.400 --> 1:44:23.559
<v Speaker 1>I mortem Joe is killing for say his name again,

1:44:23.640 --> 1:44:36.120
<v Speaker 1>Jamie Morton, bro Elan mc volvolorins, I just passed out.

1:44:36.120 --> 1:44:38.360
<v Speaker 1>I just got a nose leed on the zoom call.

1:44:39.560 --> 1:44:42.400
<v Speaker 1>I think you're called Knucks Knocks at one point as

1:44:42.479 --> 1:44:48.840
<v Speaker 1>well Knocks l a the place I write for. Um. Look, look,

1:44:48.960 --> 1:44:51.800
<v Speaker 1>they're difficult names. There's too many characters. There are a

1:44:51.840 --> 1:44:55.360
<v Speaker 1>lot of characters, and they all have pretty unfamiliar names.

1:44:55.800 --> 1:45:00.320
<v Speaker 1>They have very name. Okay, I've called that was on

1:45:00.360 --> 1:45:06.000
<v Speaker 1>your birthday. Can't believe it. Um, I truly forget what

1:45:06.040 --> 1:45:08.720
<v Speaker 1>I was talking about, but I'm sure I was in

1:45:08.760 --> 1:45:12.080
<v Speaker 1>the middle of I'm sure. I mean, good job, Jamie,

1:45:12.200 --> 1:45:14.240
<v Speaker 1>He's made a good point. Oh something you wanted to

1:45:14.240 --> 1:45:16.360
<v Speaker 1>bring up really quick? I mean, I guess it's just

1:45:16.400 --> 1:45:18.479
<v Speaker 1>like Hits Home again. It's just a scene that I

1:45:18.560 --> 1:45:20.639
<v Speaker 1>had forgotten about. I hadn't seen this movie and maybe

1:45:20.840 --> 1:45:25.439
<v Speaker 1>two years, and I was like, oh boy, uh when

1:45:25.960 --> 1:45:30.040
<v Speaker 1>the dead baby the dead baby, there is a dead

1:45:31.080 --> 1:45:34.280
<v Speaker 1>I don't really I don't have a bettel Cast Galaxy

1:45:34.320 --> 1:45:36.120
<v Speaker 1>brain point to make about it, but I do. I mean,

1:45:36.160 --> 1:45:40.639
<v Speaker 1>I guess that that just that like Hits Home super hard,

1:45:41.120 --> 1:45:47.479
<v Speaker 1>not subtly at all. How little life is valued when

1:45:47.520 --> 1:45:52.799
<v Speaker 1>it doesn't have when it doesn't specifically benefit the upper class,

1:45:52.960 --> 1:45:56.559
<v Speaker 1>because no one gives a ship. If Rosie Huntington Whiteley

1:45:56.800 --> 1:46:01.679
<v Speaker 1>is okay, it's like is the rawduct because they view

1:46:02.200 --> 1:46:06.880
<v Speaker 1>children as products and a future war boy, you know.

1:46:07.000 --> 1:46:11.400
<v Speaker 1>And so I just forgot about that scene and I

1:46:11.479 --> 1:46:16.080
<v Speaker 1>find it disturbing every single time. Again another reminder of

1:46:16.160 --> 1:46:21.719
<v Speaker 1>what is happening in this country right now. Yeah, there's

1:46:21.760 --> 1:46:25.360
<v Speaker 1>a lot about this movie that the more time that passes,

1:46:25.400 --> 1:46:28.280
<v Speaker 1>you're just like, whoa with? I mean even just like, yeah,

1:46:28.840 --> 1:46:37.880
<v Speaker 1>a radicalized force of young men. You're like, I know, yeah, uh,

1:46:38.000 --> 1:46:42.400
<v Speaker 1>anyways away, you know it's it's it's still fiction for now.

1:46:42.560 --> 1:46:46.960
<v Speaker 1>So that's good. Yeah, did you have anything else you

1:46:47.000 --> 1:46:49.280
<v Speaker 1>wanted to talk about? Not really. I just want to

1:46:49.320 --> 1:46:52.160
<v Speaker 1>give a shout out to miss Giddy. I wish we

1:46:52.280 --> 1:46:58.360
<v Speaker 1>just knew more about her character. Amazing line reads great.

1:46:58.400 --> 1:47:01.720
<v Speaker 1>I love her tattoos. There was a scene that was

1:47:01.800 --> 1:47:06.840
<v Speaker 1>shot but deleted from the movie in which Angherd's body

1:47:06.960 --> 1:47:10.759
<v Speaker 1>and Miss Giddy were left to die and be eaten

1:47:10.800 --> 1:47:13.960
<v Speaker 1>by crows, which I think would have been just like

1:47:14.000 --> 1:47:19.080
<v Speaker 1>a very unnecessarily violent scene towards Miss Gutty specifically, that

1:47:19.200 --> 1:47:24.280
<v Speaker 1>was removed. Honestly weird that it was even considered to

1:47:24.439 --> 1:47:27.280
<v Speaker 1>be included in the movie. But I did not know that.

1:47:27.280 --> 1:47:31.280
<v Speaker 1>That's very Yes, um so that was no good. But uh,

1:47:31.680 --> 1:47:34.840
<v Speaker 1>Miss Gitty is just seems like a prime candidate for

1:47:34.920 --> 1:47:40.200
<v Speaker 1>a limited series. That's a character. I would watch a

1:47:40.280 --> 1:47:45.800
<v Speaker 1>whole series about the marvelous Miss Kitty. I like that.

1:47:45.800 --> 1:47:48.280
<v Speaker 1>That's where you took it here, like as she does

1:47:48.320 --> 1:47:51.080
<v Speaker 1>do stand out. She's a stand up comic at the Citadel,

1:47:51.560 --> 1:47:56.360
<v Speaker 1>she did the Comedy Citadel. She headlines the Comedy Citadel,

1:47:56.439 --> 1:47:59.200
<v Speaker 1>and I'm running my Type five at the Citadel tonight.

1:47:59.400 --> 1:48:01.960
<v Speaker 1>I want to come, um just like a goofy, Like

1:48:02.120 --> 1:48:04.840
<v Speaker 1>it's real hard bringing a woman in comedy, right, And

1:48:04.880 --> 1:48:10.479
<v Speaker 1>she just said the fucking Citadel. Uh God, Anyway, wish

1:48:10.479 --> 1:48:12.759
<v Speaker 1>I knew more about wish we knew more about her character.

1:48:13.120 --> 1:48:15.839
<v Speaker 1>I think we just built out some pretty let's let's uh,

1:48:15.960 --> 1:48:18.200
<v Speaker 1>let's run that past Eve Ensler. But I think that

1:48:18.240 --> 1:48:22.400
<v Speaker 1>she's gonna love it. I agree, Yeah, I think that

1:48:22.760 --> 1:48:26.519
<v Speaker 1>is all I had. Did you have anything else? No,

1:48:26.840 --> 1:48:30.519
<v Speaker 1>that's that's that's about all I had as well. Um,

1:48:30.760 --> 1:48:35.320
<v Speaker 1>I really enjoyed this movie, and I really enjoyed talking

1:48:35.360 --> 1:48:38.880
<v Speaker 1>about it. I'm so glad to hear that. But here's

1:48:38.920 --> 1:48:43.240
<v Speaker 1>my question, Caitlin. Does it pass a back? It does

1:48:43.439 --> 1:48:48.759
<v Speaker 1>a lot. Furiously talks to the various women in Gauze.

1:48:49.040 --> 1:48:52.080
<v Speaker 1>They talked to each other. They all talked to different

1:48:52.080 --> 1:48:56.400
<v Speaker 1>members talked to each other. Yes, Um, I don't have

1:48:56.439 --> 1:49:00.479
<v Speaker 1>a handle on what most of their names are, but

1:49:00.680 --> 1:49:03.200
<v Speaker 1>I think they are given names like in the script

1:49:03.240 --> 1:49:06.840
<v Speaker 1>and in the credits. They're all and stuff pretty like.

1:49:07.000 --> 1:49:10.040
<v Speaker 1>I mean, I would say that they count his names

1:49:10.080 --> 1:49:15.200
<v Speaker 1>because male character eors are also given like weird titles

1:49:15.240 --> 1:49:18.000
<v Speaker 1>as names, like the Bullet Farmer. I would consider it

1:49:18.000 --> 1:49:20.679
<v Speaker 1>to be a character's name. Sure, yeah, in the same

1:49:20.680 --> 1:49:24.080
<v Speaker 1>way that yeah, the people Eater the Duf Warrior, which

1:49:24.800 --> 1:49:28.240
<v Speaker 1>you gotta love the Duf Warrior. Um. I didn't love

1:49:28.240 --> 1:49:30.840
<v Speaker 1>the Duf Warrior the first time around, but this time

1:49:30.880 --> 1:49:34.000
<v Speaker 1>I loved the Dufei. The dufe is cool. Speaking of

1:49:34.280 --> 1:49:38.080
<v Speaker 1>media tests, I wanted to call attention really quick to

1:49:38.200 --> 1:49:42.360
<v Speaker 1>the furiosa test. Oh yeah, I forgot about this. This

1:49:42.439 --> 1:49:46.719
<v Speaker 1>is a funny one, so obviously, so this movie provides

1:49:46.760 --> 1:49:50.680
<v Speaker 1>the origin for this test. The test was proposed by

1:49:50.800 --> 1:49:57.200
<v Speaker 1>Twitter user Sean M. Puckett in June a sentence who

1:49:57.240 --> 1:50:01.840
<v Speaker 1>said proposed the furious a test your movie, slash game,

1:50:01.960 --> 1:50:06.599
<v Speaker 1>slash book, slash play passes if it incites men's rights

1:50:06.720 --> 1:50:11.519
<v Speaker 1>dipshits to boycott because what happened when this movie was released,

1:50:12.640 --> 1:50:17.479
<v Speaker 1>A bunch of m r a s were like, what

1:50:17.479 --> 1:50:25.320
<v Speaker 1>what is this? What's that? Well that then Alfred Bilina,

1:50:25.439 --> 1:50:30.120
<v Speaker 1>who famously denounces men's rights activism, king King of the World,

1:50:30.160 --> 1:50:33.920
<v Speaker 1>and you heard it here first on our show. People

1:50:33.960 --> 1:50:36.519
<v Speaker 1>don't talk about that enough. I think they don't talk

1:50:36.560 --> 1:50:39.519
<v Speaker 1>about it nearly enough. They don't really talk about it

1:50:40.680 --> 1:50:43.639
<v Speaker 1>maybe at all. It doesn't really come up. It's sort

1:50:43.640 --> 1:50:49.479
<v Speaker 1>of only just us who brings it up. But the

1:50:49.680 --> 1:50:52.280
<v Speaker 1>m r a s they just threw a little fit,

1:50:52.400 --> 1:50:55.799
<v Speaker 1>as they often do, when they realized what this movie

1:50:56.000 --> 1:51:00.479
<v Speaker 1>was about. They deemed it feminist propaganda. They you know,

1:51:00.640 --> 1:51:05.040
<v Speaker 1>demanded people boycott the movie. They still do this, But

1:51:05.760 --> 1:51:08.960
<v Speaker 1>I feel like the mis was when this like this

1:51:09.080 --> 1:51:14.320
<v Speaker 1>particular brand of like like masculine anchor was like they

1:51:14.360 --> 1:51:18.280
<v Speaker 1>were really in their bag because like Ghostbusters came out,

1:51:18.880 --> 1:51:23.960
<v Speaker 1>this came out like you're just like, oh my God.

1:51:23.960 --> 1:51:26.760
<v Speaker 1>I feel like everyone had like one man in their

1:51:26.800 --> 1:51:29.120
<v Speaker 1>life that was like, Oh, I didn't realize that you're

1:51:29.680 --> 1:51:36.160
<v Speaker 1>the pettiest kind of person that exists. Uh yes, fascinating Anyways,

1:51:38.560 --> 1:51:40.799
<v Speaker 1>what about our nipple scale though, you're the five nipples?

1:51:40.840 --> 1:51:44.519
<v Speaker 1>Based on how the movie fares when examining it through

1:51:44.640 --> 1:51:50.400
<v Speaker 1>an intersectional feminist lens, oh me, oh my, um okay,

1:51:50.439 --> 1:51:52.160
<v Speaker 1>I think I've got I've got a number in mine,

1:51:52.240 --> 1:51:58.920
<v Speaker 1>go go go off, Birthday, thank you, birthday, birthdays, first birthday,

1:51:58.960 --> 1:52:04.880
<v Speaker 1>first always. I am leaning somewhere between a three and

1:52:04.880 --> 1:52:08.360
<v Speaker 1>a half and a four. I might split the diff

1:52:08.439 --> 1:52:12.320
<v Speaker 1>and go three point seven five. I think the way

1:52:12.960 --> 1:52:21.000
<v Speaker 1>the movie treats disability and atypical bodies is unforgivable. I

1:52:21.040 --> 1:52:28.600
<v Speaker 1>think that the way the movie centers whiteness and centers

1:52:29.400 --> 1:52:34.040
<v Speaker 1>people who adhere to western beauty standards as being those

1:52:34.400 --> 1:52:40.840
<v Speaker 1>most worthy of being rescued and escaping to safety and

1:52:41.040 --> 1:52:47.080
<v Speaker 1>survival is dated and unfortunate, and there was so much

1:52:47.120 --> 1:52:51.479
<v Speaker 1>more room for more meaningful inclusion. Things like that, which

1:52:51.520 --> 1:52:56.760
<v Speaker 1>we've discussed that bring the rating down. But there is

1:52:56.800 --> 1:53:03.800
<v Speaker 1>also so much that the movie subverts, tropes that avoids

1:53:03.920 --> 1:53:08.080
<v Speaker 1>and things that it actually does actively do to push

1:53:08.160 --> 1:53:13.439
<v Speaker 1>the needle forward in terms of how women especially are

1:53:14.080 --> 1:53:19.640
<v Speaker 1>treated and the role that they play in an action movie.

1:53:20.200 --> 1:53:23.120
<v Speaker 1>Because of that, I'm going to go with the I

1:53:23.160 --> 1:53:26.479
<v Speaker 1>think at three point seven five. I'll give one to

1:53:26.560 --> 1:53:31.519
<v Speaker 1>furious A, one two the women who are left behind,

1:53:32.280 --> 1:53:37.280
<v Speaker 1>one to the women in Gauze, and I'll give my

1:53:37.960 --> 1:53:46.839
<v Speaker 1>three quarters nipple to the voltry Ak, the Wolvelini, okay,

1:53:46.920 --> 1:53:49.800
<v Speaker 1>the Ravioli. You know, we could keep going, we could

1:53:49.880 --> 1:53:55.840
<v Speaker 1>keep going. Oh my god. My favorite moment in all

1:53:56.000 --> 1:54:01.600
<v Speaker 1>of um history as do you ever? No, I guess no.

1:54:01.760 --> 1:54:07.120
<v Speaker 1>Every time you didn't watch SpongeBob. There's a great moment

1:54:07.120 --> 1:54:09.800
<v Speaker 1>where I forget what the context of it is, but

1:54:10.160 --> 1:54:14.360
<v Speaker 1>someone spells Chris Squidward's name wrong and he goes squid

1:54:14.439 --> 1:54:19.000
<v Speaker 1>word totally me and it's so funny because his name

1:54:19.040 --> 1:54:24.880
<v Speaker 1>Squidward Tentacles, sort of like the character Tentacles in the

1:54:24.960 --> 1:54:28.200
<v Speaker 1>Legend of Titanic. My favorite animated film of all time,

1:54:28.840 --> 1:54:33.800
<v Speaker 1>The Blueprint. Yeah good, oh god, I love squid word. Okay, um,

1:54:33.840 --> 1:54:37.720
<v Speaker 1>I'm going to give the movie. I'm gonna I'll be

1:54:37.760 --> 1:54:43.200
<v Speaker 1>generous because I feel residual guilt for how irrationally hard.

1:54:43.240 --> 1:54:46.440
<v Speaker 1>I was on this movie the in our first run

1:54:46.440 --> 1:54:48.800
<v Speaker 1>at this episode six years ago. We're all works in

1:54:48.840 --> 1:54:52.240
<v Speaker 1>progress six years ago. To be fair, Yes I was.

1:54:52.480 --> 1:54:57.000
<v Speaker 1>I was twelve years old. I'm eighteen now, so I

1:54:57.000 --> 1:54:59.040
<v Speaker 1>think I know a thing or two. Okay, good, I am,

1:54:59.080 --> 1:55:02.360
<v Speaker 1>I'm gen Z. What can I say? Um? Well, since

1:55:02.560 --> 1:55:06.160
<v Speaker 1>it's my birthday today, so I have actually aged into

1:55:06.280 --> 1:55:10.560
<v Speaker 1>being a boomer. Wow, that's how that works. There there

1:55:10.640 --> 1:55:15.000
<v Speaker 1>comes a day where we all become boomers selfordunately. I'm

1:55:15.040 --> 1:55:20.880
<v Speaker 1>Benjamin Botton ng I'm gen Z. Uh Um, but I'll

1:55:20.880 --> 1:55:25.160
<v Speaker 1>go for I totally agree with the way that this

1:55:25.440 --> 1:55:29.680
<v Speaker 1>movie treats disabled bodies and atypical bodies in general. This

1:55:29.800 --> 1:55:34.560
<v Speaker 1>movie's views on fatness in particular are um all extremely

1:55:34.640 --> 1:55:37.360
<v Speaker 1>dated for a movie that came out less than ten

1:55:37.440 --> 1:55:42.640
<v Speaker 1>years ago, which speaks to how underdeveloped those discussions are.

1:55:42.680 --> 1:55:46.120
<v Speaker 1>And and also, um, you know a positive spin, how

1:55:46.160 --> 1:55:48.880
<v Speaker 1>far conversations around that have come. And I would be

1:55:48.920 --> 1:55:51.960
<v Speaker 1>interested because there is supposed to be a prequel with

1:55:52.000 --> 1:55:57.440
<v Speaker 1>Anna Taylor Joy as young Furiosa coming out in I

1:55:57.480 --> 1:56:01.520
<v Speaker 1>would be curious because George Mill has a somewhat good

1:56:01.560 --> 1:56:05.000
<v Speaker 1>record on course correcting past mistakes. I wonder if that

1:56:05.080 --> 1:56:09.040
<v Speaker 1>will be something that is course corrected in another installment

1:56:09.200 --> 1:56:19.600
<v Speaker 1>of this franchise. We will see it curious to see um, curiosa, curiosa, honey. Uh.

1:56:20.080 --> 1:56:23.760
<v Speaker 1>But yes, the the treatment of disability and race in

1:56:23.760 --> 1:56:26.800
<v Speaker 1>particular are we're not good at the time and did

1:56:26.800 --> 1:56:30.880
<v Speaker 1>not age well um and should always be criticized. And

1:56:31.920 --> 1:56:37.080
<v Speaker 1>to this movie's credit, I do think that this movie's

1:56:38.320 --> 1:56:44.560
<v Speaker 1>good reception, this movie being embraced by action fans is

1:56:44.640 --> 1:56:47.760
<v Speaker 1>like a huge I would imagine. I mean, it's still

1:56:47.880 --> 1:56:50.400
<v Speaker 1>kind of early to tell. Obviously, the movie came out

1:56:51.040 --> 1:56:54.840
<v Speaker 1>seven years ago, but even in that time, I feel

1:56:54.840 --> 1:56:58.120
<v Speaker 1>like you can trace that it's made a difference in

1:56:58.160 --> 1:57:01.920
<v Speaker 1>the genre, and it's made a friends to fans of

1:57:01.960 --> 1:57:05.520
<v Speaker 1>action movies of like what an action hero looks and

1:57:05.600 --> 1:57:07.920
<v Speaker 1>behaves and like what they're capable of. I feel like

1:57:07.920 --> 1:57:12.080
<v Speaker 1>Furiosa is like a huge kind of game changer for

1:57:12.120 --> 1:57:15.560
<v Speaker 1>this genre, and it is a difficult genre to game

1:57:15.680 --> 1:57:20.160
<v Speaker 1>change because of all the loaded masculinity that it's known for.

1:57:20.280 --> 1:57:24.400
<v Speaker 1>There's a lot of baggage. Yeah, So for its fault

1:57:24.520 --> 1:57:27.120
<v Speaker 1>of which there are many, and we've discussed them, I

1:57:27.160 --> 1:57:29.560
<v Speaker 1>do think that it was a huge step forward for

1:57:29.600 --> 1:57:34.240
<v Speaker 1>the genre in many ways. UM. I generally like how

1:57:34.320 --> 1:57:37.760
<v Speaker 1>the women in the movie who we get to know? Um,

1:57:37.800 --> 1:57:39.440
<v Speaker 1>which is the women we get to know versus a

1:57:39.480 --> 1:57:43.040
<v Speaker 1>woman we don't, as we discussed, is very intentional and

1:57:43.120 --> 1:57:45.560
<v Speaker 1>pointed the when we do get to know, I feel

1:57:45.560 --> 1:57:49.360
<v Speaker 1>like are all given effective story arcs. I thought it

1:57:49.440 --> 1:57:54.000
<v Speaker 1>was really cool that George Miller empowered his actors to

1:57:54.720 --> 1:57:58.560
<v Speaker 1>develop their own characters, was open to feedback, brought in

1:57:58.720 --> 1:58:02.400
<v Speaker 1>a consultant like ship. You just don't hear about male

1:58:02.520 --> 1:58:07.120
<v Speaker 1>unters of this kind of magnitude doing, not giving him

1:58:07.120 --> 1:58:09.360
<v Speaker 1>a fucking crown or anything. But I think it's just

1:58:09.360 --> 1:58:14.760
<v Speaker 1>just another good example setting thing to have done. I

1:58:14.760 --> 1:58:19.160
<v Speaker 1>think this movie is awesome. I really enjoy watching it,

1:58:20.200 --> 1:58:23.800
<v Speaker 1>and UM, thank you Caitlin for first of all choosing

1:58:23.840 --> 1:58:27.160
<v Speaker 1>it for your birthday episode and for bearing with me

1:58:27.200 --> 1:58:29.920
<v Speaker 1>as I grew as a person and grew to appreciate it.

1:58:30.080 --> 1:58:33.320
<v Speaker 1>So look more, nippies. I knew it would happen. I

1:58:33.400 --> 1:58:36.800
<v Speaker 1>knew that you would undergo a significant character arc much

1:58:36.880 --> 1:58:43.240
<v Speaker 1>like Max does. So not Max. I don't like Max. Um,

1:58:43.240 --> 1:58:45.720
<v Speaker 1>he's my least favorite character, and you know, that there's

1:58:45.760 --> 1:58:48.440
<v Speaker 1>a lot of worse characters. But anyways, I'm going to

1:58:48.560 --> 1:58:51.520
<v Speaker 1>give my nepples, I mean, one to Curious, I'm gonna

1:58:51.560 --> 1:58:56.480
<v Speaker 1>give one does Zoe Kravitz in the bullet Bag, I'm

1:58:56.560 --> 1:59:00.360
<v Speaker 1>gonna give one to the Keeper of the Sea Needs,

1:59:00.680 --> 1:59:04.240
<v Speaker 1>And I'm gonna give one to Mrs. Oh what's their name?

1:59:04.640 --> 1:59:10.440
<v Speaker 1>Mrs Miss Giddy, Miss Gid Love it And that's the episode, folks.

1:59:11.000 --> 1:59:14.440
<v Speaker 1>It certainly is uh you can you know, do all

1:59:14.440 --> 1:59:17.320
<v Speaker 1>the stuff? Hey, you know what, since it's my birthday. Yeah,

1:59:17.360 --> 1:59:22.360
<v Speaker 1>I'm gonna not only suggest, but maybe even demand that

1:59:22.480 --> 1:59:28.000
<v Speaker 1>you oh ship this is this is me being absolutely

1:59:28.040 --> 1:59:32.640
<v Speaker 1>funked up as promised. I'm so scared right now. Would

1:59:32.680 --> 1:59:36.800
<v Speaker 1>you give me a little follow on Twitter and Instagram

1:59:36.840 --> 1:59:40.840
<v Speaker 1>at Caitlin Durante Because the more followers I have on

1:59:40.960 --> 1:59:44.120
<v Speaker 1>social media platforms, the more validated I feel as a

1:59:44.200 --> 1:59:47.600
<v Speaker 1>human being. And that is the sad state of the world.

1:59:48.680 --> 1:59:51.240
<v Speaker 1>I think that that's super healthy and I feel the

1:59:51.640 --> 1:59:57.960
<v Speaker 1>same way. Um, everyone follow Caitlin on every platform available.

1:59:57.960 --> 1:59:59.920
<v Speaker 1>You have TikTok to, I do have TikTok and I

2:00:00.280 --> 2:00:04.440
<v Speaker 1>um I have not really posted much except for a

2:00:04.480 --> 2:00:08.720
<v Speaker 1>couple of Titanic related TikTok's. Although I started doing this

2:00:08.760 --> 2:00:13.120
<v Speaker 1>new thing on my Instagram stories in which I recap

2:00:13.680 --> 2:00:16.879
<v Speaker 1>a movie speaking as quickly as I can and including

2:00:16.920 --> 2:00:19.640
<v Speaker 1>as much detail as I can in fifteen seconds or less.

2:00:20.040 --> 2:00:25.240
<v Speaker 1>So I might add those to my TikTok to really,

2:00:25.720 --> 2:00:30.360
<v Speaker 1>you know, because it's all about generating new content, you know. Um.

2:00:30.400 --> 2:00:33.440
<v Speaker 1>She says she's a boomer, but she's sounding like a

2:00:33.680 --> 2:00:39.720
<v Speaker 1>danger what M so definitely, you know whatever. I don't

2:00:39.720 --> 2:00:42.040
<v Speaker 1>care about TikTok right now, but I mean ask me

2:00:42.080 --> 2:00:43.800
<v Speaker 1>again in a year and I'll be like, follow me

2:00:43.880 --> 2:00:48.000
<v Speaker 1>on trink talk, um, but certainly follow me on Instagram

2:00:48.120 --> 2:00:53.360
<v Speaker 1>and Twitter. Also followed Jamie on those on those platforms, Hey,

2:00:53.360 --> 2:00:57.080
<v Speaker 1>why don't you do that for once in your life? Um? Yeah?

2:00:57.080 --> 2:00:59.480
<v Speaker 1>And then also listen to Ghost Church. That's my new

2:00:59.520 --> 2:01:04.360
<v Speaker 1>show that's coming out right now. It's about it's about

2:01:04.400 --> 2:01:08.520
<v Speaker 1>my my week in Cassadega, Florida and the history of

2:01:08.560 --> 2:01:12.600
<v Speaker 1>American spiritualism a k. Ghost Church, as I like to

2:01:12.640 --> 2:01:15.000
<v Speaker 1>call it. I'm having a lot of fun making it.

2:01:15.520 --> 2:01:18.520
<v Speaker 1>It's also produced by producer at the Bendel Cast. So

2:01:18.520 --> 2:01:23.080
<v Speaker 1>if you Lichterrman and why don't you, why don't you

2:01:23.200 --> 2:01:26.440
<v Speaker 1>head on over and give that a lesson. We just

2:01:27.400 --> 2:01:32.640
<v Speaker 1>love creating content so much, which says Instagram and Twitter

2:01:33.520 --> 2:01:35.920
<v Speaker 1>elon Musk's Twitter as I like to call it now,

2:01:37.440 --> 2:01:41.480
<v Speaker 1>Jamie Loftus help on Twitter, Jay christ Superstar on Instagram,

2:01:41.560 --> 2:01:44.000
<v Speaker 1>and then follow the Bechtel Cast while you're on those

2:01:44.200 --> 2:01:49.040
<v Speaker 1>two cursed websites. Okay, yeah, at Bechtel Cast and uh.

2:01:49.480 --> 2:01:52.440
<v Speaker 1>A nice little birthday gift for me would be if

2:01:52.520 --> 2:01:57.840
<v Speaker 1>you give the podcast a little rate and review, preferably

2:01:57.880 --> 2:02:01.600
<v Speaker 1>a favorable one, like a you know, five nipple if

2:02:01.600 --> 2:02:04.320
<v Speaker 1>you dare, if you if you hated this episode, actually

2:02:04.760 --> 2:02:10.520
<v Speaker 1>please thank I'm still I'm still traumatized from the Zootopia

2:02:10.640 --> 2:02:14.880
<v Speaker 1>blowback of Oh my god. They're like, oh, it's just,

2:02:15.160 --> 2:02:19.160
<v Speaker 1>oh well, rabbits can't even be cops anymore, according to

2:02:19.280 --> 2:02:25.200
<v Speaker 1>these broads. I'm like, oh my goodness, gracious, take a

2:02:25.320 --> 2:02:28.440
<v Speaker 1>c folks. No one's listening to the episode at this point.

2:02:28.480 --> 2:02:31.920
<v Speaker 1>They're like, the episode ended ten minutes ago, it's been

2:02:31.960 --> 2:02:37.800
<v Speaker 1>over two hours, and we simply can't stop talking. Typical women, right,

2:02:37.920 --> 2:02:44.080
<v Speaker 1>always blabbing, blabbing, blabbing. Pe pe poo pooh. Two things

2:02:44.160 --> 2:02:48.640
<v Speaker 1>women love did you, and then follow our patreonic Adrian.

2:02:48.760 --> 2:02:53.840
<v Speaker 1>If you want more of that hilarious star banter, that's

2:02:53.840 --> 2:02:56.960
<v Speaker 1>patreon dot com, slash becktel cast. You want an episode

2:02:57.000 --> 2:03:01.200
<v Speaker 1>on Babe truly, that's where you'll find it. That's where

2:03:01.200 --> 2:03:05.840
<v Speaker 1>you're gonna fucking find it. Um, and we are we're

2:03:05.880 --> 2:03:08.120
<v Speaker 1>doing some of Caitlin's picks on the matre and this

2:03:08.160 --> 2:03:11.400
<v Speaker 1>months we're doing face slash Off and we are doing it.

2:03:11.400 --> 2:03:13.840
<v Speaker 1>What's the other one? Or doing Top Gun? Not because

2:03:13.880 --> 2:03:16.680
<v Speaker 1>I vouch for the movie for either of these movies.

2:03:16.760 --> 2:03:19.920
<v Speaker 1>It was honestly just like, Okay, the new Top Gun

2:03:19.960 --> 2:03:23.400
<v Speaker 1>movies coming out, what better time, I guess than to

2:03:23.480 --> 2:03:26.760
<v Speaker 1>cover the original Top Gun. And then also I was like,

2:03:26.800 --> 2:03:32.120
<v Speaker 1>what's another like big loud action, goofy action movie that

2:03:32.520 --> 2:03:36.240
<v Speaker 1>we can fold into the mix? And I was like,

2:03:36.400 --> 2:03:38.440
<v Speaker 1>Face Off. I think would be a lot of fun

2:03:38.600 --> 2:03:41.920
<v Speaker 1>for us to be like, what the funk is this movie?

2:03:42.160 --> 2:03:45.600
<v Speaker 1>Love it? So that's the plan, folks, And that's the plan.

2:03:45.720 --> 2:03:48.760
<v Speaker 1>And if you don't like it, go to hell to

2:03:48.960 --> 2:03:54.160
<v Speaker 1>quote um. Okay, one's let in Titanic, Well, let's get

2:03:54.160 --> 2:03:59.400
<v Speaker 1>out horror or follow me internal on the highways of

2:03:59.520 --> 2:04:03.040
<v Speaker 1>the see you in Valhalla everyone and go to Valhalla.

2:04:03.120 --> 2:04:07.160
<v Speaker 1>Deal with Valhallaco saw the Northman. I've had enough of Valhalla.

2:04:07.240 --> 2:04:10.400
<v Speaker 1>Goodbye Episode I