WEBVTT - Send Help with Blair Braverman

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<v Speaker 1>On the Bechdelcast, the questions asked if movies have women

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<v Speaker 1>and them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? It's the patriarchy, zephynvest start

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<v Speaker 1>changing with the Bechdel Cast.

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<v Speaker 2>Hepple, hepple, send, hepple, Jamie, what I misspelled?

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<v Speaker 3>Help?

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<v Speaker 2>Oh?

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<v Speaker 4>No?

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<v Speaker 3>Wow? Men really do be misspelling four letter words, don't they. Yeah,

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<v Speaker 3>and that's sort of a taste of what this movie

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<v Speaker 3>is like. Yes, welcome to the Bexel Cast. My name's

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<v Speaker 3>Jamie Loftis.

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<v Speaker 2>My name is Caitlin Derante. This is our show where

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<v Speaker 2>we examine movies through an intersectional feminist lens, using the

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<v Speaker 2>Bechdel test simply as a jumping off point. And what

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<v Speaker 2>might that be? Jamie?

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<v Speaker 3>Well, I can tell you. It is a media measure

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<v Speaker 3>created by friend of the show and namesake of the show,

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<v Speaker 3>Alison Bechdel, that was originally created in her comic strip

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<v Speaker 3>I Used to Watch Out for Beck in the eighties

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<v Speaker 3>as a one off joke, has since become more of

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<v Speaker 3>a mainstreamified media metric. The version we use requires the

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<v Speaker 3>two characters of a marginalized gender speak about something other

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<v Speaker 3>than a man. For more than two lines of relevant dialogue.

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<v Speaker 3>They should also have names, and you know does this?

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<v Speaker 3>This is tricky because I feel like this movie exists

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<v Speaker 3>in if I'm like breaking down all the asterisks to

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<v Speaker 3>the bechel test that we've had to use, difficult to

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<v Speaker 3>pass in a two hander that involves a man as

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<v Speaker 3>one of the two, exactly this and nonetheless, nevertheless this

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<v Speaker 3>movie persists. But also that's just our jumping off point.

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<v Speaker 3>I guess I've just told you it does pass the

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<v Speaker 3>Bechdel test, but not by a lot. There you go.

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<v Speaker 2>You can turn off the showd let's lock in.

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<v Speaker 3>Let's lock it in, do it and get our amazing

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<v Speaker 3>guests in the chat.

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<v Speaker 2>Absolutely. She is a writer, an adventurer, and host of

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<v Speaker 2>the podcast that's about survival stories, What to Carry, What

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<v Speaker 2>to Burn? It's Blair Braverman. Welcome.

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<v Speaker 5>Hello, I'm so happy to be here.

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<v Speaker 3>Welcome, We're like to have you.

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<v Speaker 2>So we're talking about Send Help, which came out earlier

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<v Speaker 2>this year, right, yeah, twenty six. Sam Raimi directed.

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<v Speaker 3>Feels Like Longer, and boy did this movie choose its

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<v Speaker 3>moments to remind you it's a Sam Raimie movie.

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<v Speaker 2>It sure does.

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<v Speaker 3>If any other person had directed it, those moments would

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<v Speaker 3>be so very confusing. But because it's him, You're like, well,

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<v Speaker 3>I guess contractually he has to do four or five

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<v Speaker 3>of these.

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<v Speaker 2>Yeah, they're fun moments.

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<v Speaker 3>For I mean, I'm I'm pro, I'm pro the Raymie

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<v Speaker 3>scary Rami isms, jump scare thing. But yeah, it just

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<v Speaker 3>came out, So I guess it's hard to have a

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<v Speaker 3>storied history with this. But I know, Blair, you were

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<v Speaker 3>like truly the perfect guest for this movie. We were

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<v Speaker 3>talking about all the different survival based movies that's out there,

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<v Speaker 3>and this is the one that centers around a woman.

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<v Speaker 4>So this is this is what we get. We get

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<v Speaker 4>this in Baby Island.

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<v Speaker 3>Oh my god, Wait what is Baby?

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<v Speaker 2>I don't know that one either.

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<v Speaker 1>Oh.

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<v Speaker 4>So, I'm obsessed with survival stories. But I'm also obsessed

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<v Speaker 4>with survival stories like how we tell the stories about survival,

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<v Speaker 4>like in kids books and in movies and in all

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<v Speaker 4>these different things. And I went through a couple of

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<v Speaker 4>years ago and I tried to find every story for

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<v Speaker 4>kids about survival in the wilderness, and it's pretty much

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<v Speaker 4>all about boys.

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<v Speaker 5>Because I was a kid, I was a little girl.

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<v Speaker 4>Who loved like hatchet and yes, survival books. I love Hatchet,

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<v Speaker 4>and it is very hard to find a book for

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<v Speaker 4>kids about a kid in the wilderness, my side of

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<v Speaker 4>the Mountain type story where the kid is a girl,

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<v Speaker 4>And you'll get these very weird genres when there's a

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<v Speaker 4>girl in filve So either she's like fleeing sexual assaults

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<v Speaker 4>or abuse, right like Julia the Wolves. Or you have

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<v Speaker 4>a book like Baby Island, which is an incredible work

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<v Speaker 4>of literature, and it is a survival story about two

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<v Speaker 4>little girls who are stranded on an island, a desert island,

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<v Speaker 4>and have to survive, except for they also get stranded

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<v Speaker 4>with four babies no.

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<v Speaker 5>So at the time.

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<v Speaker 4>Yeah, So as they're learning how to like eat bananas

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<v Speaker 4>for food and try to like send messages and bottles,

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<v Speaker 4>they're also learning how to deal with colic and like

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<v Speaker 4>what to do if a baby is slow to walk,

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<v Speaker 4>and how to get these four babies to keep the

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<v Speaker 4>Lord's day, oh my desert Island. And it's this amazing

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<v Speaker 4>sort of confluence of genres that I truly think is

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<v Speaker 4>like progressive in a way because the authors like little girls,

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<v Speaker 4>like desert islands, and they like babies, so I wanted

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<v Speaker 4>to give them both.

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<v Speaker 3>Just seems like so much work for these kids. I

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<v Speaker 3>love that there's I'm looking at this the cover right now.

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<v Speaker 3>I feel like there is a very fun modern adaptation

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<v Speaker 3>of this story. And also like, because it came out

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<v Speaker 3>in nineteen thirty seven, they're like, Okay, we can't just

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<v Speaker 3>have girls on an island. They have to be doing

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<v Speaker 3>some sort of sort of parenting as well. That's why

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<v Speaker 3>I'd never heard of that before.

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<v Speaker 4>Yeah, like motherhood is hard for these girls. It's even

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<v Speaker 4>harder because they're stranded on a desert island. But like,

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<v Speaker 4>I recognize the absurdity of the book, but I really

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<v Speaker 4>do think like I'm for it.

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<v Speaker 5>Yeah, so it's very bizarre.

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<v Speaker 4>And I also feel like survival stories about women tend

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<v Speaker 4>to like, Okay, this is my theory going into this

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<v Speaker 4>before I even saw the movie, is like, when someone

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<v Speaker 4>is stranded in the wilderness in some way and we're

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<v Speaker 4>telling a story about it, they either tame the wilderness

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<v Speaker 4>or they go feral. So they either turn the wilderness

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<v Speaker 4>into like a functioning society allah Robinson Caruso, or they

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<v Speaker 4>go feral and become wild themselves. And that's what happens

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<v Speaker 4>to women in these stories. Interesting okay, which I would

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<v Speaker 4>say that Send Help fits into that category if she

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<v Speaker 4>sort of becomes a wild beast herself, or like they

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<v Speaker 4>become like witchy or just sort of like I don't know.

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<v Speaker 4>It was interesting.

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<v Speaker 2>I mean, farrell is a good word for it.

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<v Speaker 3>I feel like, yeah, totally, that's so interesting because I

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<v Speaker 3>was thinking so much about this movie compared to have

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<v Speaker 3>you seen Triangle of Sadness?

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<v Speaker 5>No, I haven't.

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<v Speaker 3>I was thinking a lot about Triangle of Sadness, same movie.

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<v Speaker 3>It's a very similar movie. I think Triangle of Sadness

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<v Speaker 3>a little matter. But yeah, but I feel like it's

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<v Speaker 3>because well we can talk about it in the discussion.

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<v Speaker 3>I feel like this movie holds back in these like

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<v Speaker 3>weird ways that feel kind of gendered. And also, I

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<v Speaker 3>guess it's worth saying that Send Help is a movie

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<v Speaker 3>that centers around a woman that is written by two

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<v Speaker 3>men and directed by a man, which I do feel

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<v Speaker 3>like you can feel in certain moments and choices. But

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<v Speaker 3>that's so fascinating that like Blair, that makes so much,

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<v Speaker 3>that makes so much sense. It's almost like you've spent

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<v Speaker 3>a lot of time thinking about this. That's wild. Yeah,

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<v Speaker 3>because I mean, and then compared to I guess, what

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<v Speaker 3>are the directions when the survival story centers around a man.

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<v Speaker 3>How does that manifest differently with like the response to

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<v Speaker 3>the environment in these stories usually with men.

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<v Speaker 4>You see the pattern of them quote unquote taming the wilderness,

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<v Speaker 4>you know, sort of creating a functional society, like having

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<v Speaker 4>it's very dominance over nature. So you know, the phrase

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<v Speaker 4>you'll hear on survival shows is like, I'm gonna make

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<v Speaker 4>nature my bitch is a phrase you'll hear a lot,

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<v Speaker 4>which is an absurd It is such an absurd concept

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<v Speaker 4>to begin with. Truly, Yeah, nature is definitely gonna.

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<v Speaker 5>Make you her bitch. That's how these things.

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<v Speaker 3>Work, kind of undefeated.

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<v Speaker 4>I mean, it's nature is indifferent, like it's these things.

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<v Speaker 4>These concepts don't translate onto wilderness. We are trying to

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<v Speaker 4>take our human concepts and project them onto something that

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<v Speaker 4>is so utterly indifferent that it reduces them to absurdity.

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<v Speaker 5>But yeah, normally you would see.

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<v Speaker 4>I mean there's an interesting way in this movie that

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<v Speaker 4>she also is is a very competent survivor, yeah, and

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<v Speaker 4>is able to sort of create like a survival version

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<v Speaker 4>of an executive desk on a beach, on a Tropical Island,

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<v Speaker 4>so she's kind of doing both. I don't know, we'll

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<v Speaker 4>get into.

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<v Speaker 3>It, right, but then at the end, I mean I

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<v Speaker 3>also on this viewing, I was like, I don't like

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<v Speaker 3>the end of this movie, but well, we'll get into it.

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<v Speaker 3>So did you see this movie when it came out

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<v Speaker 3>or is this your first time?

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<v Speaker 5>I just saw it now.

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<v Speaker 3>Ooh, I'm excited.

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<v Speaker 5>I've been interested in it, but I hadn't.

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<v Speaker 4>I hadn't. Dug in Caitlyn.

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<v Speaker 3>I think we might have the same history with this

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<v Speaker 3>movie because we saw it together.

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<v Speaker 2>We sure did. We saw it in theaters. I'm trying

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<v Speaker 2>to think who else was with us? Was it Bryan

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<v Speaker 2>Bryan Grant Grant Okay.

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<v Speaker 3>Yes, three amazing key hymns at the AMC with us?

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<v Speaker 3>Really cool?

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<v Speaker 2>Yeah, yeah, so yeah, we saw it in theaters. It

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<v Speaker 2>came out in late January, right, so, but I hadn't

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<v Speaker 2>seen it since then. But it came onto streaming. I

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<v Speaker 2>forget which platform, Disney Plus. Yeah, and it was like

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<v Speaker 2>one of the most streamed movies ever or.

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<v Speaker 3>Something which actually does scan for me, and I still

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<v Speaker 3>didn't understand how like streaming they assisted translates to money

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<v Speaker 3>through subscriptions. But I'm like, no one's signing up for

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<v Speaker 3>a movie for Send Help. But I feel like Send

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<v Speaker 3>to Help being success successful and streaming makes sense to

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<v Speaker 3>me because it feels so very much like a movie

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<v Speaker 3>you would watch on a plane, even though it heavily

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<v Speaker 3>features a plane crash. And I feel like movies that

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<v Speaker 3>are successful on streaming are plane movies. We were talked

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<v Speaker 3>about that that's a theory I have.

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<v Speaker 2>No I think you're onto something.

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<v Speaker 3>Yeah, a good streaming movie. Unfortunately you should be able

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<v Speaker 3>to kind of fall asleep during it. And this is

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<v Speaker 3>a good movie, but this is a plain movie, I feel.

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<v Speaker 2>I'm with you. Yeah, yeah it was. It was like

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<v Speaker 2>heavily streamed, so but also I'm like, is it one

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<v Speaker 2>of those things where like people actually watched it or

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<v Speaker 2>was it just the next thing that came on, whether

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<v Speaker 2>or not you were sitting in front of your TV

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<v Speaker 2>actively consuming it or not. Who knows?

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<v Speaker 3>The algorithm moves in mysterious ways. I mean, this is

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<v Speaker 3>a really good movie and it was like successful, it

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<v Speaker 3>was successful financially. I'm glad it's successful, and streaming it's whatever.

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<v Speaker 3>I'm the bar is so low right now that it's

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<v Speaker 3>like original story that centers around a woman being successful,

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<v Speaker 3>no further questions, like, fine, we'll take it. But it's

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<v Speaker 3>also our job to look at it very carefully because

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<v Speaker 3>it is so like speaking to your point that it's

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<v Speaker 3>sent help in Baby Island, a book that is almost

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<v Speaker 3>ninety years old. It's like, this is this is rare

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<v Speaker 3>in a way that I don't think was really a

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<v Speaker 3>part of this movie's narrative as it came out, well.

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<v Speaker 2>I was thinking about I was like, wasn't there a

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<v Speaker 2>Reese Witherspoon wilderness survival movie Wild, Although I'm not sure

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<v Speaker 2>how much of it is, Like I haven't seen it,

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<v Speaker 2>so I don't know how much of it is her

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<v Speaker 2>like trying to survive, but it's about a woman who

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<v Speaker 2>takes an eleven hundred mile solo hike through I'm guessing

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<v Speaker 2>the wild, hence the name of the movie, as a

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<v Speaker 2>way to recover from a recent personal tragedy according to

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<v Speaker 2>the log line of the movie. So I don't know

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<v Speaker 2>much about that. And if it really if it falls

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<v Speaker 2>into this camp of stories we're talking about.

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<v Speaker 4>I would hear I'm going to be such a survival nerd, please,

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<v Speaker 4>I would categorize those differently because to me, there's a

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<v Speaker 4>difference between going into wilderness recreationally and being stuck there

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<v Speaker 4>for sure, And so for me it becomes to me

0:12:01.320 --> 0:12:03.640
<v Speaker 4>like it fits into the category of survival story if

0:12:03.679 --> 0:12:07.920
<v Speaker 4>someone can't get out, yeah, and so for her going

0:12:07.920 --> 0:12:09.520
<v Speaker 4>on a hike, it's like a wilderness story.

0:12:09.520 --> 0:12:09.920
<v Speaker 5>But it's not.

0:12:10.080 --> 0:12:11.000
<v Speaker 2>It's very intentional.

0:12:11.040 --> 0:12:11.920
<v Speaker 5>It's not quite part of.

0:12:11.920 --> 0:12:15.680
<v Speaker 4>The same genre. It's a different genre, fair sort of

0:12:15.679 --> 0:12:18.040
<v Speaker 4>a tracker and adventure story as opposed to survival.

0:12:18.320 --> 0:12:20.840
<v Speaker 3>Got it, So Send Help, Baby Island.

0:12:21.880 --> 0:12:23.920
<v Speaker 5>Those two are definitely the same genre.

0:12:24.640 --> 0:12:26.880
<v Speaker 2>And then also, I mean you mentioned it already, Jamie,

0:12:26.880 --> 0:12:30.840
<v Speaker 2>but Triangle of Sadness, and I guess like skip ahead

0:12:30.840 --> 0:12:33.880
<v Speaker 2>about two minutes if you want to avoid spoilers for

0:12:34.000 --> 0:12:37.359
<v Speaker 2>Triangle of Sadness. But the whole time I was watching

0:12:38.160 --> 0:12:41.079
<v Speaker 2>Send Help the first time, I was like, I've already

0:12:41.160 --> 0:12:45.160
<v Speaker 2>seen this movie and this and it's Triangle of Sadness

0:12:45.200 --> 0:12:49.960
<v Speaker 2>in the sense that the main characters include a man

0:12:50.240 --> 0:12:54.320
<v Speaker 2>who has a set of qualities that a like western

0:12:54.440 --> 0:12:59.880
<v Speaker 2>capitalist society values and a woman whose qualities are not

0:13:00.120 --> 0:13:05.080
<v Speaker 2>nearly as valued by said society. Then they are stranded

0:13:05.080 --> 0:13:09.520
<v Speaker 2>on a tropical island and suddenly the woman's qualities and

0:13:09.559 --> 0:13:13.600
<v Speaker 2>skills are necessary for survival, and the man has no

0:13:13.760 --> 0:13:17.960
<v Speaker 2>wilderness survival skills, so the dynamic between them significantly shifts,

0:13:18.000 --> 0:13:21.719
<v Speaker 2>where the woman now holds all the power, and then

0:13:21.760 --> 0:13:29.280
<v Speaker 2>also that it turns out the uninhabited island is actually inhabited,

0:13:29.360 --> 0:13:33.120
<v Speaker 2>and then some murders happen along the way, partly because

0:13:33.160 --> 0:13:35.120
<v Speaker 2>the woman doesn't want to give up her power and

0:13:35.160 --> 0:13:38.360
<v Speaker 2>go back to her life where she was undervalued, which

0:13:38.400 --> 0:13:40.360
<v Speaker 2>is basically the premise of both movies.

0:13:40.679 --> 0:13:43.080
<v Speaker 3>Yes, but I will say that where sendh Help, I

0:13:43.080 --> 0:13:45.400
<v Speaker 3>mean I like Send Help because I think what it

0:13:45.440 --> 0:13:47.800
<v Speaker 3>has going for it is it is like way more

0:13:47.840 --> 0:13:52.720
<v Speaker 3>broadly comedic than Triangle of Sadness, definitely a different tone,

0:13:53.000 --> 0:13:57.760
<v Speaker 3>and that it is like firmly centered on Linda, where

0:13:57.840 --> 0:14:00.480
<v Speaker 3>Triangle of Sadness is more of a like I mean,

0:14:00.840 --> 0:14:03.520
<v Speaker 3>I forget the name of the character who she becomes

0:14:03.640 --> 0:14:07.000
<v Speaker 3>very important, but she's not like the protagonist for sure.

0:14:07.120 --> 0:14:10.120
<v Speaker 2>Yeah, it's more ensemble cast vibes.

0:14:10.240 --> 0:14:12.000
<v Speaker 3>Yeah, but there are a lot. I mean it is

0:14:12.080 --> 0:14:14.400
<v Speaker 3>if you've seen both movies, it is a very like

0:14:14.480 --> 0:14:17.960
<v Speaker 3>similar similar to the back half of that movie. And

0:14:18.000 --> 0:14:20.360
<v Speaker 3>I think does a lot of what this movie does

0:14:20.400 --> 0:14:21.960
<v Speaker 3>a little more. I think it was just like a

0:14:22.000 --> 0:14:24.960
<v Speaker 3>little less afraid of some of the themes I think

0:14:25.000 --> 0:14:28.680
<v Speaker 3>this movie is. This movie is very and then we'll

0:14:29.000 --> 0:14:31.000
<v Speaker 3>take a break and talk about what happens in the movie.

0:14:31.160 --> 0:14:34.560
<v Speaker 3>But my as I was rewatching it for the show

0:14:34.680 --> 0:14:37.600
<v Speaker 3>and not just for fun, what was sticking out to

0:14:37.640 --> 0:14:40.200
<v Speaker 3>me was like it for a very long time. It

0:14:40.280 --> 0:14:43.080
<v Speaker 3>was like it seems like the story was afraid to

0:14:44.040 --> 0:14:48.320
<v Speaker 3>let Linda do something like morally bad, like they hold

0:14:48.400 --> 0:14:52.880
<v Speaker 3>out so long, including like this movie is for starring

0:14:52.920 --> 0:14:57.080
<v Speaker 3>two tremendously hot people stranded on an island completely sexless.

0:14:58.080 --> 0:15:00.720
<v Speaker 3>We have to play by thirty rock rules where we're like, right,

0:15:01.080 --> 0:15:05.360
<v Speaker 3>Rachel McAdams is fugly. I hate to see her coming.

0:15:05.800 --> 0:15:10.240
<v Speaker 3>She's certainly not one of our most beautiful people. Sure, fine, Right,

0:15:10.560 --> 0:15:12.360
<v Speaker 3>movies will ask us to do this and we have

0:15:12.440 --> 0:15:15.480
<v Speaker 3>we have to, we have to comply. But yeah, I

0:15:15.520 --> 0:15:17.680
<v Speaker 3>don't know. They were like a few themes that they

0:15:17.720 --> 0:15:20.760
<v Speaker 3>do address, and triangle of sadness. Sex does become part

0:15:20.760 --> 0:15:24.280
<v Speaker 3>of the equation in an icky way, and triangle of

0:15:24.360 --> 0:15:27.600
<v Speaker 3>sadness and the way that power is explored just feels

0:15:27.640 --> 0:15:30.400
<v Speaker 3>a little less like oh, we're not gonna you know,

0:15:30.600 --> 0:15:34.200
<v Speaker 3>we'll deal with the violence around this plot, but we

0:15:34.240 --> 0:15:36.960
<v Speaker 3>won't deal with sex or desire or anything like that,

0:15:37.040 --> 0:15:40.640
<v Speaker 3>which I thought was like just kind of weird. And

0:15:40.960 --> 0:15:43.560
<v Speaker 3>then the good for her ending is something we've seen many, many,

0:15:43.560 --> 0:15:46.240
<v Speaker 3>many times at this point. But well, we'll get there,

0:15:46.360 --> 0:15:48.760
<v Speaker 3>we'll get there. Should we should we take a quick break.

0:15:48.760 --> 0:16:03.480
<v Speaker 2>Let's do it, and we're And here is the recap

0:16:03.640 --> 0:16:09.400
<v Speaker 2>of Send Help. We meet Linda Little played by Rachel McAdams.

0:16:10.120 --> 0:16:13.840
<v Speaker 3>She's she's ugly, she's hideous, ugly, ugly, ugly.

0:16:14.200 --> 0:16:18.000
<v Speaker 4>Her hair is greasy, and I the first moment she

0:16:18.080 --> 0:16:20.280
<v Speaker 4>came in, I was like, I'm calling now her hair

0:16:20.320 --> 0:16:22.600
<v Speaker 4>is going to be less greasy on the desert island

0:16:22.600 --> 0:16:24.800
<v Speaker 4>than it is in her office, And that was true.

0:16:25.120 --> 0:16:26.280
<v Speaker 2>We're right, I do.

0:16:26.440 --> 0:16:28.320
<v Speaker 3>I'm like, I want to give the movie a pass

0:16:28.400 --> 0:16:31.400
<v Speaker 3>on the like, the two main characters are such stock

0:16:31.600 --> 0:16:33.840
<v Speaker 3>characters that you kind of just have to roll with it,

0:16:34.160 --> 0:16:35.840
<v Speaker 3>but the fact that they go out of their way

0:16:35.920 --> 0:16:42.240
<v Speaker 3>later for Rachel McAdams to realize she's beautiful. Actually, when

0:16:42.240 --> 0:16:44.960
<v Speaker 3>she looks at her reflection, I'm like, al right, she

0:16:45.040 --> 0:16:48.960
<v Speaker 3>literally takes her glasses off, you know, two very broad

0:16:49.400 --> 0:16:51.880
<v Speaker 3>gendered types are appearing in this movie.

0:16:52.160 --> 0:16:54.680
<v Speaker 2>Yeah, she takes her glasses off, lets her hair down,

0:16:54.960 --> 0:16:57.880
<v Speaker 2>she's all that style, and suddenly she's gorgeous. But it's

0:16:57.880 --> 0:17:01.880
<v Speaker 2>also implied that like the eye lind makes her hotter.

0:17:02.840 --> 0:17:04.439
<v Speaker 3>This is where, okay, this is where it kind of

0:17:04.440 --> 0:17:07.159
<v Speaker 3>got into like lost vibes, and I'm like, ooh, I

0:17:07.359 --> 0:17:10.920
<v Speaker 3>love it. There's there are similarities between the character of

0:17:11.000 --> 0:17:14.159
<v Speaker 3>Linda Little and the character of John Locke on Lost

0:17:14.880 --> 0:17:17.959
<v Speaker 3>in that she really comes alive when hunting Bore and

0:17:18.000 --> 0:17:21.600
<v Speaker 3>everyone's like, what the hell, why how are they hunting bore?

0:17:21.960 --> 0:17:25.159
<v Speaker 3>And magical properties on the island making it so that

0:17:25.200 --> 0:17:27.960
<v Speaker 3>you don't need glasses and or don't have cancer anymore.

0:17:28.320 --> 0:17:29.720
<v Speaker 3>It's kind of Lost vibes.

0:17:30.240 --> 0:17:31.639
<v Speaker 2>Yeah, that's so true.

0:17:31.680 --> 0:17:35.800
<v Speaker 4>I really appreciate the costume designer who figured out what

0:17:35.960 --> 0:17:38.000
<v Speaker 4>she should be wearing to look like she was frumpy

0:17:38.040 --> 0:17:40.600
<v Speaker 4>in an office that would then turn into an outfit

0:17:40.680 --> 0:17:45.000
<v Speaker 4>that looked cool on a desert island. Yes. Yes, as

0:17:45.040 --> 0:17:47.600
<v Speaker 4>she gradually took the layers off like that, that is

0:17:47.640 --> 0:17:49.000
<v Speaker 4>some costume design.

0:17:49.280 --> 0:17:52.080
<v Speaker 3>By the end, she's in a she's like washboard abs

0:17:52.080 --> 0:17:54.040
<v Speaker 3>in a crop top and you're like, why the hell not,

0:17:54.400 --> 0:17:57.680
<v Speaker 3>why the hell not? Yes, this this the ugliest woman

0:17:57.720 --> 0:17:58.160
<v Speaker 3>at work.

0:17:58.840 --> 0:18:03.720
<v Speaker 2>Sure, right, So this is her character. Her hair and

0:18:03.800 --> 0:18:10.080
<v Speaker 2>her clothes are unkempt. She's like socially awkward and generally tuna.

0:18:10.200 --> 0:18:12.320
<v Speaker 2>It's stuck to her face and she works in this

0:18:12.560 --> 0:18:18.080
<v Speaker 2>office surrounded by a bunch of like dude bros. And

0:18:18.320 --> 0:18:22.600
<v Speaker 2>everyone is undermining her at work. We also learn that

0:18:22.840 --> 0:18:27.119
<v Speaker 2>she is obsessed with the show Survivor and with like

0:18:27.320 --> 0:18:30.000
<v Speaker 2>survival stuff in general, where she has all of these

0:18:30.000 --> 0:18:33.720
<v Speaker 2>books on how to survive in the wilderness and there's

0:18:33.760 --> 0:18:38.720
<v Speaker 2>all these pictures of her camping or otherwise outside doing

0:18:38.760 --> 0:18:42.960
<v Speaker 2>something in the wilderness. So back at work, when the

0:18:43.119 --> 0:18:49.600
<v Speaker 2>boss's son, Bradley Preston played by Dylan O'Brien, takes over

0:18:49.840 --> 0:18:54.879
<v Speaker 2>the company for his dad, Bradley gives the promotion to

0:18:55.080 --> 0:18:59.560
<v Speaker 2>VP that his father had promised to Linda. He gives

0:18:59.600 --> 0:19:02.320
<v Speaker 2>it to this guy named Donovan instead, who's another like

0:19:03.000 --> 0:19:08.360
<v Speaker 2>Fratborough guy who had taken credit for this big report

0:19:08.400 --> 0:19:11.280
<v Speaker 2>that Linda had prepared, and he takes all the credit

0:19:11.320 --> 0:19:15.320
<v Speaker 2>for her work. Linda confronts Bradley about not getting the promotion,

0:19:15.680 --> 0:19:18.520
<v Speaker 2>and he basically says that she is not likable enough

0:19:18.560 --> 0:19:21.440
<v Speaker 2>to get the job and that she eats too much

0:19:21.640 --> 0:19:26.040
<v Speaker 2>stinky tuna. Yeah, but he does invite her along to

0:19:26.200 --> 0:19:29.600
<v Speaker 2>this meeting about the Bangkok merger.

0:19:30.520 --> 0:19:33.280
<v Speaker 3>She it seems like she is the only person I

0:19:33.320 --> 0:19:36.080
<v Speaker 3>mean whatever, Like the movie does go way out of

0:19:36.080 --> 0:19:38.239
<v Speaker 3>its way to show that, like she obviously is the

0:19:38.240 --> 0:19:41.000
<v Speaker 3>person for the job, She's the only person that seems

0:19:41.040 --> 0:19:44.360
<v Speaker 3>to have cracked how this merger could take place. Who

0:19:44.400 --> 0:19:47.719
<v Speaker 3>knows how the hell that shit works. This is the

0:19:47.760 --> 0:19:50.280
<v Speaker 3>first of many times I don't know why, Like it

0:19:50.320 --> 0:19:52.000
<v Speaker 3>didn't bug me when I was just like watching it

0:19:52.040 --> 0:19:55.479
<v Speaker 3>in the theater. But both both lead characters in this

0:19:55.520 --> 0:20:02.480
<v Speaker 3>movie are so frustratingly gullible at every turn. Linda is like, yeah,

0:20:02.640 --> 0:20:04.720
<v Speaker 3>when you work at a company for seven years, they

0:20:04.800 --> 0:20:08.800
<v Speaker 3>then treat you well. I'm like, what year is it, Linda,

0:20:09.080 --> 0:20:12.760
<v Speaker 3>wake up? Wake up? Uh? And then when later when

0:20:12.840 --> 0:20:16.440
<v Speaker 3>these two just are obsessed with accepting food from each other,

0:20:16.520 --> 0:20:19.760
<v Speaker 3>I'm like, guys, guys, we have to stop accepting food

0:20:19.800 --> 0:20:21.880
<v Speaker 3>from each other. Anyways.

0:20:22.400 --> 0:20:25.320
<v Speaker 2>Yeah, they're two back to vaccines where they poison each other,

0:20:26.359 --> 0:20:27.400
<v Speaker 2>But we'll get there.

0:20:27.280 --> 0:20:33.560
<v Speaker 3>There is parody in in gullible decision making here right, Yeah, Okay.

0:20:33.600 --> 0:20:38.280
<v Speaker 2>So Linda Bradley, that guy Donovan, a couple of other

0:20:38.480 --> 0:20:43.960
<v Speaker 2>of like Bradley's bro buddies board a private jet to Thailand,

0:20:44.359 --> 0:20:48.879
<v Speaker 2>and on the plane, the men find Linda's audition tape

0:20:49.240 --> 0:20:54.280
<v Speaker 2>for Survivor, in which she's talking about how she knows

0:20:54.280 --> 0:20:56.719
<v Speaker 2>how to survive in the wilderness and she knows all

0:20:56.760 --> 0:20:59.080
<v Speaker 2>of the ways that you can make fire and has

0:20:59.119 --> 0:21:02.600
<v Speaker 2>all these other skills. But the guys are laughing at her,

0:21:02.840 --> 0:21:04.760
<v Speaker 2>and so she's humiliated.

0:21:05.040 --> 0:21:08.240
<v Speaker 4>God, it's such a good audition tape, though, She's like,

0:21:08.720 --> 0:21:12.080
<v Speaker 4>she's like scaling playgrounds, like doing ridiculous.

0:21:12.119 --> 0:21:13.600
<v Speaker 5>It's so good it would get.

0:21:13.480 --> 0:21:14.160
<v Speaker 2>Her on the show.

0:21:15.520 --> 0:21:18.000
<v Speaker 3>I know, I thought they were covering. I also like,

0:21:18.400 --> 0:21:21.760
<v Speaker 3>how dare you make fun of someone's uh survivor audition

0:21:21.840 --> 0:21:24.080
<v Speaker 3>tape that is a that is a grand tradition.

0:21:24.920 --> 0:21:25.360
<v Speaker 2>Huh.

0:21:25.359 --> 0:21:29.439
<v Speaker 3>Well yeah, because Blair, you you've been on survival shows before,

0:21:29.880 --> 0:21:32.840
<v Speaker 3>and so it's like if you if you approve it's good.

0:21:33.240 --> 0:21:33.760
<v Speaker 5>Well, I don't know.

0:21:33.800 --> 0:21:36.520
<v Speaker 4>I never had an audition tape. I was recruited.

0:21:36.880 --> 0:21:41.400
<v Speaker 5>You're but I I.

0:21:41.359 --> 0:21:43.280
<v Speaker 4>Mean, it's just gonna be ridiculous. You're just like they're

0:21:43.320 --> 0:21:45.640
<v Speaker 4>gonna make me look ridiculous. That's that's what you sign

0:21:45.720 --> 0:21:47.919
<v Speaker 4>up for. It's it's the game. It's fine.

0:21:48.600 --> 0:21:52.920
<v Speaker 2>Yeah. Yeah. There are a lot of like iMovie transitions,

0:21:52.960 --> 0:21:57.760
<v Speaker 2>silly like wipes and stuff between shots. But the point

0:21:57.840 --> 0:22:02.879
<v Speaker 2>is we know she has survival skills and that's about

0:22:02.880 --> 0:22:06.960
<v Speaker 2>to be very important because what happens next is they

0:22:07.359 --> 0:22:11.440
<v Speaker 2>hit some very violent turbulence and then the plane starts

0:22:11.520 --> 0:22:18.080
<v Speaker 2>like imploding and the door rips off. Several of the

0:22:18.280 --> 0:22:20.640
<v Speaker 2>guys are sucked out of the plane.

0:22:20.880 --> 0:22:23.359
<v Speaker 3>It's a very Sam Raimi way to crash a plane.

0:22:23.840 --> 0:22:29.119
<v Speaker 2>Oh yeah, yes, lots of like gory violence happening along

0:22:29.160 --> 0:22:29.640
<v Speaker 2>the way.

0:22:29.920 --> 0:22:32.840
<v Speaker 4>So Donovan, the guy who was going to get the

0:22:32.920 --> 0:22:35.760
<v Speaker 4>VP job over her, dies like gruesomely.

0:22:36.359 --> 0:22:36.600
<v Speaker 2>Yes.

0:22:36.680 --> 0:22:40.399
<v Speaker 4>And I was watching this yesterday with my family, My

0:22:40.520 --> 0:22:43.359
<v Speaker 4>kid's grandma, my mother in law's watching this and she

0:22:43.920 --> 0:22:46.600
<v Speaker 4>just shakes her head. She goes, Linda, you shouldn't have

0:22:46.600 --> 0:22:50.000
<v Speaker 4>come on the trip. You'd be VP right now.

0:22:50.600 --> 0:22:54.480
<v Speaker 3>That's so true. Oh my god, Sam, she could have

0:22:54.560 --> 0:22:57.800
<v Speaker 3>I mean, she could have been CEO. I mean because

0:22:57.840 --> 0:23:00.479
<v Speaker 3>Dylan O'Bryan would not have made out without her. Now,

0:23:00.640 --> 0:23:03.200
<v Speaker 3>I would have been dead. In five seconds. I also

0:23:03.280 --> 0:23:06.640
<v Speaker 3>loved that even in the middle of that like gruesome,

0:23:07.240 --> 0:23:11.120
<v Speaker 3>great flane crash, there are like character moments for both

0:23:11.160 --> 0:23:14.840
<v Speaker 3>of our our weird little guys where you know, Bradley

0:23:14.960 --> 0:23:17.840
<v Speaker 3>is like, get the fuck away from me, like immediately

0:23:18.000 --> 0:23:22.080
<v Speaker 3>just like tosses his best friend's question mark off a plane,

0:23:22.600 --> 0:23:27.160
<v Speaker 3>and Linda is like ultimately does choose to like save herself,

0:23:27.280 --> 0:23:31.080
<v Speaker 3>but also like thinks about it for a second take.

0:23:31.119 --> 0:23:34.960
<v Speaker 3>It is sad, it is not necessarily thrilled that they're

0:23:35.000 --> 0:23:37.680
<v Speaker 3>getting sucked into the ether, which feels.

0:23:37.400 --> 0:23:39.840
<v Speaker 2>She does try to help the men who are being

0:23:39.840 --> 0:23:42.560
<v Speaker 2>sucked out of the plane, but then when she realizes

0:23:42.520 --> 0:23:46.160
<v Speaker 2>that they're going to like sacrifice her for their safety,

0:23:46.280 --> 0:23:47.720
<v Speaker 2>she's like, never mind, fuck you.

0:23:47.680 --> 0:23:51.119
<v Speaker 3>Guys, exactly. Yeah, but I just I liked that that

0:23:51.119 --> 0:23:54.639
<v Speaker 3>that sets up their vibes on the island quite.

0:23:54.359 --> 0:23:58.399
<v Speaker 2>Well until the movie gets confused about the Linda character

0:23:58.640 --> 0:24:00.640
<v Speaker 2>and then and then they're like, wait, now I say

0:24:00.680 --> 0:24:04.520
<v Speaker 2>Linda is a murderer. At the end, at the end,

0:24:04.720 --> 0:24:07.320
<v Speaker 2>there's Linda's sort of like Jigsaw and you're.

0:24:07.160 --> 0:24:11.600
<v Speaker 3>Like, what there is they she does kind of go

0:24:12.160 --> 0:24:14.560
<v Speaker 3>Jigsaw and you're like, wait, this was her little Game.

0:24:14.920 --> 0:24:18.040
<v Speaker 3>I don't know if that makes sense given the movie

0:24:18.080 --> 0:24:20.840
<v Speaker 3>I just watched, but whatever, we'll talk about it.

0:24:21.160 --> 0:24:25.239
<v Speaker 2>Talk about it anyway. The plane crash lands in the

0:24:25.320 --> 0:24:29.920
<v Speaker 2>ocean near a remote uninhabited.

0:24:29.240 --> 0:24:30.919
<v Speaker 3>Island or is it?

0:24:31.119 --> 0:24:35.040
<v Speaker 2>Or is it? The only survivors are Linda and her

0:24:35.080 --> 0:24:40.600
<v Speaker 2>boss Bradley, who wash ashore on the island. Bradley's leg

0:24:40.960 --> 0:24:45.640
<v Speaker 2>is injured and he's unconscious at first, so Linda gets

0:24:45.680 --> 0:24:49.240
<v Speaker 2>to work on using all of her survival skills to

0:24:49.359 --> 0:24:54.240
<v Speaker 2>build a shelter from the raw materials on the island,

0:24:54.680 --> 0:24:58.480
<v Speaker 2>as well as to collect rain water for them to drink.

0:24:59.119 --> 0:25:03.440
<v Speaker 2>The next day, Bradley wakes up. He is so sad

0:25:03.520 --> 0:25:08.800
<v Speaker 2>that all of his broskies have perished, but Linda seems

0:25:09.080 --> 0:25:12.480
<v Speaker 2>excited to be there. She's kind of living out her

0:25:12.600 --> 0:25:18.000
<v Speaker 2>dream of being on Survivor. She builds a fire, she

0:25:18.600 --> 0:25:24.840
<v Speaker 2>catches and roasts some fish, which Bradley very reluctantly eats, because,

0:25:25.119 --> 0:25:31.520
<v Speaker 2>as we recall, he hates the smell and taste of fish,

0:25:31.560 --> 0:25:34.159
<v Speaker 2>and he is still repulsed by Linda, and he is

0:25:34.200 --> 0:25:39.000
<v Speaker 2>still undermining her and not appreciating all that she has

0:25:39.080 --> 0:25:43.200
<v Speaker 2>done to keep them alive so far. So she leaves

0:25:43.280 --> 0:25:46.879
<v Speaker 2>him stranded on the beach all day and night to

0:25:47.000 --> 0:25:51.520
<v Speaker 2>show him that the power dynamic has shifted. They're not

0:25:51.640 --> 0:25:54.680
<v Speaker 2>in the office anymore, he is no longer her boss,

0:25:55.320 --> 0:25:59.600
<v Speaker 2>but he is completely reliant on her for survival, and

0:25:59.800 --> 0:26:03.600
<v Speaker 2>she now holds all of the power in this situation.

0:26:04.000 --> 0:26:08.000
<v Speaker 3>I love this like it's I think, my favorite choice

0:26:08.000 --> 0:26:09.560
<v Speaker 3>in the movie, because I do feel like it kind

0:26:09.560 --> 0:26:12.400
<v Speaker 3>of goes off the rails towards the end. It just

0:26:12.440 --> 0:26:16.000
<v Speaker 3>feels so like Linda in like the ways that I

0:26:16.840 --> 0:26:20.520
<v Speaker 3>personally love Linda that like she is undercut, she is

0:26:20.640 --> 0:26:23.760
<v Speaker 3>treated like an employee, and she's like, Okay, I'm not

0:26:23.800 --> 0:26:25.760
<v Speaker 3>going to kill you, but I'm going to do something

0:26:26.119 --> 0:26:29.280
<v Speaker 3>that forces you to acknowledge my value. And it's like,

0:26:30.320 --> 0:26:33.399
<v Speaker 3>you know, women shouldn't have to do that, but she

0:26:33.440 --> 0:26:35.760
<v Speaker 3>did what she had to do, yes, And of course

0:26:35.800 --> 0:26:40.800
<v Speaker 3>he didn't learn his lesson. She's Here's okay ultimately, and

0:26:40.840 --> 0:26:42.800
<v Speaker 3>we're going to get to it soon. But I'm just

0:26:42.880 --> 0:26:45.680
<v Speaker 3>I'm still I forgot how strongly I felt this when

0:26:45.680 --> 0:26:47.639
<v Speaker 3>we left the movie the first time, and how strongly

0:26:47.680 --> 0:26:52.040
<v Speaker 3>I feel it now. Why couldn't she just have cut

0:26:52.040 --> 0:26:54.800
<v Speaker 3>his dick off? Why can't we just let her cut

0:26:54.880 --> 0:26:56.400
<v Speaker 3>his dick off? Why does it have to be a rat?

0:26:56.400 --> 0:26:59.720
<v Speaker 3>Why are we doing the hard candy thing? Just cut is?

0:27:00.640 --> 0:27:03.560
<v Speaker 3>Come tell me about it. We paid twenty dollars to

0:27:03.640 --> 0:27:04.240
<v Speaker 3>see this.

0:27:06.520 --> 0:27:07.399
<v Speaker 5>And it's a rat.

0:27:08.040 --> 0:27:12.520
<v Speaker 3>Come on now? I agree anyways, I agree anyway, But

0:27:12.680 --> 0:27:14.480
<v Speaker 3>you know two men wrote it, so they're like, there's

0:27:14.520 --> 0:27:14.880
<v Speaker 3>a rat.

0:27:15.119 --> 0:27:18.560
<v Speaker 2>Then did could never be cut off? Yeah? Okay, so

0:27:19.119 --> 0:27:25.320
<v Speaker 2>the power dynamic has shifted. Then she hunts a wild

0:27:25.400 --> 0:27:28.240
<v Speaker 2>boar for them to eat. The boar puts up a

0:27:28.280 --> 0:27:32.440
<v Speaker 2>fight and there's some classic Sam Raimi gore and blood splatter.

0:27:32.800 --> 0:27:36.520
<v Speaker 2>The scene is awesome, it's really fun. And then she

0:27:36.600 --> 0:27:40.560
<v Speaker 2>manages to kill the boar because again she is thriving

0:27:40.680 --> 0:27:43.679
<v Speaker 2>in this environment. And this is also when she starts

0:27:43.720 --> 0:27:48.560
<v Speaker 2>to get hotter, her hair and her skin look better. Again,

0:27:48.640 --> 0:27:51.960
<v Speaker 2>she's like figuring out how to wear her clothes to

0:27:52.040 --> 0:27:53.600
<v Speaker 2>make it so that they're more flattering.

0:27:53.840 --> 0:27:57.560
<v Speaker 3>But I mean, speaking to your point, Blair, I feel like, yeah,

0:27:57.600 --> 0:28:00.480
<v Speaker 3>this is like the Secuens where she's becoming She's not

0:28:00.600 --> 0:28:03.840
<v Speaker 3>conquering nature in the way that like men's stories tend

0:28:03.840 --> 0:28:07.120
<v Speaker 3>to go, but she's like becoming one with nature and.

0:28:07.280 --> 0:28:10.719
<v Speaker 4>Like right, and he accuses her of being Susie homemaker,

0:28:11.160 --> 0:28:15.200
<v Speaker 4>which I just that cracked me up because if Bear.

0:28:15.040 --> 0:28:18.040
<v Speaker 5>Grills was doing the things right he was doing.

0:28:19.080 --> 0:28:21.400
<v Speaker 2>You're like, oh my god, you're so cool. I can't

0:28:21.400 --> 0:28:24.879
<v Speaker 2>believe you know how to do this stuff. You're so valuable.

0:28:25.160 --> 0:28:27.960
<v Speaker 4>But it's okay, So like, I mean, this is something

0:28:27.960 --> 0:28:30.960
<v Speaker 4>when I've been researching real survival stories, like a lot

0:28:30.960 --> 0:28:34.640
<v Speaker 4>of times women in real quote unquote real survival situations

0:28:34.680 --> 0:28:37.800
<v Speaker 4>will like go out of their way to make things beautiful,

0:28:37.840 --> 0:28:40.120
<v Speaker 4>and men too, like they will make things beautiful. We

0:28:40.160 --> 0:28:43.280
<v Speaker 4>need beauty to survive, and so like these like a

0:28:43.400 --> 0:28:45.520
<v Speaker 4>rays of fish that look like you get them in

0:28:45.560 --> 0:28:48.680
<v Speaker 4>a fancy sushi restaurant with flowers, or like cups of

0:28:48.680 --> 0:28:53.360
<v Speaker 4>flowers on the table, or things that are decorated and pretty.

0:28:53.400 --> 0:28:56.120
<v Speaker 4>That's a very realistic thing for people to do when

0:28:56.160 --> 0:28:59.640
<v Speaker 4>they're stranded on a desert island. But for him, he's like,

0:28:59.680 --> 0:29:04.920
<v Speaker 4>not that as life affirming. He's just completely dismissive of

0:29:04.920 --> 0:29:05.800
<v Speaker 4>everything she's.

0:29:05.560 --> 0:29:09.560
<v Speaker 2>Doing, not even just the like making things esthetically pleasing,

0:29:09.600 --> 0:29:14.120
<v Speaker 2>but also just her like gathering water and food for them.

0:29:14.520 --> 0:29:16.560
<v Speaker 2>He's like, this is a fuck a waste of time.

0:29:17.080 --> 0:29:20.480
<v Speaker 2>You should be sending out a distress signal blah blah blah.

0:29:20.520 --> 0:29:24.080
<v Speaker 2>And she's like, I'm feeding us, I'm keeping us alive.

0:29:24.240 --> 0:29:25.640
<v Speaker 2>Like what are you talking about.

0:29:25.720 --> 0:29:28.320
<v Speaker 5>She's making a fire plow. You know how hard it

0:29:28.360 --> 0:29:30.320
<v Speaker 5>is to make fire with a fireplow.

0:29:30.920 --> 0:29:32.440
<v Speaker 2>I can only imagine.

0:29:32.360 --> 0:29:33.920
<v Speaker 5>It's basically impossible.

0:29:36.120 --> 0:29:40.000
<v Speaker 4>It's basically impossible to do. And she just is like casually,

0:29:40.040 --> 0:29:41.760
<v Speaker 4>like she just has all of these skills.

0:29:42.360 --> 0:29:42.880
<v Speaker 2>Yeah, I was.

0:29:42.960 --> 0:29:45.960
<v Speaker 3>I was so curious. Yeah, from your perspective, because I

0:29:46.000 --> 0:29:48.480
<v Speaker 3>know you've like you've done it yourself, You've studied somebody's

0:29:48.480 --> 0:29:53.240
<v Speaker 3>survival stories. Does this feel plausible like the way that it?

0:29:53.360 --> 0:29:53.680
<v Speaker 2>Okay?

0:29:54.800 --> 0:29:56.840
<v Speaker 4>I mean yes and no, Like I thought it was

0:29:56.960 --> 0:30:00.480
<v Speaker 4>very interesting, Like clearly someone writing the script or someone

0:30:00.600 --> 0:30:03.479
<v Speaker 4>doing the set design like has really researched. There's these

0:30:03.560 --> 0:30:06.040
<v Speaker 4>little details like when it starts raining, and she's like,

0:30:06.160 --> 0:30:07.240
<v Speaker 4>cover the fire.

0:30:07.840 --> 0:30:09.800
<v Speaker 5>Because it is so hard to get a coal.

0:30:10.760 --> 0:30:12.560
<v Speaker 4>As long as you have a coal, you can rebuild

0:30:12.560 --> 0:30:14.480
<v Speaker 4>a fire from a single coal, but it takes so

0:30:14.680 --> 0:30:17.680
<v Speaker 4>much labor to get that coal that once you have

0:30:17.720 --> 0:30:20.120
<v Speaker 4>a fire going, your goal is to like always keep

0:30:20.120 --> 0:30:21.920
<v Speaker 4>a hot coal in it. Twenty four to seven for

0:30:21.960 --> 0:30:24.520
<v Speaker 4>like months at a time. So I'm like that detail.

0:30:24.760 --> 0:30:28.240
<v Speaker 4>It starts raining and she's like cover the fire with leaves,

0:30:28.280 --> 0:30:29.880
<v Speaker 4>like people aren't.

0:30:29.640 --> 0:30:30.200
<v Speaker 5>Going to catch that.

0:30:30.280 --> 0:30:33.400
<v Speaker 4>But that is like deep into understanding of what it

0:30:33.400 --> 0:30:35.280
<v Speaker 4>would actually take to be on a desert island.

0:30:35.600 --> 0:30:35.920
<v Speaker 3>Nice.

0:30:36.280 --> 0:30:39.200
<v Speaker 4>And then there's these other moments like the spear that

0:30:39.280 --> 0:30:43.880
<v Speaker 4>she uses to hunt the bore is fire hardened at

0:30:43.880 --> 0:30:47.080
<v Speaker 4>the tip. Oh okay, so like the end is black,

0:30:47.120 --> 0:30:50.960
<v Speaker 4>which means that she like in between sharpening it was

0:30:51.000 --> 0:30:53.360
<v Speaker 4>hardening the wood over coals so it would become much

0:30:53.400 --> 0:30:55.240
<v Speaker 4>harder and be able to pierce the bore's skin. And

0:30:55.280 --> 0:30:58.200
<v Speaker 4>so you have this like sharpened piece of wood, but

0:30:58.240 --> 0:31:00.240
<v Speaker 4>it's very black at the end because of the like

0:31:00.280 --> 0:31:04.040
<v Speaker 4>painstaking process of blackening it. And I was just like, oh, somebody,

0:31:04.560 --> 0:31:07.720
<v Speaker 4>somebody did that, somebody who made this movie, like I see,

0:31:07.760 --> 0:31:13.280
<v Speaker 4>I see you, and not to be like too, I

0:31:13.320 --> 0:31:17.160
<v Speaker 4>personally have made a fire hardened spear and hunted a.

0:31:18.080 --> 0:31:21.920
<v Speaker 3>Whoa, uh huh, this is not surprising to hear.

0:31:22.560 --> 0:31:26.160
<v Speaker 4>I was like, oh my god, Linda, like I see

0:31:26.200 --> 0:31:28.880
<v Speaker 4>your girl, Like I know how many.

0:31:28.760 --> 0:31:30.320
<v Speaker 5>Days it took to make that spear.

0:31:31.400 --> 0:31:34.880
<v Speaker 2>Have you also stabbed out the boar's eyeball.

0:31:35.560 --> 0:31:38.280
<v Speaker 4>No, no, the boar actually had like left its home

0:31:38.320 --> 0:31:43.040
<v Speaker 4>and I did not succeed, but and like, yeah, you can't.

0:31:43.480 --> 0:31:45.760
<v Speaker 4>Like then at the end when the boar like impales

0:31:45.800 --> 0:31:48.120
<v Speaker 4>itself and that's the way she kills it, that's what

0:31:48.160 --> 0:31:50.200
<v Speaker 4>you got to do, because you're not strong enough to

0:31:50.200 --> 0:31:52.760
<v Speaker 4>impale it. But if its force is coming toward you

0:31:53.200 --> 0:31:55.920
<v Speaker 4>and you have the spear toward it, So like a

0:31:55.960 --> 0:31:58.760
<v Speaker 4>really good way to impale a boar actually is if

0:31:58.800 --> 0:32:02.440
<v Speaker 4>you can like find it's dead and then really deeply

0:32:02.480 --> 0:32:04.880
<v Speaker 4>bury a spear outside it so it's pointing toward the

0:32:04.960 --> 0:32:07.440
<v Speaker 4>opening and it has to be a fire hardened spear

0:32:07.560 --> 0:32:10.680
<v Speaker 4>and then smoke it out so it comes out running good.

0:32:10.720 --> 0:32:14.240
<v Speaker 2>Whoa wow, good to know. Thank you. Any other survival

0:32:14.280 --> 0:32:16.920
<v Speaker 2>tips you would like to share on this episode by

0:32:16.960 --> 0:32:17.960
<v Speaker 2>all means.

0:32:17.880 --> 0:32:20.400
<v Speaker 4>So, I was like nerding out over these, like there

0:32:20.400 --> 0:32:22.600
<v Speaker 4>were some things that were so unrealistic and some things

0:32:22.640 --> 0:32:25.800
<v Speaker 4>that were so like inside Baseball, and I was really

0:32:25.880 --> 0:32:26.480
<v Speaker 4>enjoying those.

0:32:27.800 --> 0:32:30.800
<v Speaker 3>That's so cool. I was. I couldn't find an answer

0:32:30.880 --> 0:32:32.520
<v Speaker 3>for this. I was looking to see if they had

0:32:32.560 --> 0:32:35.640
<v Speaker 3>like a survivalist consultant on this project.

0:32:35.760 --> 0:32:37.680
<v Speaker 4>They did they and they ignored them at times, but

0:32:37.720 --> 0:32:40.520
<v Speaker 4>they definitely was a consultant. Okay, it comes through.

0:32:40.760 --> 0:32:44.360
<v Speaker 3>That's so fascinating. Yeah, because I guess it's I don't know.

0:32:44.440 --> 0:32:47.320
<v Speaker 3>I guess, well, now I'm totally derailing. But is there

0:32:47.440 --> 0:32:49.960
<v Speaker 3>a movie that feels like is there a movie that

0:32:50.040 --> 0:32:53.480
<v Speaker 3>is like thought of by survivalists to be the closest

0:32:53.480 --> 0:32:55.880
<v Speaker 3>to an like authentic experience.

0:32:56.440 --> 0:32:59.760
<v Speaker 4>I don't know. Actually, I haven't seen all the movies,

0:32:59.800 --> 0:33:02.680
<v Speaker 4>and I also I'm not part of a survivalist culture.

0:33:02.760 --> 0:33:04.640
<v Speaker 4>I'm just an independent enthusiast.

0:33:05.120 --> 0:33:08.080
<v Speaker 3>And that does actually kind of make sense given the

0:33:08.080 --> 0:33:08.600
<v Speaker 3>whole thing.

0:33:09.760 --> 0:33:11.680
<v Speaker 4>So I think that there's probably a lot of like

0:33:11.880 --> 0:33:14.440
<v Speaker 4>communal wisdom among survivalists that I am.

0:33:14.320 --> 0:33:17.840
<v Speaker 5>Not privy to because I'm just sort of like at.

0:33:17.680 --> 0:33:21.920
<v Speaker 4>Home reading books survivalists or like going out in the woods.

0:33:22.000 --> 0:33:24.000
<v Speaker 4>It's like people just go out in the woods on

0:33:24.000 --> 0:33:25.720
<v Speaker 4>their own. I don't know if they really commune.

0:33:26.120 --> 0:33:28.280
<v Speaker 5>There's conferences. I guess I've never been to one.

0:33:28.560 --> 0:33:30.200
<v Speaker 3>I guess that that it is kind of a it

0:33:30.240 --> 0:33:33.800
<v Speaker 3>is a solo thing. That's kind of the point. But

0:33:34.320 --> 0:33:37.360
<v Speaker 3>that's so interesting that I mean, I'm glad that they

0:33:37.400 --> 0:33:39.600
<v Speaker 3>had a consultant. I'm sure that that's like where those

0:33:40.040 --> 0:33:43.160
<v Speaker 3>authentic details come from. And I guess we can also

0:33:43.200 --> 0:33:45.920
<v Speaker 3>tell the moments where they were like, well, this needs

0:33:45.920 --> 0:33:46.960
<v Speaker 3>to happen in the script.

0:33:47.280 --> 0:33:54.239
<v Speaker 2>So so back to the story. Tropical island survivalism is

0:33:54.400 --> 0:33:57.800
<v Speaker 2>really working out for Linda. She's thriving. The island has

0:33:57.840 --> 0:34:02.800
<v Speaker 2>given her a makeover somehow. And then she sees a

0:34:02.880 --> 0:34:07.040
<v Speaker 2>little boat by the shore and she's about to flag

0:34:07.080 --> 0:34:09.680
<v Speaker 2>it down because it seems like, oh, they're saved. But

0:34:09.760 --> 0:34:13.719
<v Speaker 2>then she says, hmm, no, not yet. It seems like

0:34:13.760 --> 0:34:18.400
<v Speaker 2>she wants to ride out this power trip that she's

0:34:18.600 --> 0:34:22.560
<v Speaker 2>on a bit longer. It has already been two weeks.

0:34:23.160 --> 0:34:26.440
<v Speaker 2>Bradley is very frustrated that they have not been found

0:34:26.480 --> 0:34:27.520
<v Speaker 2>and rescued yet.

0:34:27.760 --> 0:34:30.920
<v Speaker 3>Yes, while contributing nothing at all, nothing.

0:34:32.239 --> 0:34:36.760
<v Speaker 2>Yeah, his idea is to build a raft and try

0:34:36.760 --> 0:34:39.920
<v Speaker 2>to sail out to sea on it in the hopes

0:34:39.960 --> 0:34:42.759
<v Speaker 2>that they'll find a boat or a shipping route or

0:34:42.800 --> 0:34:44.759
<v Speaker 2>something like that. But Linda is like, no, no, no,

0:34:44.800 --> 0:34:46.280
<v Speaker 2>we need to stay on the island.

0:34:46.600 --> 0:34:50.320
<v Speaker 3>This iconically also happens and lost, and it also iconically

0:34:50.400 --> 0:34:54.640
<v Speaker 3>does not work. Yes, Walt burns it.

0:34:55.000 --> 0:34:59.200
<v Speaker 2>Oh my gosh, wow, I forgot Membo Walt anyway.

0:34:58.880 --> 0:34:59.200
<v Speaker 4>Id.

0:35:01.360 --> 0:35:05.680
<v Speaker 2>Anyway, Linda shuts down Bradley's idea about the raft, so

0:35:05.719 --> 0:35:10.600
<v Speaker 2>he is furious and he fires her and then goes

0:35:10.640 --> 0:35:15.160
<v Speaker 2>off and tries to build his own camp in a montage.

0:35:15.239 --> 0:35:18.920
<v Speaker 2>That is so funny because he's terrible at it.

0:35:19.200 --> 0:35:22.320
<v Speaker 5>He's actually average or good at it, I would.

0:35:22.120 --> 0:35:25.760
<v Speaker 2>Say, compared to Linda.

0:35:25.960 --> 0:35:29.240
<v Speaker 4>These things that she's making look easy are so hard

0:35:29.360 --> 0:35:32.359
<v Speaker 4>to do. Actually, I mean he's in there's some ways

0:35:32.400 --> 0:35:35.320
<v Speaker 4>he's like except like he can't like lean a stick

0:35:35.360 --> 0:35:37.600
<v Speaker 4>against a tree trunk, he like struggles to do that.

0:35:38.400 --> 0:35:40.440
<v Speaker 5>But like, he's not cartoonishly bad.

0:35:40.480 --> 0:35:43.320
<v Speaker 4>He's actually just sort of how a lot of people

0:35:43.440 --> 0:35:45.719
<v Speaker 4>would do. Like he can't make fire with a fireplow.

0:35:45.840 --> 0:35:47.480
<v Speaker 4>No one can make fire with a fireplow.

0:35:48.120 --> 0:35:48.919
<v Speaker 5>Like, no one can.

0:35:49.080 --> 0:35:50.040
<v Speaker 4>It's a waste of energy.

0:35:50.080 --> 0:35:52.959
<v Speaker 5>Don't even try use a bow drill if you must.

0:35:53.480 --> 0:35:56.719
<v Speaker 5>But like he's actually just very realistic.

0:35:56.760 --> 0:35:58.160
<v Speaker 4>He's not even cartoonishly bad.

0:35:58.440 --> 0:36:00.719
<v Speaker 2>I mean, right, I think about what I would do

0:36:00.760 --> 0:36:04.000
<v Speaker 2>if I were in this situation, and I would not

0:36:04.160 --> 0:36:06.000
<v Speaker 2>accomplish anything.

0:36:06.160 --> 0:36:07.759
<v Speaker 3>Yeah, so I would die.

0:36:07.960 --> 0:36:11.120
<v Speaker 2>I think I would die pretty immediately me. But compared

0:36:11.160 --> 0:36:13.440
<v Speaker 2>to Linda, I guess is the point he does not

0:36:13.520 --> 0:36:17.160
<v Speaker 2>seem very good at it because she seems exceptional at

0:36:17.320 --> 0:36:18.400
<v Speaker 2>these skills.

0:36:18.560 --> 0:36:21.320
<v Speaker 3>Yeah, I do appreciate your saying that this is probably

0:36:21.360 --> 0:36:24.560
<v Speaker 3>just what an average person would do, though, because but.

0:36:24.440 --> 0:36:27.200
<v Speaker 4>It's great, Like she's just watching him like that was

0:36:27.280 --> 0:36:28.920
<v Speaker 4>one of the most enjoyable seeds.

0:36:29.160 --> 0:36:33.680
<v Speaker 2>She's watching him, she's like crafting baskets and sun hats

0:36:33.760 --> 0:36:34.560
<v Speaker 2>and a hammock.

0:36:35.040 --> 0:36:38.400
<v Speaker 5>Because the humor isn't like that he's bad at it.

0:36:38.480 --> 0:36:41.600
<v Speaker 4>The humor is that he doesn't recognize that she's so

0:36:41.760 --> 0:36:44.640
<v Speaker 4>good at it, so he sees her doing things well

0:36:44.680 --> 0:36:47.960
<v Speaker 4>and then presumes instead of presuming she's very good at this,

0:36:48.040 --> 0:36:50.120
<v Speaker 4>he presumes it must be it might be easy, and

0:36:50.160 --> 0:36:53.000
<v Speaker 4>then he fails miserably. That's very funny.

0:36:53.120 --> 0:36:56.040
<v Speaker 3>Yes, I do like what like with Bradley consistently, because

0:36:56.080 --> 0:36:59.040
<v Speaker 3>both of these characters are so broad. These are stock

0:36:59.160 --> 0:37:02.480
<v Speaker 3>characters we have seen before in a new situation, but

0:37:02.800 --> 0:37:07.680
<v Speaker 3>that like consistently. He like part of his Part of

0:37:07.680 --> 0:37:11.600
<v Speaker 3>the reason that he almost dies so many times, like

0:37:11.800 --> 0:37:16.000
<v Speaker 3>on his own, is because he is like freakishly incurious

0:37:16.160 --> 0:37:21.080
<v Speaker 3>about his surroundings and he refuses to treat Linda as

0:37:21.080 --> 0:37:24.640
<v Speaker 3>a peer. He would rather do almost anything, including anchoring

0:37:25.040 --> 0:37:29.920
<v Speaker 3>significant physical pain before he will treat Linda as someone

0:37:30.000 --> 0:37:34.560
<v Speaker 3>deserving of respect and not as an employee, which definitely

0:37:34.640 --> 0:37:36.359
<v Speaker 3>works well in the story for.

0:37:36.280 --> 0:37:41.479
<v Speaker 2>Sure, and then he eventually gives up, although his last

0:37:41.480 --> 0:37:45.480
<v Speaker 2>ditch effort is to write out help on the beach

0:37:45.760 --> 0:37:48.680
<v Speaker 2>using a bunch of leaves and sticks, but he misspells

0:37:48.719 --> 0:37:53.960
<v Speaker 2>it and writes out hepple, and then Bradley gives up.

0:37:54.200 --> 0:37:58.160
<v Speaker 2>He on fires Linda. He apologizes for how he has

0:37:58.280 --> 0:38:03.359
<v Speaker 2>treated her and underrested her. He begs her to let

0:38:03.480 --> 0:38:06.920
<v Speaker 2>him come back to her camp, and she eventually agrees

0:38:07.320 --> 0:38:10.880
<v Speaker 2>and shares her lunch with him. She has made this

0:38:11.040 --> 0:38:16.880
<v Speaker 2>lovely spread of sushi and flowers and fruit, and meanwhile,

0:38:17.000 --> 0:38:21.160
<v Speaker 2>his leg has healed a lot. So Linda takes Bradley

0:38:21.280 --> 0:38:25.880
<v Speaker 2>on a walk through the wilderness up a mountain, and

0:38:25.920 --> 0:38:28.080
<v Speaker 2>then she shows him a spot on the other side

0:38:28.120 --> 0:38:32.200
<v Speaker 2>of the island where two rocks are like crisscrossed to

0:38:32.280 --> 0:38:34.719
<v Speaker 2>look like an X, and she says, don't go to

0:38:34.800 --> 0:38:38.399
<v Speaker 2>that part of the island. It's all poisoned vines and

0:38:38.560 --> 0:38:42.920
<v Speaker 2>thorn bushes. And then on their way back Linda almost

0:38:43.040 --> 0:38:46.920
<v Speaker 2>falls off a cliff where this like loose bit of

0:38:47.080 --> 0:38:51.160
<v Speaker 2>ground falls out from under her, but Bradley saves her.

0:38:51.200 --> 0:38:54.120
<v Speaker 2>But we'll put a pin in that, because that's like

0:38:54.840 --> 0:39:00.400
<v Speaker 2>Chekhov's loose ground on the cliff. And then at the

0:39:00.440 --> 0:39:05.520
<v Speaker 2>camp they get drunk off of fermented fruit alcohol that

0:39:05.600 --> 0:39:10.840
<v Speaker 2>she made. They share their backstories, where Bradley says that

0:39:11.080 --> 0:39:15.719
<v Speaker 2>his parents were distant and abusive and hm, maybe that's

0:39:15.719 --> 0:39:19.319
<v Speaker 2>why he's the way he is now. Linda tells him

0:39:19.640 --> 0:39:24.359
<v Speaker 2>that she was married before, but her husband, who was

0:39:24.480 --> 0:39:29.040
<v Speaker 2>also abusive, died in a car accident because she let

0:39:29.120 --> 0:39:32.759
<v Speaker 2>him get behind the wheel when he was drunk. And

0:39:32.800 --> 0:39:35.400
<v Speaker 2>then she also is like, ha I love it here.

0:39:35.480 --> 0:39:40.080
<v Speaker 2>I never want to leave the island, sweetie, And we're like, oh,

0:39:40.320 --> 0:39:46.600
<v Speaker 2>something's happening there. The next day, a violent storm hits

0:39:46.640 --> 0:39:50.879
<v Speaker 2>the island, so they head inland to a cave. They're

0:39:50.920 --> 0:39:54.400
<v Speaker 2>all cold and wet, and they huddle together for body heat,

0:39:55.080 --> 0:39:59.000
<v Speaker 2>and again it seems like there's a vibe shift where

0:39:59.120 --> 0:40:03.600
<v Speaker 2>maybe something romantic is going to happen between them. And

0:40:03.640 --> 0:40:06.680
<v Speaker 2>then they make a plan to rebuild their camp that

0:40:06.880 --> 0:40:10.799
<v Speaker 2>washed away in the storm together almost like they're a

0:40:10.920 --> 0:40:12.520
<v Speaker 2>couple or their.

0:40:12.440 --> 0:40:15.880
<v Speaker 3>Mother and son, like that's sort of the dynamic that

0:40:16.520 --> 0:40:21.160
<v Speaker 3>is being I think sort of played around with in

0:40:21.200 --> 0:40:24.359
<v Speaker 3>this and I felt like, I don't know if I'm

0:40:24.400 --> 0:40:27.640
<v Speaker 3>like pro or con I'm saying this neutrallly. It felt

0:40:27.640 --> 0:40:29.840
<v Speaker 3>like at some point the movie kind of like wouldn't

0:40:29.840 --> 0:40:32.920
<v Speaker 3>make up its mind about which direction they wanted this

0:40:33.040 --> 0:40:37.000
<v Speaker 3>dynamic to go in, or like how exactly the characters

0:40:37.000 --> 0:40:39.840
<v Speaker 3>were feeling about it. This is but maybe this is

0:40:39.880 --> 0:40:42.480
<v Speaker 3>just me comparing it to Triangle of a Sadness, which

0:40:42.560 --> 0:40:47.440
<v Speaker 3>makes a hard decision where the women in Triangle of Sadness,

0:40:47.480 --> 0:40:49.440
<v Speaker 3>I have to just look up the character name. The

0:40:49.760 --> 0:40:52.680
<v Speaker 3>woman who was previously an employee on the cruise ship

0:40:52.719 --> 0:40:55.200
<v Speaker 3>and then you know, is the only person with survival

0:40:55.520 --> 0:41:01.880
<v Speaker 3>knowledge basically takes the hot guy like it breaks up

0:41:01.920 --> 0:41:05.439
<v Speaker 3>a couple and has says like, Okay, hot guy, you're

0:41:05.440 --> 0:41:07.960
<v Speaker 3>going to live with me now and we're going to

0:41:08.000 --> 0:41:11.640
<v Speaker 3>have sex and you will be protected by me in

0:41:11.800 --> 0:41:15.200
<v Speaker 3>sort of exchange for this arrangement. And so you know,

0:41:15.280 --> 0:41:20.000
<v Speaker 3>Triangle of Sadness does not shy away from explicitly sexual

0:41:20.080 --> 0:41:23.880
<v Speaker 3>dynamics that develop in this survivalist community. But I mean

0:41:24.000 --> 0:41:26.799
<v Speaker 3>in scent help. There's only two of them, and so

0:41:27.520 --> 0:41:29.840
<v Speaker 3>I don't know. I guess I don't have like I

0:41:29.880 --> 0:41:31.960
<v Speaker 3>didn't want something to happen. It just felt like the

0:41:32.000 --> 0:41:36.759
<v Speaker 3>movie was like ignoring what felt like claro dynamics. I

0:41:36.800 --> 0:41:39.040
<v Speaker 3>don't know, but what do we think? What do we think?

0:41:39.600 --> 0:41:42.280
<v Speaker 2>It feels messy to me because it feels it seems

0:41:42.320 --> 0:41:48.400
<v Speaker 2>like it's hinting that Linda is attracted to Bradley, she

0:41:48.640 --> 0:41:54.239
<v Speaker 2>might potentially be romantically interested in him, but then it

0:41:54.320 --> 0:41:57.360
<v Speaker 2>kind of walks that back different times, but then it

0:41:57.480 --> 0:41:59.959
<v Speaker 2>happens again at the very end, which we'll talk about

0:42:00.040 --> 0:42:02.680
<v Speaker 2>out in a scene that was very frustrating to me

0:42:03.360 --> 0:42:06.600
<v Speaker 2>when they're like professing their love for each other. But yeah,

0:42:06.840 --> 0:42:09.560
<v Speaker 2>to me, it just feels like quite messy and that

0:42:10.200 --> 0:42:14.120
<v Speaker 2>the movie doesn't really know what's going on and that

0:42:14.200 --> 0:42:19.600
<v Speaker 2>it describes it's like abscribing frustrating qualities to the woman

0:42:19.960 --> 0:42:24.400
<v Speaker 2>character like this this single, unmarried woman character.

0:42:24.640 --> 0:42:28.520
<v Speaker 3>Yeah, well, well to construct this, But yeah, I guess

0:42:28.560 --> 0:42:31.520
<v Speaker 3>it was like I I the actors have I thought,

0:42:31.560 --> 0:42:35.360
<v Speaker 3>like really great chemistry and could have got like committed

0:42:35.400 --> 0:42:39.520
<v Speaker 3>to either direction of the like weird, like the messy

0:42:39.600 --> 0:42:42.720
<v Speaker 3>dynamic of like she is acting basically in a maternal

0:42:42.760 --> 0:42:44.879
<v Speaker 3>capacity to them, but there does seem to be some

0:42:44.920 --> 0:42:47.080
<v Speaker 3>sort of attraction, but the movie just sort of is

0:42:47.120 --> 0:42:49.640
<v Speaker 3>like shrug anyways, anyways, anyways.

0:42:49.239 --> 0:42:51.640
<v Speaker 4>But she's acting in a maternal capacity but also an

0:42:51.640 --> 0:42:56.600
<v Speaker 4>abusive capacity, right, it presumes always that, Like I feel

0:42:56.640 --> 0:42:59.680
<v Speaker 4>like the presumption here is like if a woman has

0:42:59.719 --> 0:43:04.440
<v Speaker 4>more than a man, she will be abusive with that too. Yeah, right,

0:43:04.600 --> 0:43:07.400
<v Speaker 4>Like that's sort of the logic within the film.

0:43:07.360 --> 0:43:12.440
<v Speaker 2>Which is fair. I mean, the concept of like absolute

0:43:12.600 --> 0:43:18.920
<v Speaker 2>power corrupts absolutely is like not gender specific, but right, it's.

0:43:18.800 --> 0:43:21.800
<v Speaker 3>Not like Bradley would have done more with, like better

0:43:22.200 --> 0:43:26.439
<v Speaker 3>by that power if he had the ability to hold it.

0:43:26.680 --> 0:43:29.200
<v Speaker 3>But I also I feel like we're given some and

0:43:29.200 --> 0:43:31.560
<v Speaker 3>now I'm like, maybe there are like lynkers to it.

0:43:31.600 --> 0:43:35.440
<v Speaker 3>I haven't considered. I'm not sure where the information we're

0:43:35.440 --> 0:43:37.800
<v Speaker 3>given about the two of them in the toilet wine

0:43:37.800 --> 0:43:42.080
<v Speaker 3>scene is like really interesting because like we're told that

0:43:42.239 --> 0:43:45.440
<v Speaker 3>Bradley like speaking to like what we were just saying Blair,

0:43:45.600 --> 0:43:49.440
<v Speaker 3>like she is acting as a caretaker, but an abusive caretaker,

0:43:49.560 --> 0:43:53.680
<v Speaker 3>and that is Bradley's background is he grew up with

0:43:53.800 --> 0:43:57.239
<v Speaker 3>abusive caretakers. But I feel like that doesn't if that's

0:43:57.320 --> 0:43:59.680
<v Speaker 3>meant to come out in their dynamic. I feel like

0:43:59.719 --> 0:44:02.480
<v Speaker 3>it was like it could have maybe been clearer. And

0:44:02.520 --> 0:44:07.440
<v Speaker 3>then Linda's story is like wildly charged of like I

0:44:07.800 --> 0:44:12.640
<v Speaker 3>guess I wasn't I wasn't sure with her character if

0:44:12.680 --> 0:44:16.320
<v Speaker 3>this is like because she was also abused and then

0:44:16.600 --> 0:44:19.160
<v Speaker 3>knew that her husband was going to be, you know,

0:44:19.320 --> 0:44:23.040
<v Speaker 3>risking his and other safety and you know whatever, that's

0:44:23.040 --> 0:44:26.360
<v Speaker 3>a whole ethical myer that this movie's not equipped to handle.

0:44:26.360 --> 0:44:29.960
<v Speaker 3>And that's fine, but I don't know, like it felt

0:44:29.960 --> 0:44:33.319
<v Speaker 3>like that was such a like specific, intense piece of

0:44:33.320 --> 0:44:38.439
<v Speaker 3>information and I don't know if she feels a type

0:44:38.480 --> 0:44:39.799
<v Speaker 3>of way about it. I don't know if she really

0:44:39.800 --> 0:44:41.680
<v Speaker 3>feels remorse about it. And then it kind of just

0:44:41.760 --> 0:44:44.600
<v Speaker 3>like this we learned that kind of right before she

0:44:44.680 --> 0:44:47.600
<v Speaker 3>like quote unquote goes off the deep end in terms

0:44:47.600 --> 0:44:51.239
<v Speaker 3>of like violence and grabbing at everything to make sure

0:44:51.280 --> 0:44:55.400
<v Speaker 3>that they stay on the island, and yeah, don't I

0:44:55.400 --> 0:44:58.040
<v Speaker 3>don't know. I really liked that scene of them opening up.

0:44:58.320 --> 0:45:00.759
<v Speaker 3>And then I feel like, ultimately I didn't really do

0:45:01.920 --> 0:45:06.160
<v Speaker 3>too much with their revelations because like if the revelations

0:45:06.160 --> 0:45:08.719
<v Speaker 3>are meant to say, here are these two stock characters,

0:45:08.840 --> 0:45:12.640
<v Speaker 3>but they're actually way more nuanced than you thought. But

0:45:12.680 --> 0:45:14.400
<v Speaker 3>then they kind of just go back to acting like

0:45:14.440 --> 0:45:17.760
<v Speaker 3>the stock characters through the rest of the movie.

0:45:17.280 --> 0:45:19.799
<v Speaker 5>I found her background.

0:45:20.600 --> 0:45:23.640
<v Speaker 4>I read it as having explanatory power for her being

0:45:23.680 --> 0:45:27.680
<v Speaker 4>a survival buff right, Like her husband of a decade

0:45:27.880 --> 0:45:32.080
<v Speaker 4>is abusive, was abusive, so her home was a site

0:45:32.120 --> 0:45:34.480
<v Speaker 4>of survival, and a way to deal with that is

0:45:34.520 --> 0:45:37.080
<v Speaker 4>to become obsessed with like survival as a sort of

0:45:37.200 --> 0:45:40.400
<v Speaker 4>isolated concept and prove to yourself that it's something you

0:45:40.440 --> 0:45:41.000
<v Speaker 4>can tolerate.

0:45:41.400 --> 0:45:41.760
<v Speaker 3>Yeah.

0:45:41.880 --> 0:45:44.480
<v Speaker 4>I mean, one of my big theories about survival in

0:45:44.520 --> 0:45:46.720
<v Speaker 4>general is that, like wilderness, survival is not a separate

0:45:46.760 --> 0:45:48.399
<v Speaker 4>category from other survival in life.

0:45:48.440 --> 0:45:52.360
<v Speaker 5>It's just sort of like a distilled version of.

0:45:52.239 --> 0:45:54.319
<v Speaker 4>All the survival challenges we have that allow us to

0:45:54.320 --> 0:45:57.000
<v Speaker 4>sort of look at it head on. And so, I

0:45:57.000 --> 0:45:59.400
<v Speaker 4>don't know, I just interpreted when she's talking about that,

0:45:59.400 --> 0:46:01.440
<v Speaker 4>I was like, Oh, that's why she got into survival

0:46:01.640 --> 0:46:03.800
<v Speaker 4>is because it's something that she was doing on a

0:46:03.880 --> 0:46:07.279
<v Speaker 4>daily basis in her household. So, like, her response to

0:46:07.320 --> 0:46:10.759
<v Speaker 4>trauma is partly reflected in the fact that like all

0:46:10.800 --> 0:46:13.560
<v Speaker 4>of her bookshelves are like that we see in her

0:46:13.600 --> 0:46:16.919
<v Speaker 4>apartment early on, are like how do you survive when

0:46:17.320 --> 0:46:19.160
<v Speaker 4>a situation in which it's very hard to do?

0:46:19.280 --> 0:46:21.840
<v Speaker 2>How to survive? And how to talk to your bird?

0:46:22.600 --> 0:46:28.759
<v Speaker 4>Yeah, exactly Like to me that felt linked, Yeah, implicitly

0:46:28.840 --> 0:46:30.320
<v Speaker 4>linked in her character.

0:46:30.560 --> 0:46:31.520
<v Speaker 2>That makes a lot of sense.

0:46:31.600 --> 0:46:34.759
<v Speaker 3>I hadn't thought about it from that angle, but that

0:46:35.040 --> 0:46:41.680
<v Speaker 3>absolutely makes complete sense. Yeah, Linda is so there's so

0:46:41.840 --> 0:46:44.439
<v Speaker 3>much there. I guess I just get frustrated with where

0:46:44.480 --> 0:46:47.359
<v Speaker 3>this story lands for her because it feels like kind

0:46:47.400 --> 0:46:51.640
<v Speaker 3>of a contrived ending to like this very nuanced or

0:46:51.719 --> 0:46:53.640
<v Speaker 3>this like deceptively nuanced character.

0:46:54.160 --> 0:46:55.440
<v Speaker 2>Yeah, I agree.

0:46:55.640 --> 0:46:56.160
<v Speaker 3>Interesting.

0:46:56.480 --> 0:47:00.520
<v Speaker 2>Yeah, In any case, Linda and Bradley are now working

0:47:00.640 --> 0:47:06.759
<v Speaker 2>together to build a new shelter. They seem to be

0:47:06.960 --> 0:47:12.479
<v Speaker 2>on decent terms at the moment. And also Linda has

0:47:12.760 --> 0:47:16.840
<v Speaker 2>a knife that she has been using for different things

0:47:16.920 --> 0:47:21.080
<v Speaker 2>that she said had washed up on shore, but she

0:47:21.200 --> 0:47:24.240
<v Speaker 2>used the one with a knife. She never lets Bradley use.

0:47:24.080 --> 0:47:27.799
<v Speaker 3>It, which, unfortunately, I feel like the reveal later kind

0:47:27.800 --> 0:47:31.200
<v Speaker 3>of stands to kind of undercut a lot of like

0:47:31.520 --> 0:47:34.640
<v Speaker 3>what it seems like Linda like these amazing things Linda

0:47:34.719 --> 0:47:37.319
<v Speaker 3>is doing as a survivalist at the ending causes you

0:47:37.360 --> 0:47:39.840
<v Speaker 3>to be like, well, she kind of wasn't doing a

0:47:39.880 --> 0:47:42.560
<v Speaker 3>lot of that, was she. But we'll get there a

0:47:42.560 --> 0:47:43.000
<v Speaker 3>little bit.

0:47:43.000 --> 0:47:46.320
<v Speaker 2>But we do see her in the very first sequence

0:47:46.320 --> 0:47:48.680
<v Speaker 2>where she's like building the initial shelter.

0:47:48.520 --> 0:47:49.840
<v Speaker 3>The initial stuff, like her.

0:47:49.719 --> 0:47:54.360
<v Speaker 2>Bashes a rock to like create a jagged like piece

0:47:54.360 --> 0:47:56.960
<v Speaker 2>of a rock, and then she kills that boar when

0:47:57.000 --> 0:48:00.000
<v Speaker 2>she caused a bore. And also like, I mean, correct

0:48:00.040 --> 0:48:05.359
<v Speaker 2>me if I'm wrong, Blair, But survivalists, like they have tools, right,

0:48:05.480 --> 0:48:07.359
<v Speaker 2>such as knives and other.

0:48:07.400 --> 0:48:09.680
<v Speaker 4>Yeah, Like if someone is in a shipwreck or a

0:48:09.680 --> 0:48:12.080
<v Speaker 4>plane goes down, they often have the contents of the

0:48:12.200 --> 0:48:15.600
<v Speaker 4>entire ship, right, But that doesn't mean they're not don't

0:48:15.640 --> 0:48:18.279
<v Speaker 4>have to be extremely creative because they can't get out,

0:48:18.320 --> 0:48:20.359
<v Speaker 4>and they have to take the tools they have and

0:48:20.800 --> 0:48:23.480
<v Speaker 4>use them in every way possible to meet every one

0:48:23.480 --> 0:48:26.200
<v Speaker 4>of their needs. Like to me, that didn't diminish her

0:48:26.200 --> 0:48:27.160
<v Speaker 4>survival skills.

0:48:26.920 --> 0:48:27.600
<v Speaker 3>At all, totally.

0:48:27.800 --> 0:48:31.000
<v Speaker 2>I could have a well stocked kitchen and I would

0:48:31.040 --> 0:48:39.000
<v Speaker 2>still die in the wilderness. Okay, So Bradley then offers

0:48:39.080 --> 0:48:43.680
<v Speaker 2>to make Linda dinner the following night. Again, the vibes

0:48:43.719 --> 0:48:47.200
<v Speaker 2>are unclear. You could read this as like, are they

0:48:47.239 --> 0:48:47.879
<v Speaker 2>on a date?

0:48:48.280 --> 0:48:50.680
<v Speaker 3>She's got a flower, she's got a flower in her hair,

0:48:50.760 --> 0:48:51.560
<v Speaker 3>that's the that's alway.

0:48:51.560 --> 0:48:53.560
<v Speaker 2>It seems like she thinks it's a date, that's all

0:48:53.560 --> 0:48:55.920
<v Speaker 2>we know. But then she starts to feel very woozy

0:48:56.040 --> 0:48:59.800
<v Speaker 2>and it turns out that he has poisoned her. And

0:49:00.280 --> 0:49:04.200
<v Speaker 2>when she becomes incapacitated, he gets on a raft that

0:49:04.320 --> 0:49:08.680
<v Speaker 2>he secretly built and tries to escape, but his raft

0:49:08.760 --> 0:49:14.160
<v Speaker 2>almost immediately breaks apart, and then Linda, who is still alive,

0:49:14.960 --> 0:49:18.000
<v Speaker 2>saves him, but she's also like barfing on his face

0:49:18.239 --> 0:49:18.960
<v Speaker 2>from that was.

0:49:18.960 --> 0:49:23.840
<v Speaker 3>Supporting big old Sam Raimie bar the worst scene.

0:49:24.000 --> 0:49:25.960
<v Speaker 4>I couldn't I couldn't watch.

0:49:25.680 --> 0:49:30.600
<v Speaker 2>It, but classic Sam Raymie. Yeah. And then and then

0:49:30.640 --> 0:49:35.160
<v Speaker 2>the next day, to retaliate, she poisons him with an

0:49:35.239 --> 0:49:40.000
<v Speaker 2>octopus that she had caught that contains like neurotoxins that

0:49:40.440 --> 0:49:45.480
<v Speaker 2>paralyze him, and while he's unable to move, she pulls

0:49:45.480 --> 0:49:50.799
<v Speaker 2>out her knife and acts like she's castrating him, but

0:49:51.040 --> 0:49:54.920
<v Speaker 2>just kidding. She was slicing a dead rat. But she

0:49:55.600 --> 0:50:00.359
<v Speaker 2>like threatens him that the next time to chop off his.

0:50:00.760 --> 0:50:04.000
<v Speaker 3>Nuts, which is actually not true because the next time

0:50:04.040 --> 0:50:06.480
<v Speaker 3>she has the opportunity to physically harm him, there's no

0:50:06.560 --> 0:50:09.000
<v Speaker 3>bullets in the gun, So I just am like, let

0:50:09.160 --> 0:50:12.200
<v Speaker 3>Linda kill this guy. Why are we putting all of

0:50:12.239 --> 0:50:15.319
<v Speaker 3>these narrative ideas away? But and again, maybe this is

0:50:15.400 --> 0:50:18.319
<v Speaker 3>just like a scene in this movie that I think

0:50:18.440 --> 0:50:21.759
<v Speaker 3>is like pulled from almost like copy pasted from a

0:50:21.760 --> 0:50:25.200
<v Speaker 3>better movie, which is like this is the scene from

0:50:25.400 --> 0:50:30.840
<v Speaker 3>Hard Candy where Elliott Page says that Patrick Wilson is

0:50:30.880 --> 0:50:34.279
<v Speaker 3>being castrated, but in fact that's not the case, and

0:50:34.320 --> 0:50:37.480
<v Speaker 3>it is. I mean, it's super effective, but like this,

0:50:38.360 --> 0:50:41.120
<v Speaker 3>I don't think Scent Help is doing anything really new

0:50:41.400 --> 0:50:45.680
<v Speaker 3>with that scenario. Yeah, I don't know, maybeybe it's just

0:50:45.719 --> 0:50:47.920
<v Speaker 3>as a Hard Candy head, I was like, hey, you can't,

0:50:48.200 --> 0:50:49.359
<v Speaker 3>can't fucking do that?

0:50:49.640 --> 0:50:52.719
<v Speaker 2>Do that? You can also and also just cut off

0:50:52.760 --> 0:50:56.360
<v Speaker 2>his balls. He like poisoned you and was about to

0:50:56.400 --> 0:50:58.560
<v Speaker 2>abandon you. Pop his stick off.

0:50:58.760 --> 0:51:01.520
<v Speaker 3>There's this state between the two of them where it's

0:51:01.520 --> 0:51:04.000
<v Speaker 3>like you get the feeling that she wants him to

0:51:04.040 --> 0:51:07.880
<v Speaker 3>do better, or like wants to believe he's capable of better,

0:51:08.200 --> 0:51:11.239
<v Speaker 3>but like there's no evidence to really support that. So

0:51:11.320 --> 0:51:14.480
<v Speaker 3>I don't I don't know. I don't know. Maybe I'm

0:51:14.560 --> 0:51:17.799
<v Speaker 3>just a sadist, and I think, like, but but if

0:51:17.840 --> 0:51:22.040
<v Speaker 3>this movie is like supposed to be a like, like

0:51:22.120 --> 0:51:25.080
<v Speaker 3>a woman who has been mistreated and ignored in her

0:51:25.120 --> 0:51:29.400
<v Speaker 3>place of work getting the greatest revenge opportunity of all time,

0:51:30.280 --> 0:51:32.960
<v Speaker 3>I think, I'm like, just let her have it, Let

0:51:32.960 --> 0:51:35.359
<v Speaker 3>her do it. Why does she have to show him

0:51:35.400 --> 0:51:39.240
<v Speaker 3>mercy this deep into the movie? But you know, cynically,

0:51:39.239 --> 0:51:42.120
<v Speaker 3>I'm like, well, two men wrote it, so that's why.

0:51:42.680 --> 0:51:45.040
<v Speaker 3>But who knows. I don't know. Yeah, I wish they'd

0:51:45.040 --> 0:51:45.719
<v Speaker 3>just let her have it.

0:51:46.480 --> 0:51:52.720
<v Speaker 2>I agree anyway. A little later, when Linda is off

0:51:53.120 --> 0:52:00.960
<v Speaker 2>gathering fruits, another boat approaches with Bradley's fiancee Ury played

0:52:00.960 --> 0:52:04.759
<v Speaker 2>by edel Ismail, who has been looking for Bradley this

0:52:04.840 --> 0:52:08.480
<v Speaker 2>whole time, but not wanting to give up her position

0:52:08.560 --> 0:52:15.120
<v Speaker 2>of power. Linda leads Zuri and the boat captain along

0:52:15.560 --> 0:52:20.000
<v Speaker 2>the treacherous path on the cliff side where Linda almost

0:52:20.120 --> 0:52:24.640
<v Speaker 2>fell and died earlier, and it seems like Zuri and

0:52:25.120 --> 0:52:28.560
<v Speaker 2>the boat captain maybe also die, but we kind of

0:52:28.640 --> 0:52:34.360
<v Speaker 2>cut away to Linda returning to the camp being very depressed,

0:52:34.760 --> 0:52:38.239
<v Speaker 2>perhaps from the murders that she may or may not

0:52:38.280 --> 0:52:42.319
<v Speaker 2>have just committed. She has a nightmare about it. And

0:52:42.360 --> 0:52:47.520
<v Speaker 2>then the next day Bradley finds Zuri's body mostly buried

0:52:47.520 --> 0:52:51.600
<v Speaker 2>in the sand, and so he confronts Linda about killing Zuri,

0:52:52.280 --> 0:52:55.319
<v Speaker 2>and they start fighting, and they're strangling each other and

0:52:55.320 --> 0:52:58.040
<v Speaker 2>they're ripping bits off of each other, and he pokes

0:52:58.040 --> 0:53:01.160
<v Speaker 2>out Linda's eye and she stabs with her knife, and

0:53:01.680 --> 0:53:08.360
<v Speaker 2>again more classic Samaraimi violence. And then Bradley escapes toward

0:53:08.440 --> 0:53:11.360
<v Speaker 2>the part of the island with all of the poisoned

0:53:11.440 --> 0:53:16.799
<v Speaker 2>vines and thorns, except just kidding, that's actually where this

0:53:16.920 --> 0:53:23.319
<v Speaker 2>like luxury beach house is located, and he breaks in.

0:53:23.840 --> 0:53:27.880
<v Speaker 2>Linda follows him inside and then gets on the intercom

0:53:29.000 --> 0:53:31.839
<v Speaker 2>and reveals that she has been coming to this beach

0:53:31.880 --> 0:53:34.960
<v Speaker 2>house for a while. This is where she got the knife.

0:53:35.840 --> 0:53:38.640
<v Speaker 2>And then we also get a flashback here that confirms

0:53:38.800 --> 0:53:44.040
<v Speaker 2>that she definitely murdered Zuri and the boat captain. So

0:53:44.080 --> 0:53:48.280
<v Speaker 2>she's like gone off the rails. Basically, she finds Bradley

0:53:48.760 --> 0:53:52.239
<v Speaker 2>pulls a gun on him. He begs for mercy and

0:53:52.360 --> 0:53:55.520
<v Speaker 2>says that she's the most incredible person he's ever met.

0:53:56.360 --> 0:53:59.319
<v Speaker 2>He wants to build a life together here on the

0:53:59.360 --> 0:54:04.000
<v Speaker 2>island because he loves her, and she's like, exactly, let's

0:54:04.040 --> 0:54:07.760
<v Speaker 2>do it. I love you too, but he was lying

0:54:08.080 --> 0:54:11.800
<v Speaker 2>and he attacks her again, though she gets the upper

0:54:11.840 --> 0:54:15.840
<v Speaker 2>hand and finally kills him with a golf club golf

0:54:15.880 --> 0:54:17.000
<v Speaker 2>club to the head.

0:54:16.760 --> 0:54:20.799
<v Speaker 3>Which is like, ooh, great, great writing moment, Wow, the

0:54:20.920 --> 0:54:25.280
<v Speaker 3>instrument of her oppression. Yeah, men golfing.

0:54:25.360 --> 0:54:29.319
<v Speaker 2>Yes, And then we smash cut to Linda golfing like

0:54:29.440 --> 0:54:33.120
<v Speaker 2>a year later because she has been rescued and she's

0:54:33.160 --> 0:54:37.720
<v Speaker 2>a celebrity now. She has turned her survival story into

0:54:37.960 --> 0:54:42.240
<v Speaker 2>a best selling book that's being adapted into a movie.

0:54:42.480 --> 0:54:47.800
<v Speaker 2>And then the movie Send Help ends with Linda breaking

0:54:47.840 --> 0:54:52.640
<v Speaker 2>the fourth wall several times yeah, and saying something like

0:54:53.920 --> 0:54:56.640
<v Speaker 2>no help is coming, so you have to learn how

0:54:56.680 --> 0:55:01.760
<v Speaker 2>to help yourself. The end. And so let's take another

0:55:01.800 --> 0:55:15.440
<v Speaker 2>quick break and we'll come back to discuss and we're back.

0:55:15.840 --> 0:55:20.440
<v Speaker 3>Yeah, Blair, I'm so curious what your impression of this

0:55:20.520 --> 0:55:23.560
<v Speaker 3>movie is. What was on your mind as you were watching, Like,

0:55:24.160 --> 0:55:25.239
<v Speaker 3>what was jumping out to you.

0:55:26.080 --> 0:55:30.160
<v Speaker 4>I'm not a horror movie person, so I partly was

0:55:30.200 --> 0:55:32.400
<v Speaker 4>just like, oh my god, I can't I can't handle

0:55:32.480 --> 0:55:36.000
<v Speaker 4>like vomiting out. So much face, and I'm squeamish about

0:55:36.040 --> 0:55:39.440
<v Speaker 4>that kind of thing, but I was very excited about

0:55:39.840 --> 0:55:45.440
<v Speaker 4>the survival story, and I wanted to root for Linda Moore.

0:55:45.920 --> 0:55:49.480
<v Speaker 4>Like that was very frustrating to me. I think I'm

0:55:49.520 --> 0:55:51.719
<v Speaker 4>just too squeamish to like let go and just be

0:55:51.840 --> 0:55:55.319
<v Speaker 4>like this is a revenge fantasy. And I was just like, like.

0:55:55.280 --> 0:55:59.600
<v Speaker 5>I was almost rooting. Oh, I was almost rooting for Bradley.

0:55:59.640 --> 0:56:02.680
<v Speaker 4>When he's like taking taking the raft off the island,

0:56:02.760 --> 0:56:04.719
<v Speaker 4>I'm like, I don't know, man, you're a prisoner, like

0:56:04.760 --> 0:56:07.799
<v Speaker 4>you suck, but like that doesn't mean you deserve to

0:56:07.840 --> 0:56:11.480
<v Speaker 4>be like kept prisoner, Like go be a shitty person

0:56:11.560 --> 0:56:16.279
<v Speaker 4>somewhere somewhere else. I guess like I couldn't quite separate

0:56:17.320 --> 0:56:21.880
<v Speaker 4>just watching it, like I had trouble separating her behavior,

0:56:22.040 --> 0:56:25.640
<v Speaker 4>Like I just couldn't like I couldn't suspend this belief

0:56:25.760 --> 0:56:31.120
<v Speaker 4>enough to like take her behavior as cathartic revenge and

0:56:31.320 --> 0:56:33.160
<v Speaker 4>separate it from the fact that it just is like

0:56:33.560 --> 0:56:37.160
<v Speaker 4>super abusive to trap someone on a desert island when

0:56:37.200 --> 0:56:38.880
<v Speaker 4>they like might die of an infection.

0:56:39.120 --> 0:56:41.279
<v Speaker 5>And so I wanted him.

0:56:41.400 --> 0:56:43.439
<v Speaker 4>I was frustrated because I wanted him to be even

0:56:43.480 --> 0:56:46.000
<v Speaker 4>more hateable and her to be even more likable, so

0:56:46.040 --> 0:56:49.279
<v Speaker 4>that I could sort of let go and enjoy the

0:56:49.320 --> 0:56:50.160
<v Speaker 4>revenge fantasy.

0:56:51.080 --> 0:56:54.480
<v Speaker 3>What could I'm so curious, like what could have gotten

0:56:54.520 --> 0:56:56.640
<v Speaker 3>you there? Because that makes total sense.

0:56:57.160 --> 0:56:59.360
<v Speaker 5>I mean he's bad, He's very bad.

0:56:59.640 --> 0:57:02.799
<v Speaker 4>Like I don't know, I don't know, Like it might

0:57:02.880 --> 0:57:04.720
<v Speaker 4>just be like I.

0:57:04.600 --> 0:57:06.120
<v Speaker 5>Was too literal and watching it.

0:57:06.320 --> 0:57:09.239
<v Speaker 2>Maybe now I know what you mean. I tend to

0:57:09.280 --> 0:57:12.520
<v Speaker 2>feel the same way where And I think this has

0:57:12.560 --> 0:57:16.000
<v Speaker 2>to do with like some strange writing choices and like

0:57:16.560 --> 0:57:21.880
<v Speaker 2>inconsistency with Linda's character, because she starts out as someone

0:57:22.160 --> 0:57:28.640
<v Speaker 2>who obviously she's frustrated with being undermined and underappreciated at work,

0:57:28.680 --> 0:57:31.240
<v Speaker 2>and all of these men are taking credit for her

0:57:31.320 --> 0:57:36.040
<v Speaker 2>labor and just being awful to her, like mocking her

0:57:36.120 --> 0:57:39.600
<v Speaker 2>for the way she looks and all this stuff, and

0:57:39.720 --> 0:57:44.400
<v Speaker 2>so it's not hard to empathize with her initially and

0:57:44.400 --> 0:57:46.600
<v Speaker 2>then even later on, like in the toward the middle

0:57:46.640 --> 0:57:50.280
<v Speaker 2>of the story, there's a moment where it seems like

0:57:50.320 --> 0:57:55.760
<v Speaker 2>Bradley is starting to realize that he is utterly dependent

0:57:55.920 --> 0:57:59.000
<v Speaker 2>on her for survival and that that's something he needs

0:57:59.080 --> 0:58:04.320
<v Speaker 2>to acknowledge and appreciate or at least he's saying that

0:58:04.360 --> 0:58:06.280
<v Speaker 2>he does, whether or not he actually feels it.

0:58:06.280 --> 0:58:10.440
<v Speaker 3>It's like he never fully does. But also like you're saying, Blair,

0:58:10.480 --> 0:58:14.640
<v Speaker 3>that doesn't justify. I mean, it is like a fully

0:58:14.760 --> 0:58:18.439
<v Speaker 3>mutually abusive dynamic that they're in, but she's the one

0:58:18.480 --> 0:58:19.240
<v Speaker 3>with more power.

0:58:19.800 --> 0:58:21.240
<v Speaker 5>Yeah, right, right, right.

0:58:21.640 --> 0:58:24.800
<v Speaker 2>But there's this moment toward the middle where again Bradley

0:58:25.000 --> 0:58:28.400
<v Speaker 2>is like, okay, like I do need this other person

0:58:28.680 --> 0:58:32.840
<v Speaker 2>to survive for the time being. It's after that montage

0:58:32.880 --> 0:58:35.160
<v Speaker 2>where he's like trying to build his own shelter and

0:58:35.240 --> 0:58:38.400
<v Speaker 2>he is not very successful, so he kind of comes

0:58:38.440 --> 0:58:42.200
<v Speaker 2>crawling back and asks if he can stay with her

0:58:42.280 --> 0:58:46.960
<v Speaker 2>at her camp, and she responds with, well, that depends

0:58:47.080 --> 0:58:49.640
<v Speaker 2>on like what you're willing to do or how far

0:58:49.720 --> 0:58:53.520
<v Speaker 2>you're willing to go, implying that she's asking for sexual favors,

0:58:53.840 --> 0:58:57.560
<v Speaker 2>which is a reference to earlier when they were still

0:58:57.600 --> 0:59:01.600
<v Speaker 2>in the office when he was interviewing like a pretty

0:59:01.680 --> 0:59:06.480
<v Speaker 2>young potential assistant and he asked her how far she

0:59:06.720 --> 0:59:10.720
<v Speaker 2>was willing to go for him, again implying I'm expecting

0:59:11.120 --> 0:59:16.480
<v Speaker 2>sexual favors from that young woman, and then Bradley starts

0:59:16.520 --> 0:59:21.680
<v Speaker 2>to unbuckle his pants and then Linda is like, oh, no,

0:59:21.960 --> 0:59:24.480
<v Speaker 2>I was just kidding, Like I would never do that,

0:59:24.880 --> 0:59:28.680
<v Speaker 2>I'm not like you. So it feels like she has

0:59:28.720 --> 0:59:34.560
<v Speaker 2>been established as someone who, even though she's undermined, she's underappreciated,

0:59:34.880 --> 0:59:39.560
<v Speaker 2>and she resents that, which of course anyone would. She's

0:59:39.600 --> 0:59:44.920
<v Speaker 2>not going to abuse the power that she has, at

0:59:45.040 --> 0:59:48.600
<v Speaker 2>least in this capacity, but then she proceeds to like

0:59:48.960 --> 0:59:53.400
<v Speaker 2>super changes. Yeah, she proceeds to start to abuse it

0:59:53.440 --> 0:59:56.520
<v Speaker 2>pretty significantly, and then it gets really violent and she's

0:59:56.640 --> 1:00:01.760
<v Speaker 2>killing people, She's killing Zuri and this bolt cap, and so, like,

1:00:02.280 --> 1:00:05.240
<v Speaker 2>I don't know, it just feels like her character is

1:00:05.240 --> 1:00:07.880
<v Speaker 2>written to be like quite inconsistent and I could never

1:00:07.920 --> 1:00:12.120
<v Speaker 2>really get a handle on what's going on with her.

1:00:12.160 --> 1:00:14.960
<v Speaker 2>And then we get that reveal that she had maybe

1:00:15.080 --> 1:00:19.040
<v Speaker 2>murdered her husband or at least allowed him to die

1:00:19.120 --> 1:00:21.400
<v Speaker 2>or enabled him to die, and we also don't know

1:00:21.400 --> 1:00:23.240
<v Speaker 2>if she's being honest about.

1:00:23.040 --> 1:00:26.880
<v Speaker 3>That or I also think that the dynamic around Okay,

1:00:26.960 --> 1:00:29.760
<v Speaker 3>I guess not to like go in too hard on

1:00:30.400 --> 1:00:34.600
<v Speaker 3>the writers, but like, I do feel like especially in

1:00:34.720 --> 1:00:38.760
<v Speaker 3>the like including dynamics of abuse and background of abuse,

1:00:39.000 --> 1:00:42.800
<v Speaker 3>parental abuse and spousal abuse, on both, Like I think

1:00:42.800 --> 1:00:45.800
<v Speaker 3>that the movie is just like not equipped to handle

1:00:45.880 --> 1:00:49.920
<v Speaker 3>having introduced those topics because I think that like I

1:00:49.960 --> 1:00:52.720
<v Speaker 3>think especially on Linda's end, where we are given like

1:00:53.440 --> 1:00:57.640
<v Speaker 3>pretty specific detail on the fact that she was thoroughly

1:00:57.680 --> 1:01:01.960
<v Speaker 3>abused by her husband who was an alcohol and I

1:01:02.080 --> 1:01:04.760
<v Speaker 3>do feel like the way that it's written and that

1:01:04.880 --> 1:01:07.960
<v Speaker 3>information is delivered, that it's delivered as if she is

1:01:08.480 --> 1:01:11.680
<v Speaker 3>a murderer, which to be opens up this whole like

1:01:12.000 --> 1:01:14.280
<v Speaker 3>that like this is the key to like, oh, she's

1:01:14.360 --> 1:01:17.640
<v Speaker 3>quote unquote psycho. It would be quote unquote psycho to

1:01:17.720 --> 1:01:21.360
<v Speaker 3>do that. And it's like, is that a morally amazing

1:01:21.400 --> 1:01:24.760
<v Speaker 3>decision to make? No, but to me, mainly because drunk

1:01:24.840 --> 1:01:29.720
<v Speaker 3>drivers hurt innocent people, right, But that that's more the

1:01:29.880 --> 1:01:34.080
<v Speaker 3>issue from my standpoint than like this abuse like this

1:01:34.160 --> 1:01:36.439
<v Speaker 3>happens all the time of someone who's been abused reaching

1:01:36.480 --> 1:01:39.560
<v Speaker 3>a breaking point, and it's like from what we see

1:01:39.560 --> 1:01:41.560
<v Speaker 3>in this movie. And and also just sort of like

1:01:41.760 --> 1:01:44.200
<v Speaker 3>the other movies that these this para writers have written,

1:01:44.200 --> 1:01:46.080
<v Speaker 3>they're at a Freddie versus Jason movie. They've written a

1:01:46.120 --> 1:01:49.600
<v Speaker 3>lot of franchise movies. I just am not seeing much

1:01:49.680 --> 1:01:52.120
<v Speaker 3>to go on that, like this is the writing team

1:01:52.200 --> 1:01:57.240
<v Speaker 3>to try to put a spousal abuse plot point in

1:01:58.040 --> 1:02:00.680
<v Speaker 3>late in the movie. And then and the fact that

1:02:00.720 --> 1:02:04.280
<v Speaker 3>like shortly after that information is introduced, she goes off

1:02:04.320 --> 1:02:07.720
<v Speaker 3>the deep end and that information is sort of all

1:02:07.800 --> 1:02:10.760
<v Speaker 3>like mixed in. I felt like we were given like that.

1:02:11.360 --> 1:02:11.800
<v Speaker 2>I don't know.

1:02:11.960 --> 1:02:14.640
<v Speaker 3>It's after that scene that the movie really starts to

1:02:14.720 --> 1:02:18.720
<v Speaker 3>lose me because I think up until that point, we're

1:02:18.720 --> 1:02:21.680
<v Speaker 3>given these stock characters and then kind of stripping away,

1:02:22.240 --> 1:02:25.560
<v Speaker 3>like well, who are they really? What are their backgrounds?

1:02:25.600 --> 1:02:30.160
<v Speaker 3>Like how is this power dynamic going to shift? But

1:02:30.200 --> 1:02:34.160
<v Speaker 3>then it turns into something far more like conventional at

1:02:34.160 --> 1:02:37.880
<v Speaker 3>the end, and it's like a conventional like I don't

1:02:37.920 --> 1:02:40.520
<v Speaker 3>mind watching a woman go off the deep end and

1:02:40.600 --> 1:02:42.880
<v Speaker 3>kill a bunch of people. Great, this is a movie

1:02:42.920 --> 1:02:45.040
<v Speaker 3>I have watched many times and I will watch many

1:02:45.080 --> 1:02:48.480
<v Speaker 3>more times. But like, I don't know, yeah, that was

1:02:48.520 --> 1:02:50.920
<v Speaker 3>like that scene in particular. I think it's a good scene,

1:02:51.000 --> 1:02:54.120
<v Speaker 3>but it just like quickly after that, it just don't

1:02:54.120 --> 1:02:56.240
<v Speaker 3>think that the movie is able to like handle the

1:02:56.320 --> 1:02:59.200
<v Speaker 3>intensity of the themes they're presenting. And then they're like

1:02:59.560 --> 1:03:04.760
<v Speaker 3>she's actually cuckoo crazied now and she is like an

1:03:04.880 --> 1:03:09.080
<v Speaker 3>unrepentant murderer, which I think is a very It's definitely

1:03:09.120 --> 1:03:12.880
<v Speaker 3>a choice after learning that there was this, that she

1:03:13.120 --> 1:03:17.720
<v Speaker 3>was abused, to then have her, you know, begin to

1:03:17.760 --> 1:03:21.400
<v Speaker 3>act severely like less moral than she did before we

1:03:21.480 --> 1:03:24.360
<v Speaker 3>knew she was abused. I just I don't know, it's interesting.

1:03:24.400 --> 1:03:27.040
<v Speaker 4>It bugged me, yeah, and it I mean it made

1:03:27.040 --> 1:03:29.400
<v Speaker 4>me think, like, are we even supposed to believe she

1:03:29.480 --> 1:03:32.959
<v Speaker 4>was abused necessarily? Like are we supposed to think maybe

1:03:32.960 --> 1:03:35.880
<v Speaker 4>she's lying about this to justify that she got mad

1:03:35.960 --> 1:03:38.960
<v Speaker 4>and maybe or maybe didn't kill her husband like it.

1:03:39.680 --> 1:03:41.760
<v Speaker 4>I wasn't even sure sort of within the world of

1:03:41.800 --> 1:03:44.000
<v Speaker 4>the film, what whether we were supposed to believe it

1:03:44.120 --> 1:03:44.320
<v Speaker 4>or not?

1:03:45.040 --> 1:03:47.440
<v Speaker 3>Yeah, okay, because there's like that other moment in that

1:03:47.480 --> 1:03:51.520
<v Speaker 3>scene too, where again I'm like, this is so interesting

1:03:51.600 --> 1:03:55.080
<v Speaker 3>if only it were going anywhere where. Like Bradley is

1:03:55.120 --> 1:04:01.520
<v Speaker 3>talking about how he was emotionally neglect and physically abused

1:04:01.600 --> 1:04:04.280
<v Speaker 3>by his mother, and it sounds like emotionally neglected by

1:04:04.320 --> 1:04:08.240
<v Speaker 3>both of his parents, but that he knew that his

1:04:08.320 --> 1:04:11.560
<v Speaker 3>mother had been abused, and so he tried to not

1:04:11.680 --> 1:04:14.160
<v Speaker 3>hold like quote unquote hold it against her too much,

1:04:14.920 --> 1:04:16.880
<v Speaker 3>and then they have that like conversation that you're like,

1:04:16.880 --> 1:04:20.600
<v Speaker 3>this is really interesting where she's like, oh, so that's why,

1:04:20.880 --> 1:04:23.240
<v Speaker 3>like you feel okay about the fact that you're a

1:04:23.240 --> 1:04:25.840
<v Speaker 3>monster because you come by it honestly, and he's like, yeah,

1:04:25.840 --> 1:04:28.800
<v Speaker 3>I guess that is how I feel, and like that's

1:04:28.840 --> 1:04:33.280
<v Speaker 3>such an interesting conversation. But I don't know. Maybe I'm

1:04:33.320 --> 1:04:36.720
<v Speaker 3>like over and underthinking it about like the consequences that

1:04:36.720 --> 1:04:40.160
<v Speaker 3>that conversation has. I think it just like these two characters,

1:04:40.560 --> 1:04:43.040
<v Speaker 3>it seems like they're punishing each other for having been

1:04:43.120 --> 1:04:46.160
<v Speaker 3>vulnerable with one another, which is interesting, is like now

1:04:46.160 --> 1:04:49.240
<v Speaker 3>you know my secret and so you must die. But

1:04:49.440 --> 1:04:51.600
<v Speaker 3>it doesn't feel like that's exactly what's going on either.

1:04:51.640 --> 1:04:53.680
<v Speaker 3>I guess I just don't know what's going on by

1:04:53.680 --> 1:04:57.920
<v Speaker 3>the end, like where the characters are at emotionally. The

1:04:57.960 --> 1:05:00.760
<v Speaker 3>back to back poisonings I found like kind of bizarre

1:05:00.800 --> 1:05:04.000
<v Speaker 3>and frustrating because you're like, why are we accepting food

1:05:04.040 --> 1:05:06.360
<v Speaker 3>from each other twenty four hours later?

1:05:06.600 --> 1:05:08.600
<v Speaker 4>At what point do you just say, like, Noah, catch

1:05:08.640 --> 1:05:09.680
<v Speaker 4>my own fish.

1:05:10.080 --> 1:05:12.760
<v Speaker 3>Right, like she can hunt a bore. I don't think

1:05:12.800 --> 1:05:19.479
<v Speaker 3>she needs his tapas, but whatever, I don't know. Yeah,

1:05:19.680 --> 1:05:23.880
<v Speaker 3>I also did find Linda a strong character to establish,

1:05:23.920 --> 1:05:25.920
<v Speaker 3>but it just felt like the movie didn't know what

1:05:25.960 --> 1:05:27.680
<v Speaker 3>to do with her by the end, which I feel like.

1:05:28.320 --> 1:05:31.000
<v Speaker 3>I would love to talk about good for her endings

1:05:31.240 --> 1:05:34.760
<v Speaker 3>in movies because we've covered a lot of them. They

1:05:34.800 --> 1:05:39.880
<v Speaker 3>are not exclusively written by men. There are plenty of

1:05:39.920 --> 1:05:43.960
<v Speaker 3>good for her endings to popular movies that some work

1:05:44.000 --> 1:05:47.720
<v Speaker 3>for me, some don't. I think the maybe one of

1:05:47.760 --> 1:05:50.160
<v Speaker 3>the more famous ones that does work for me is

1:05:51.200 --> 1:05:54.080
<v Speaker 3>Gone Girl, right Like that's an iconic good for her

1:05:54.200 --> 1:05:58.440
<v Speaker 3>ending Gillian flantcy genius. They're also good for her endings

1:05:58.440 --> 1:06:01.800
<v Speaker 3>that do not work for me, like such as Promising

1:06:01.840 --> 1:06:05.160
<v Speaker 3>Young Women Emerald Fanelle that and the ending to that

1:06:05.200 --> 1:06:08.560
<v Speaker 3>movie is a fucking mess, But there is I feel like,

1:06:08.680 --> 1:06:13.720
<v Speaker 3>and I'm like maybe being conspiratorial, but when men write

1:06:13.720 --> 1:06:17.560
<v Speaker 3>this ending, it feels like they just didn't know how

1:06:17.600 --> 1:06:20.440
<v Speaker 3>to end the movie in a more thoughtful way. Because

1:06:20.440 --> 1:06:23.280
<v Speaker 3>we have and again, some work for me, some don't,

1:06:23.280 --> 1:06:25.760
<v Speaker 3>but we have. I have like a list of them,

1:06:25.800 --> 1:06:28.960
<v Speaker 3>and they're almost all by men. The Avich by Robert Eggers,

1:06:29.400 --> 1:06:34.360
<v Speaker 3>Midsummar by Ari astor Ready or Not by I forget

1:06:34.360 --> 1:06:40.080
<v Speaker 3>who it is, but it's a guy, there's Carrie Heathers,

1:06:40.200 --> 1:06:43.440
<v Speaker 3>like the List of Knives out last night and so

1:06:43.600 --> 1:06:47.160
<v Speaker 3>ho apparently I don't know that I did not see it,

1:06:47.680 --> 1:06:50.400
<v Speaker 3>but I want to talk more about this on the Well,

1:06:50.400 --> 1:06:51.800
<v Speaker 3>we talk about this on the show all the time,

1:06:51.800 --> 1:06:55.040
<v Speaker 3>but like specifically when men are trying to write a

1:06:55.080 --> 1:06:58.080
<v Speaker 3>story that is empowering to women, I feel like there's

1:06:58.120 --> 1:07:02.760
<v Speaker 3>like a series of patterns that I noticed that I'm like, well,

1:07:03.520 --> 1:07:06.840
<v Speaker 3>I don't know that that's what I don't It doesn't quite.

1:07:06.960 --> 1:07:09.520
<v Speaker 3>It's just like a little uncanny valley the way it lands,

1:07:09.560 --> 1:07:12.280
<v Speaker 3>and to me, the way that this movie just like

1:07:12.400 --> 1:07:16.280
<v Speaker 3>cuts to and she's famous now and everything's fine and

1:07:16.320 --> 1:07:17.560
<v Speaker 3>she's winking at the camera.

1:07:17.840 --> 1:07:21.320
<v Speaker 2>She has her personality is completely different than it was.

1:07:21.720 --> 1:07:24.280
<v Speaker 3>Right, It's like not putting off on the character we met.

1:07:24.320 --> 1:07:28.160
<v Speaker 3>We're basically being told like you've been watching like a

1:07:28.280 --> 1:07:34.760
<v Speaker 3>completely a moral person this entire movie, and now we're

1:07:34.840 --> 1:07:37.040
<v Speaker 3>happy for her. But it's like, but part of what's

1:07:37.040 --> 1:07:41.840
<v Speaker 3>so interesting about Linda is that she chooses to save Bradley.

1:07:42.000 --> 1:07:45.800
<v Speaker 3>She has a question of like she wants to help.

1:07:45.720 --> 1:07:50.080
<v Speaker 2>Several times, like yes, over and over, like three, four,

1:07:50.280 --> 1:07:52.840
<v Speaker 2>five times, like it's yeah, it happens a bunch.

1:07:53.080 --> 1:07:53.400
<v Speaker 3>I don't know.

1:07:53.600 --> 1:07:55.320
<v Speaker 5>Is there ever a good for him ending?

1:07:56.040 --> 1:07:59.920
<v Speaker 3>I feel like most every movie it doesn't.

1:08:00.400 --> 1:08:04.600
<v Speaker 2>It doesn't feel framed that way though, because it's just like, well,

1:08:04.600 --> 1:08:08.280
<v Speaker 2>of course, a man triumphing at the end of a movie.

1:08:08.320 --> 1:08:11.440
<v Speaker 2>That's just how stories end, so it doesn't feel special

1:08:12.280 --> 1:08:12.960
<v Speaker 2>or significance.

1:08:13.040 --> 1:08:15.040
<v Speaker 3>I guess I'll clarify that when I say it good

1:08:15.080 --> 1:08:17.920
<v Speaker 3>for her ending, I don't just mean a movie that

1:08:18.080 --> 1:08:20.559
<v Speaker 3>ends well for a woman. It means that she has

1:08:20.720 --> 1:08:24.360
<v Speaker 3>generally been responsible for someone's death, and then it ends

1:08:24.680 --> 1:08:27.599
<v Speaker 3>on usually the same shot, which is her smiling at

1:08:27.600 --> 1:08:30.160
<v Speaker 3>the camera being like, I did what I had to do.

1:08:31.080 --> 1:08:34.720
<v Speaker 3>Poor things. This also happens like there's It is like

1:08:35.280 --> 1:08:38.919
<v Speaker 3>very much something. I mean, it's always happened like it happens.

1:08:39.040 --> 1:08:43.000
<v Speaker 3>It wasn't invented recently, but it happens in movies a lot,

1:08:43.040 --> 1:08:45.760
<v Speaker 3>I think, especially post Me To. If you are a

1:08:45.800 --> 1:08:48.360
<v Speaker 3>male auteur and you aren't quite sure what to do

1:08:48.680 --> 1:08:53.960
<v Speaker 3>with your morally complicated female protagonist, this is how the

1:08:54.040 --> 1:08:58.240
<v Speaker 3>movie tends to end, like, yeah, she's been responsible for

1:08:58.360 --> 1:09:03.880
<v Speaker 3>someone's death or violence, and she ends with like a

1:09:03.920 --> 1:09:06.479
<v Speaker 3>little smirk. We should have a we should make a

1:09:06.479 --> 1:09:09.280
<v Speaker 3>super cut of this because it is like, truly stunning

1:09:09.320 --> 1:09:11.360
<v Speaker 3>how many times it's happened in the last fifteen years.

1:09:11.479 --> 1:09:13.960
<v Speaker 3>I don't think it is like net Bad or anything

1:09:14.000 --> 1:09:16.240
<v Speaker 3>like that, but it is at this point. It's definitely like,

1:09:16.400 --> 1:09:18.160
<v Speaker 3>if you're gonna do this at the end of your movie,

1:09:18.439 --> 1:09:21.040
<v Speaker 3>you better have something new to say about it, I guess.

1:09:21.240 --> 1:09:23.400
<v Speaker 3>And I just like this one doesn't really to me,

1:09:23.439 --> 1:09:26.120
<v Speaker 3>and it feels out of step with It feels like

1:09:26.160 --> 1:09:30.200
<v Speaker 3>it's pushing the ending of a different character onto Linda

1:09:30.560 --> 1:09:32.680
<v Speaker 3>because I just don't buy this for Linda at all.

1:09:32.800 --> 1:09:33.280
<v Speaker 3>I don't know.

1:09:34.479 --> 1:09:34.799
<v Speaker 4>Well.

1:09:35.120 --> 1:09:40.960
<v Speaker 2>The other thing that really flummixed me was basically the

1:09:41.000 --> 1:09:46.360
<v Speaker 2>climax where they're in the luxury beach house about to

1:09:46.479 --> 1:09:50.200
<v Speaker 2>kill each other, but then in an attempt to save

1:09:50.240 --> 1:09:54.000
<v Speaker 2>his life because Linda has a gun pointed at him,

1:09:54.479 --> 1:09:58.960
<v Speaker 2>Bradley makes this plea of like, no, no, no, no, Actually,

1:09:59.000 --> 1:10:03.400
<v Speaker 2>you're so awesome. You've taught me so much. I don't

1:10:03.400 --> 1:10:05.400
<v Speaker 2>want to go back to my old life. I want

1:10:05.439 --> 1:10:08.519
<v Speaker 2>to stay here on this island with you because I

1:10:08.760 --> 1:10:12.640
<v Speaker 2>love you. And for some reason she falls for that,

1:10:13.439 --> 1:10:17.040
<v Speaker 2>and she's like, I love you too, and then a

1:10:17.080 --> 1:10:20.600
<v Speaker 2>moment later, she realizes that he has like procured a

1:10:20.640 --> 1:10:23.599
<v Speaker 2>weapon that he's hiding, and then he lunges at her

1:10:23.640 --> 1:10:27.400
<v Speaker 2>with it, right, and then she finally kills him. But like,

1:10:27.439 --> 1:10:31.920
<v Speaker 2>what the hell was that moment? I love you too,

1:10:32.200 --> 1:10:33.280
<v Speaker 2>I believe you well.

1:10:33.320 --> 1:10:35.120
<v Speaker 3>I don't know why she seems to be realizing in

1:10:35.160 --> 1:10:38.040
<v Speaker 3>this moment that he would kill her without hesitation, because

1:10:38.080 --> 1:10:40.720
<v Speaker 3>he has attempted to do so several times, but she

1:10:40.800 --> 1:10:45.320
<v Speaker 3>seems so betrayed. I because she because I'm assuming she

1:10:45.400 --> 1:10:47.439
<v Speaker 3>knows there's no bullets in the gun. I don't actually

1:10:47.479 --> 1:10:49.160
<v Speaker 3>know if that's true now that I'm saying it out loud,

1:10:49.320 --> 1:10:51.880
<v Speaker 3>But it seems like she, at least to be is

1:10:51.920 --> 1:10:53.960
<v Speaker 3>like set up to be like she's just trying to

1:10:53.960 --> 1:10:56.240
<v Speaker 3>scare him the same way that she only kills the rat.

1:10:56.280 --> 1:10:58.800
<v Speaker 3>She doesn't actually she's not actually going to do something

1:10:58.840 --> 1:11:00.960
<v Speaker 3>horrible to him. She just wants to freak him out.

1:11:01.080 --> 1:11:03.080
<v Speaker 3>And then when she says, oh, he wouldn't have hesitated

1:11:03.080 --> 1:11:05.840
<v Speaker 3>to shoot me, which going back to what you were saying, Blair,

1:11:06.000 --> 1:11:08.679
<v Speaker 3>if we're viewing this as yeah, well he's her captive,

1:11:08.880 --> 1:11:12.200
<v Speaker 3>like it wouldn't actually be out of pocket for him

1:11:12.200 --> 1:11:15.280
<v Speaker 3>to do. She's quite dangerous, even if he is a

1:11:15.280 --> 1:11:19.400
<v Speaker 3>piece of shit. At this point, like, I don't I

1:11:19.400 --> 1:11:24.840
<v Speaker 3>don't know. I'm glad Linda makes it because I like

1:11:25.000 --> 1:11:29.479
<v Speaker 3>tuna sandwiches and sometimes struggle in conversations at work.

1:11:29.640 --> 1:11:31.840
<v Speaker 2>So well, that's the thing, Like I relate to her

1:11:32.320 --> 1:11:36.400
<v Speaker 2>toward the beginning of the movie. By the end, I'm like, like,

1:11:36.680 --> 1:11:38.840
<v Speaker 2>and maybe that's the point. I don't know. Maybe. And

1:11:38.880 --> 1:11:41.680
<v Speaker 2>then to your point also, Blair, at the beginning of

1:11:41.680 --> 1:11:44.559
<v Speaker 2>this episode, when you said, like, survival stories are either

1:11:45.200 --> 1:11:49.639
<v Speaker 2>like you tame the wilderness or the wilderness makes you fair.

1:11:50.680 --> 1:11:54.200
<v Speaker 2>And it seems as though the wilderness in this case

1:11:54.920 --> 1:12:00.799
<v Speaker 2>has like any like violent impulses she may have, I've had.

1:12:00.840 --> 1:12:05.800
<v Speaker 2>It seems like being on this island really brings out

1:12:06.040 --> 1:12:09.240
<v Speaker 2>in her. Or was she like that already. We don't really,

1:12:09.880 --> 1:12:15.000
<v Speaker 2>I don't know. But this ending where she's like, aw,

1:12:15.200 --> 1:12:18.760
<v Speaker 2>you love me, I love you too, I feel like

1:12:18.960 --> 1:12:25.000
<v Speaker 2>it's the movie the men who made this movie being like, well, yeah,

1:12:25.080 --> 1:12:28.880
<v Speaker 2>Like she's this lonely old spinster, or at least that's

1:12:28.920 --> 1:12:32.599
<v Speaker 2>who she was in her previous life, so of course

1:12:32.640 --> 1:12:36.840
<v Speaker 2>she's gonna embrace a good looking man who says that

1:12:36.920 --> 1:12:39.880
<v Speaker 2>he loves her. Of course she's gonna like fall for that,

1:12:40.720 --> 1:12:43.120
<v Speaker 2>regardless of how he has treated her in the past.

1:12:44.040 --> 1:12:46.240
<v Speaker 2>I don't know if that's exactly what the implication is,

1:12:46.280 --> 1:12:50.519
<v Speaker 2>but like her doing this one eighty and being so

1:12:50.680 --> 1:12:53.519
<v Speaker 2>gullible that feels like it comes out of nowhere, that

1:12:53.560 --> 1:12:58.880
<v Speaker 2>it's like very inconsistent with her character, because yes, she

1:12:59.120 --> 1:13:02.719
<v Speaker 2>is a bit gullible, but she's also not so naive

1:13:03.400 --> 1:13:06.839
<v Speaker 2>that I feel like her in that moment would fall

1:13:07.280 --> 1:13:09.599
<v Speaker 2>for what Bradley is saying.

1:13:10.400 --> 1:13:13.560
<v Speaker 4>That just read to me as like her being unstable,

1:13:15.120 --> 1:13:18.360
<v Speaker 4>which she sort of is established as being, Like, is

1:13:18.400 --> 1:13:21.720
<v Speaker 4>she rational? I don't think she is acting rationally, not

1:13:21.960 --> 1:13:27.680
<v Speaker 4>anymore right right, it's very unclear on whether I don't know, Like,

1:13:27.720 --> 1:13:30.200
<v Speaker 4>to me, I'm just like, oh, she's not. She hasn't

1:13:30.200 --> 1:13:33.000
<v Speaker 4>been thinking clearly for a while. Perhaps that was how

1:13:33.080 --> 1:13:34.479
<v Speaker 4>I read that.

1:13:34.840 --> 1:13:37.240
<v Speaker 3>I mean from the moment she sees the boat and

1:13:37.520 --> 1:13:40.519
<v Speaker 3>chooses not to But again, I guess I read that

1:13:40.640 --> 1:13:44.920
<v Speaker 3>as like I'm still with Linda in that moment, where yes,

1:13:45.479 --> 1:13:48.400
<v Speaker 3>at that point, she is deciding to be keeping a

1:13:48.439 --> 1:13:54.200
<v Speaker 3>prisoner versus you know, your more traditional survivalists.

1:13:53.880 --> 1:13:54.519
<v Speaker 2>Set up.

1:13:56.200 --> 1:13:59.280
<v Speaker 3>So that is like the moment where she sort of

1:13:59.320 --> 1:14:02.360
<v Speaker 3>starts to But at that point, I feel like it

1:14:02.479 --> 1:14:04.639
<v Speaker 3>still makes sense with who we met at the beginning

1:14:04.720 --> 1:14:09.760
<v Speaker 3>of the movie, where she has been so demeaned, intentionally

1:14:09.840 --> 1:14:13.720
<v Speaker 3>humiliated by this guy that I guess you're like I

1:14:13.840 --> 1:14:16.080
<v Speaker 3>was I felt at the beginning. When she makes that decision,

1:14:16.160 --> 1:14:17.880
<v Speaker 3>she's like, I'm just gonna ride this out a little

1:14:17.880 --> 1:14:20.559
<v Speaker 3>bit longer, just a little bit longer until she can

1:14:20.640 --> 1:14:25.519
<v Speaker 3>get the VP job secured, and then okay, I'll let

1:14:25.600 --> 1:14:28.240
<v Speaker 3>them know, you know, I will pretend to come across

1:14:28.240 --> 1:14:29.800
<v Speaker 3>this together. It still felt like it was a part

1:14:29.800 --> 1:14:34.320
<v Speaker 3>of a larger like not admirable, but like a plan

1:14:34.520 --> 1:14:40.040
<v Speaker 3>that didn't feel completely a morally like I don't know,

1:14:40.080 --> 1:14:41.640
<v Speaker 3>it's still kind of at least made sense to me.

1:14:41.640 --> 1:14:44.080
<v Speaker 3>It didn't seem like someone who was losing their mind.

1:14:44.360 --> 1:14:47.280
<v Speaker 3>It just seemed like someone who was making a very calculated,

1:14:47.360 --> 1:14:48.200
<v Speaker 3>cruel decision.

1:14:48.760 --> 1:14:51.479
<v Speaker 4>Yeah, that makes sense actually now that I think, Like

1:14:51.520 --> 1:14:53.080
<v Speaker 4>in the moment, I was just like, oh, she's sort

1:14:53.080 --> 1:14:55.080
<v Speaker 4>of losing her mind. But now that I think about it,

1:14:55.120 --> 1:14:57.599
<v Speaker 4>they have established her early on as someone who will

1:14:57.600 --> 1:15:03.080
<v Speaker 4>sort of take any crumb that could possibly be interpreted

1:15:03.120 --> 1:15:06.679
<v Speaker 4>as a romantic interest and just run with it despite

1:15:06.720 --> 1:15:09.200
<v Speaker 4>all evidence to the contrary. Like she's like, oh my god,

1:15:09.240 --> 1:15:12.960
<v Speaker 4>this guy, we totally had this like chemistry and flirtation

1:15:13.280 --> 1:15:16.400
<v Speaker 4>at the you know, at the Christmas Day party, right,

1:15:16.640 --> 1:15:20.040
<v Speaker 4>And it turns out he just like said hi to her,

1:15:20.400 --> 1:15:23.839
<v Speaker 4>and she did that that thing of being like someone

1:15:23.960 --> 1:15:27.120
<v Speaker 4>spoke to me civilly and therefore like they have a

1:15:27.200 --> 1:15:29.840
<v Speaker 4>romantic interest in me, and so to me.

1:15:30.880 --> 1:15:34.799
<v Speaker 5>Her believing when he says, you know, he wants.

1:15:34.560 --> 1:15:37.280
<v Speaker 4>To make a life with her at the end is

1:15:37.360 --> 1:15:39.880
<v Speaker 4>consistent with that part of her character that we met

1:15:39.920 --> 1:15:43.680
<v Speaker 4>early on, where she's just sort of so like rationality

1:15:43.760 --> 1:15:46.240
<v Speaker 4>goes to the side when she thinks that this particular

1:15:46.280 --> 1:15:49.040
<v Speaker 4>person might possibly want to be with her.

1:15:49.240 --> 1:15:52.240
<v Speaker 2>That is so fair, although I think it's still kind

1:15:52.240 --> 1:15:56.320
<v Speaker 2>of like a misogynist writing choice where.

1:15:56.479 --> 1:15:59.559
<v Speaker 4>Yeah, yeah, it's like it's like a cheap trick, but

1:15:59.680 --> 1:16:02.680
<v Speaker 4>it's it's one that's deployed multiple times.

1:16:02.800 --> 1:16:05.120
<v Speaker 3>Right, Like the only way I feel like it gets

1:16:05.240 --> 1:16:08.120
<v Speaker 3>out of making a misogynist writing choice there is if

1:16:08.640 --> 1:16:10.800
<v Speaker 3>the person we meet at the beginning, who I think

1:16:11.000 --> 1:16:14.840
<v Speaker 3>is falling into and because you have Rachel McAdams who

1:16:14.920 --> 1:16:18.400
<v Speaker 3>is a genius playing her like Rachel McAdams, I feel

1:16:18.400 --> 1:16:23.000
<v Speaker 3>like is doing a ultimately kind of poorly constructed character

1:16:23.560 --> 1:16:26.200
<v Speaker 3>justice and like you really feel for her, but like

1:16:26.640 --> 1:16:31.320
<v Speaker 3>on paper, I'm like, I see that guy's name. Damien

1:16:31.400 --> 1:16:36.800
<v Speaker 3>and Mark wrote this character who as a woman who

1:16:37.560 --> 1:16:42.519
<v Speaker 3>is middle aged single, and she is made out to

1:16:42.560 --> 1:16:47.799
<v Speaker 3>be lonely coded, right, she's drinking too much, she's talking

1:16:47.800 --> 1:16:50.880
<v Speaker 3>to her pet file pathetic, right, yeah, And so it's

1:16:50.920 --> 1:16:54.280
<v Speaker 3>like they're already presenting her as like unstable and basically

1:16:54.280 --> 1:16:57.639
<v Speaker 3>delusional as it pertains to how she communicates with men

1:16:57.880 --> 1:16:59.960
<v Speaker 3>with her career. I think that this also weirdly, like

1:17:00.640 --> 1:17:03.519
<v Speaker 3>the fact that she thinks that Dylan O'Brien is flirting

1:17:03.560 --> 1:17:06.800
<v Speaker 3>with her, which also doesn't work when you're like, why

1:17:06.840 --> 1:17:09.000
<v Speaker 3>is it so implausible that Dylan O'Brien would flirt with

1:17:09.080 --> 1:17:11.080
<v Speaker 3>Rachel McAdams, But whatever.

1:17:11.080 --> 1:17:14.080
<v Speaker 2>Like you're like, what, especially after the Island makes her

1:17:14.120 --> 1:17:14.639
<v Speaker 2>so hot?

1:17:14.920 --> 1:17:17.479
<v Speaker 3>I know, After the Magical Island makes her so fuckable,

1:17:17.520 --> 1:17:20.880
<v Speaker 3>but like it's so it's so ridiculous, But also in

1:17:20.880 --> 1:17:23.000
<v Speaker 3>the way that she approaches her career, like she's made

1:17:23.000 --> 1:17:25.240
<v Speaker 3>to seem delusional that she would ever have an opportunity

1:17:25.360 --> 1:17:28.160
<v Speaker 3>to get this job, and so it's like, Okay, we're

1:17:28.160 --> 1:17:32.120
<v Speaker 3>presented with that stock character. So by the end, has

1:17:32.240 --> 1:17:35.840
<v Speaker 3>this character been like has this stock character been meaningly subverted?

1:17:36.000 --> 1:17:38.519
<v Speaker 3>And I think the answer is no, Like the answer

1:17:38.560 --> 1:17:41.880
<v Speaker 3>at the end is like she's she's still like out

1:17:41.880 --> 1:17:45.439
<v Speaker 3>of touch with reality, She's still delusional, and now it's

1:17:45.520 --> 1:17:48.840
<v Speaker 3>just working out for her. Like there's some stuff in

1:17:48.880 --> 1:17:51.840
<v Speaker 3>the middle that feels interesting. I think the fact that like, again,

1:17:52.760 --> 1:17:54.280
<v Speaker 3>well going back to what we've been talking about the

1:17:54.280 --> 1:17:57.880
<v Speaker 3>whole time, that Linda has a ton of agency, she

1:17:57.920 --> 1:18:00.479
<v Speaker 3>has a ton of power. But I I don't think

1:18:00.520 --> 1:18:04.160
<v Speaker 3>that it's really bringing anything new to what is like

1:18:04.680 --> 1:18:09.240
<v Speaker 3>an unhinged, lonely woman character. At the end, she is

1:18:09.320 --> 1:18:13.840
<v Speaker 3>like an amorl murderer. So I'm like, I know I've

1:18:13.880 --> 1:18:15.920
<v Speaker 3>seen this one. I don't think that this is like

1:18:16.400 --> 1:18:19.000
<v Speaker 3>a feminist revenge plot really, because the way that she

1:18:19.240 --> 1:18:22.760
<v Speaker 3>ends up quote getting her revenge is like, I don't

1:18:22.760 --> 1:18:25.200
<v Speaker 3>think she really does get revenge in the end, Like

1:18:25.280 --> 1:18:28.360
<v Speaker 3>she ends up kind of killing him in self defense

1:18:28.560 --> 1:18:31.640
<v Speaker 3>after imprisoning him. Like it's too messy to be a

1:18:31.720 --> 1:18:32.880
<v Speaker 3>revenge story.

1:18:33.160 --> 1:18:37.440
<v Speaker 2>Right, And then the quote unquote empowerment that she experiences

1:18:37.600 --> 1:18:41.760
<v Speaker 2>at the end is like, Okay, now she's rich and

1:18:41.840 --> 1:18:48.280
<v Speaker 2>famous because she exploited this story for personal gain in

1:18:48.320 --> 1:18:53.920
<v Speaker 2>which she actively murdered several people and is obscuring that.

1:18:54.439 --> 1:19:00.360
<v Speaker 2>And then she says to camera like, don't help any one,

1:19:01.040 --> 1:19:04.280
<v Speaker 2>and no one's coming to help you. Be all by

1:19:04.320 --> 1:19:08.920
<v Speaker 2>yourself and that's how you survive the end, And I'm like, well,

1:19:09.080 --> 1:19:11.759
<v Speaker 2>that's not a good message to put out in the world.

1:19:12.120 --> 1:19:12.400
<v Speaker 3>Yeah.

1:19:12.439 --> 1:19:15.040
<v Speaker 4>Also, isn't it strange that they sort of introduce her

1:19:15.320 --> 1:19:18.599
<v Speaker 4>early on as sort of a mathematical savant to explain

1:19:18.640 --> 1:19:21.360
<v Speaker 4>why she's really good at her job and then drop it,

1:19:21.439 --> 1:19:23.519
<v Speaker 4>Like I was like, how is how is being a

1:19:23.600 --> 1:19:26.320
<v Speaker 4>numbers savant gonna come to play on this desert island?

1:19:26.720 --> 1:19:28.479
<v Speaker 5>But it almost just is sort.

1:19:28.360 --> 1:19:31.400
<v Speaker 4>Of included as a way of explaining why she's so

1:19:31.680 --> 1:19:34.400
<v Speaker 4>gifted at her job without giving her credit for it.

1:19:34.479 --> 1:19:36.200
<v Speaker 5>Like it's not like she's.

1:19:35.960 --> 1:19:40.080
<v Speaker 4>Dedicated and work hard, works hard and smart. It's like, oh,

1:19:40.120 --> 1:19:42.760
<v Speaker 4>she she has this sort of savant skill that is

1:19:42.760 --> 1:19:45.800
<v Speaker 4>almost a thing she's like born with, not a thing

1:19:45.840 --> 1:19:47.240
<v Speaker 4>she puts effort into.

1:19:47.800 --> 1:19:50.040
<v Speaker 5>And that's like, oh, she's so good at her job.

1:19:50.040 --> 1:19:53.719
<v Speaker 4>But it's not even like because of choices she makes,

1:19:53.840 --> 1:19:56.439
<v Speaker 4>like she just happens to be I don't know, it

1:19:56.479 --> 1:19:58.120
<v Speaker 4>seems weirdly dismissive.

1:19:58.520 --> 1:20:01.679
<v Speaker 3>Yeah, and it's like not relevant to how this story

1:20:01.800 --> 1:20:04.080
<v Speaker 3>ends up unfolding, Like, as far as I can tell,

1:20:04.080 --> 1:20:08.240
<v Speaker 3>it's like her survival like hobby that brings all of

1:20:08.280 --> 1:20:09.120
<v Speaker 3>her skills to it.

1:20:09.520 --> 1:20:14.440
<v Speaker 2>Well, we're forgetting that she uses her her number skills

1:20:14.880 --> 1:20:18.160
<v Speaker 2>to memorize a four digit number which is the code

1:20:18.200 --> 1:20:21.720
<v Speaker 2>to the luxury beach house. So it does pay off.

1:20:22.200 --> 1:20:24.120
<v Speaker 5>Oh okay, mass.

1:20:25.600 --> 1:20:26.240
<v Speaker 4>The poff.

1:20:27.240 --> 1:20:30.280
<v Speaker 3>That's I hadn't even connected that. Yeah, that's absolutely true,

1:20:30.560 --> 1:20:33.200
<v Speaker 3>Like a lot of it, I don't know, like that's

1:20:33.360 --> 1:20:36.200
<v Speaker 3>this I guess going back to like calling this a

1:20:36.240 --> 1:20:39.120
<v Speaker 3>plane movie, I think we're thinking harder about This is

1:20:39.120 --> 1:20:41.080
<v Speaker 3>the kind of movie we're thinking harder about than anyone

1:20:41.120 --> 1:20:45.600
<v Speaker 3>who has ever watched it, including professional critics like but but,

1:20:46.479 --> 1:20:48.720
<v Speaker 3>but I did see this movie talked about as a

1:20:48.920 --> 1:20:51.519
<v Speaker 3>feminist revenge tale, and I see a lot of movies

1:20:51.560 --> 1:20:55.400
<v Speaker 3>with this specific ending marketed as a feminist revenge tale.

1:20:55.600 --> 1:20:58.240
<v Speaker 3>And I think we're throwing that around too loose. I

1:20:58.320 --> 1:21:03.599
<v Speaker 3>think that it's just respectful to actual feminist revenge tales.

1:21:03.640 --> 1:21:06.000
<v Speaker 3>I think this is like a fun movie, and I

1:21:06.080 --> 1:21:08.840
<v Speaker 3>think Linda, even though she's inconsistent and I think falls

1:21:08.880 --> 1:21:12.000
<v Speaker 3>into a lot of tropes, I still like like I

1:21:13.240 --> 1:21:15.720
<v Speaker 3>like her character. I do, but I don't think that

1:21:16.000 --> 1:21:20.639
<v Speaker 3>this falls into like feminist revenge cannon because I don't

1:21:20.680 --> 1:21:25.200
<v Speaker 3>think she gets her revenge particularly feministly. And it is

1:21:25.400 --> 1:21:28.800
<v Speaker 3>written in all these gender tropes by two guys, So.

1:21:29.360 --> 1:21:32.720
<v Speaker 2>It feels to me like girl boss white feminism.

1:21:33.080 --> 1:21:36.120
<v Speaker 3>Well, but that's the only setting that like male writers

1:21:36.240 --> 1:21:36.880
<v Speaker 3>know how to write.

1:21:38.120 --> 1:21:39.880
<v Speaker 2>It's not good for the most like these movies.

1:21:39.960 --> 1:21:42.639
<v Speaker 3>For the most part, there's a few, there's like Boots Riley,

1:21:43.200 --> 1:21:44.960
<v Speaker 3>but even he sometimes struggles with women.

1:21:45.080 --> 1:21:47.800
<v Speaker 4>It's just this right to me, the tell that this

1:21:47.960 --> 1:21:52.320
<v Speaker 4>is written by men attempting to sort of critique gender

1:21:52.400 --> 1:21:56.760
<v Speaker 4>dynamics is the forms that the sexism takes very early on,

1:21:57.000 --> 1:21:59.560
<v Speaker 4>which is so cartoonish. Yes, like the men in the

1:21:59.640 --> 1:22:01.320
<v Speaker 4>office are literally saying.

1:22:01.960 --> 1:22:07.799
<v Speaker 5>Let's go boys, and that took balls and in a way.

1:22:07.720 --> 1:22:12.760
<v Speaker 4>Sort of diminishing office sexism into these like cartoonish statements.

1:22:13.720 --> 1:22:16.599
<v Speaker 5>I feel like it's a way of letting men off

1:22:16.640 --> 1:22:16.960
<v Speaker 5>the hook.

1:22:17.080 --> 1:22:20.120
<v Speaker 4>Like then then people can be like, I would never

1:22:20.240 --> 1:22:23.240
<v Speaker 4>say I know better than to say that took balls

1:22:23.360 --> 1:22:26.759
<v Speaker 4>to a woman in an office, so therefore I can't

1:22:27.120 --> 1:22:29.400
<v Speaker 4>be sexist or I can't be treating women differently than

1:22:29.439 --> 1:22:33.120
<v Speaker 4>men because I wouldn't use that language. And it also

1:22:33.320 --> 1:22:37.320
<v Speaker 4>just I feel like the sexism I see and I

1:22:37.479 --> 1:22:40.840
<v Speaker 4>hear about from women is never like, ah, someone said

1:22:40.880 --> 1:22:44.839
<v Speaker 4>that took balls. It's like much more nuanced and systemic

1:22:45.320 --> 1:22:46.960
<v Speaker 4>and insidious.

1:22:46.520 --> 1:22:47.840
<v Speaker 3>And protracted too.

1:22:48.560 --> 1:22:53.479
<v Speaker 2>Right, the moment where Donovan steals her report that she

1:22:53.600 --> 1:22:56.320
<v Speaker 2>worked so hard on and then passes it off as

1:22:56.720 --> 1:22:59.840
<v Speaker 2>his work, is like, I'm not saying that hasn't happened

1:23:00.160 --> 1:23:03.519
<v Speaker 2>before throughout history, but it has become such a trope

1:23:03.560 --> 1:23:05.760
<v Speaker 2>at this point that it's like it seems like it

1:23:05.880 --> 1:23:08.960
<v Speaker 2>was the only thing that the writers could think of

1:23:09.280 --> 1:23:14.479
<v Speaker 2>to demonstrate. Look how sexist this office environment is that

1:23:14.640 --> 1:23:15.960
<v Speaker 2>Linda has to put up with.

1:23:16.680 --> 1:23:19.400
<v Speaker 3>Well, it reminds me of It's like the Stock character

1:23:19.479 --> 1:23:22.240
<v Speaker 3>we refer to, and I'm surprised it hasn't come up

1:23:22.240 --> 1:23:26.240
<v Speaker 3>on this episode already. But the patriarchy, the guy Stock character,

1:23:26.360 --> 1:23:29.280
<v Speaker 3>which is who Bradley is. He is patriarchy the guy,

1:23:30.000 --> 1:23:33.960
<v Speaker 3>which can be fun if like meaningfully subverted, but like

1:23:34.200 --> 1:23:38.439
<v Speaker 3>what doing that offers to male writers is a way

1:23:38.680 --> 1:23:43.839
<v Speaker 3>of ignoring what you're describing Blair, like how sexism affects

1:23:43.880 --> 1:23:48.880
<v Speaker 3>people in the workplace in really specific situations, and there

1:23:49.000 --> 1:23:51.519
<v Speaker 3>is this feeling around it of like, well, I can't

1:23:51.560 --> 1:23:54.719
<v Speaker 3>be sexist because I don't use the top ten sexist

1:23:54.840 --> 1:23:59.880
<v Speaker 3>catchphrases that you see in movies right where it's yeah,

1:24:00.040 --> 1:24:02.320
<v Speaker 3>I think another case of this movie biting off more

1:24:02.400 --> 1:24:05.000
<v Speaker 3>than it can chew because we are given like some

1:24:05.200 --> 1:24:10.519
<v Speaker 3>insight into Bradley, and Bradley is a prisoner, but the

1:24:10.600 --> 1:24:12.320
<v Speaker 3>movie doesn't really know what to do with all of

1:24:12.400 --> 1:24:14.960
<v Speaker 3>these things being true at once. It certainly doesn't know

1:24:15.000 --> 1:24:18.000
<v Speaker 3>what to do with Zuri, which is like something that

1:24:18.160 --> 1:24:21.200
<v Speaker 3>just feels worth mentioning that, like because we have basically

1:24:21.240 --> 1:24:24.439
<v Speaker 3>a twohunder with two white characters, that our only black

1:24:24.560 --> 1:24:29.280
<v Speaker 3>character with any screen time is brutally murdered. Not awesome,

1:24:30.320 --> 1:24:32.519
<v Speaker 3>but also that like they don't know what to do

1:24:32.760 --> 1:24:36.960
<v Speaker 3>with Zuri as a character period. She is like fiance

1:24:37.200 --> 1:24:41.519
<v Speaker 3>dot jpeg, Like there is nothing to her other than

1:24:42.280 --> 1:24:46.240
<v Speaker 3>I love Bradley, Like where's Bradley, Where's Bradley?

1:24:46.479 --> 1:24:46.679
<v Speaker 4>Say?

1:24:47.200 --> 1:24:49.479
<v Speaker 3>Oh no, those are the three things she does in

1:24:49.560 --> 1:24:54.400
<v Speaker 3>the movie. I love Bradley. Where's Bradley? Ah, that's what

1:24:54.520 --> 1:24:54.840
<v Speaker 3>she does.

1:24:55.479 --> 1:24:56.720
<v Speaker 2>And it's just like.

1:24:58.240 --> 1:25:03.200
<v Speaker 3>There are opportunities to show more nuance with the gender

1:25:03.320 --> 1:25:07.160
<v Speaker 3>dynamics in this movie that it just feels like kind

1:25:07.200 --> 1:25:12.240
<v Speaker 3>of perhaps a skill issue. And also like when you

1:25:12.360 --> 1:25:14.479
<v Speaker 3>have Sam Raimi jump scares and like all this, like

1:25:14.680 --> 1:25:16.599
<v Speaker 3>if you have someone who's like a really fun director

1:25:17.240 --> 1:25:22.000
<v Speaker 3>making the world interesting to watch, like it's maybe easier

1:25:22.080 --> 1:25:25.080
<v Speaker 3>to get away with. But yeah, as far as like

1:25:25.160 --> 1:25:27.680
<v Speaker 3>classifying this as a feminist revenge tale, it's just too

1:25:27.760 --> 1:25:31.320
<v Speaker 3>much of a mess and not it's not saying really

1:25:32.280 --> 1:25:36.280
<v Speaker 3>anything Like I again, I'm so cool with a woman

1:25:36.400 --> 1:25:39.519
<v Speaker 3>being unhinged at the end, Like there are feminist movies

1:25:39.560 --> 1:25:43.000
<v Speaker 3>that end with a woman being unhinged. Yeah, this is

1:25:43.400 --> 1:25:45.240
<v Speaker 3>just simply not one of them. I don't think.

1:25:45.760 --> 1:25:47.840
<v Speaker 2>Well, I mean speaking to the Sam Raimi of it all,

1:25:48.600 --> 1:25:52.080
<v Speaker 2>because his style is so distinct and because his movies

1:25:52.120 --> 1:25:56.240
<v Speaker 2>are as are often very heightened, like I can excuse

1:25:56.760 --> 1:26:01.639
<v Speaker 2>a series of stock characters or even like stock tropy,

1:26:02.000 --> 1:26:06.240
<v Speaker 2>sexism or just like kind of tropes in general in

1:26:06.479 --> 1:26:10.720
<v Speaker 2>something so stylized and heightened because that almost seems like

1:26:10.720 --> 1:26:15.840
<v Speaker 2>an intentional part of the style. But like to your point, Jamie,

1:26:15.840 --> 1:26:20.040
<v Speaker 2>I feel like it needs to then eventually be subverted

1:26:20.520 --> 1:26:25.240
<v Speaker 2>or more nuanced, has to be sprinkled in, or something

1:26:25.360 --> 1:26:29.960
<v Speaker 2>else needs to happen where there's active commentary or something.

1:26:30.360 --> 1:26:32.960
<v Speaker 2>There is a moment where and let me know what

1:26:33.080 --> 1:26:37.880
<v Speaker 2>you both think of this, where it's the scene where

1:26:38.000 --> 1:26:44.600
<v Speaker 2>Linda poisons Bradley and pretends like she's castrating him, And

1:26:44.680 --> 1:26:48.360
<v Speaker 2>while she's doing that, she's giving this monologue where she says,

1:26:49.240 --> 1:26:51.280
<v Speaker 2>you know, I know how hard this must be for you,

1:26:51.520 --> 1:26:54.400
<v Speaker 2>not being in control. You're not used to being in

1:26:54.520 --> 1:26:58.719
<v Speaker 2>this shall we say submissive position. I mean, it's natural

1:26:58.880 --> 1:27:01.920
<v Speaker 2>for you to not be able to take orders from me,

1:27:02.640 --> 1:27:05.599
<v Speaker 2>to have to depend on me for your survival. It's

1:27:05.760 --> 1:27:09.560
<v Speaker 2>just natural. It's your biology. And I wasn't sure what

1:27:09.680 --> 1:27:12.960
<v Speaker 2>she meant by that, because is she talking about gender

1:27:13.960 --> 1:27:14.559
<v Speaker 2>in the sense that.

1:27:14.600 --> 1:27:18.599
<v Speaker 3>Like talking about like NEPO, right is? I think because

1:27:18.680 --> 1:27:22.000
<v Speaker 3>and again this is like a very binary gender approach

1:27:22.320 --> 1:27:24.920
<v Speaker 3>to take, but I also think that this movie has

1:27:24.920 --> 1:27:27.960
<v Speaker 3>a very binary approach to gender. I think she's talking

1:27:27.960 --> 1:27:31.160
<v Speaker 3>about gender because she's allegedly cutting his dick.

1:27:31.040 --> 1:27:34.160
<v Speaker 2>Off, right, because she's because if she is talking about gender,

1:27:34.200 --> 1:27:36.000
<v Speaker 2>it seems like she's referring to the fact that like

1:27:36.680 --> 1:27:41.439
<v Speaker 2>men tend to assume more dominant roles in society and

1:27:41.600 --> 1:27:46.560
<v Speaker 2>women tend to assume more submissive roles. But that's not biology,

1:27:46.720 --> 1:27:51.439
<v Speaker 2>that's socialization. But she's labeling it as biology. So that's

1:27:51.439 --> 1:27:55.000
<v Speaker 2>why I wasn't I wasn't sure what she meant, because

1:27:55.040 --> 1:27:58.880
<v Speaker 2>she could be talking about his parents, especially his dad,

1:27:59.040 --> 1:28:02.960
<v Speaker 2>who was this big, powerful boss man who was used

1:28:03.040 --> 1:28:06.559
<v Speaker 2>to being in a position of power, because so much

1:28:06.600 --> 1:28:10.960
<v Speaker 2>of this movie is about power and shifting power and

1:28:11.080 --> 1:28:15.640
<v Speaker 2>abusing power. But yeah, I didn't know what she was

1:28:16.120 --> 1:28:17.719
<v Speaker 2>talking about.

1:28:18.520 --> 1:28:20.400
<v Speaker 3>I think I think again this is this is like

1:28:20.600 --> 1:28:25.320
<v Speaker 3>tied into and I'm specifically talking about I think the

1:28:25.439 --> 1:28:28.400
<v Speaker 3>men's version of a good for her ending that this

1:28:28.600 --> 1:28:31.120
<v Speaker 3>is just a feature, right, Like it's you make you

1:28:31.280 --> 1:28:34.439
<v Speaker 3>do a monologue and then you and you break the

1:28:34.479 --> 1:28:37.559
<v Speaker 3>fourth wall at the end, and like this it almost

1:28:37.800 --> 1:28:41.160
<v Speaker 3>just feels like a way to end a movie versus

1:28:41.320 --> 1:28:44.559
<v Speaker 3>like the way this movie should have ended. It feels

1:28:44.760 --> 1:28:49.160
<v Speaker 3>very like shoehorned in and it's it's like, yeah, that

1:28:49.520 --> 1:28:52.600
<v Speaker 3>speech to be felt just again out of step with

1:28:53.400 --> 1:28:54.840
<v Speaker 3>out of step with who she's and at the end,

1:28:54.880 --> 1:29:00.360
<v Speaker 3>I think ending on such a clear like yay Linda,

1:29:00.720 --> 1:29:03.600
<v Speaker 3>like I want to be on board, but we know

1:29:03.800 --> 1:29:06.320
<v Speaker 3>too much. We know too much to just be like

1:29:06.560 --> 1:29:10.320
<v Speaker 3>yay Linda. We have too much information and the dynamic

1:29:10.439 --> 1:29:13.800
<v Speaker 3>is too complicated, and it feels like it's like undercutting

1:29:14.680 --> 1:29:18.720
<v Speaker 3>both characters to end the movie in that binary of

1:29:19.600 --> 1:29:19.920
<v Speaker 3>a way.

1:29:20.880 --> 1:29:24.800
<v Speaker 2>It feels like it's intentional that she ends up being

1:29:24.920 --> 1:29:27.760
<v Speaker 2>not especially sympathetic or empathetic.

1:29:28.000 --> 1:29:30.400
<v Speaker 3>Yeah, which is fine. She hasn't just to be sympathetic,

1:29:30.520 --> 1:29:30.760
<v Speaker 3>but it.

1:29:30.840 --> 1:29:35.160
<v Speaker 2>Does it does make the end harder for me to digest.

1:29:35.960 --> 1:29:40.719
<v Speaker 2>Fun fact, so this script was being knocked around since

1:29:40.880 --> 1:29:42.600
<v Speaker 2>I think, like twenty nineteen.

1:29:42.760 --> 1:29:45.160
<v Speaker 3>That would make sense. That's when every movie ended with

1:29:45.240 --> 1:29:46.880
<v Speaker 3>a good for her smirks.

1:29:46.960 --> 1:29:51.600
<v Speaker 2>True, it didn't start to enter more of a significant

1:29:51.680 --> 1:29:55.840
<v Speaker 2>like pre production period until several years later, and then

1:29:55.880 --> 1:30:01.320
<v Speaker 2>in twenty twenty four is when Rachel mcadam's was brought

1:30:01.400 --> 1:30:05.120
<v Speaker 2>on board and she was like entering negotiations to be

1:30:05.360 --> 1:30:09.719
<v Speaker 2>the star of the movie, and Sam Raimi specifically wanted

1:30:09.800 --> 1:30:12.680
<v Speaker 2>her for the role because he had worked with her

1:30:12.760 --> 1:30:17.960
<v Speaker 2>previously in Doctor Strange and the Multiverse of Madness, of course,

1:30:18.760 --> 1:30:24.200
<v Speaker 2>but he considered her character to be underutilized.

1:30:23.360 --> 1:30:26.760
<v Speaker 3>In I don't even remember that she was in that movie,

1:30:26.920 --> 1:30:27.759
<v Speaker 3>and I thought.

1:30:28.960 --> 1:30:32.719
<v Speaker 2>She, I guess barely is. And it's like, Okay, well, Sam,

1:30:33.040 --> 1:30:35.439
<v Speaker 2>you directed that movie. So whose fault is.

1:30:35.439 --> 1:30:37.160
<v Speaker 3>It that she was unialized?

1:30:37.560 --> 1:30:37.760
<v Speaker 4>Fair?

1:30:37.960 --> 1:30:40.479
<v Speaker 3>But I also think probably Marvel. I feel I feel

1:30:40.479 --> 1:30:44.040
<v Speaker 3>like the creative person involved in it a franchise movie,

1:30:44.160 --> 1:30:46.160
<v Speaker 3>has any agency over what happened.

1:30:46.240 --> 1:30:48.560
<v Speaker 2>This is true, but that's why he was like, I

1:30:48.760 --> 1:30:52.479
<v Speaker 2>want to showcase her talent more in a in a

1:30:52.720 --> 1:30:55.639
<v Speaker 2>different project where she can be the star.

1:30:56.240 --> 1:31:00.240
<v Speaker 3>Right, which he did do. And so yeah, and I

1:31:00.280 --> 1:31:02.400
<v Speaker 3>think it makes sense for Rachel mccadams if she has

1:31:02.479 --> 1:31:05.400
<v Speaker 3>tried to, Like she doesn't often play characters like this.

1:31:06.000 --> 1:31:08.240
<v Speaker 3>I don't think I've ever seen her in a horror movie,

1:31:08.360 --> 1:31:11.280
<v Speaker 3>or at least not in the last decade. Like it all,

1:31:11.439 --> 1:31:15.439
<v Speaker 3>like Rachel McAdams is. She's just so good. She's one

1:31:15.520 --> 1:31:17.200
<v Speaker 3>of our best. I feel like she should have won

1:31:17.240 --> 1:31:19.080
<v Speaker 3>an Oscar for being in Are You There?

1:31:19.120 --> 1:31:19.280
<v Speaker 4>God?

1:31:19.320 --> 1:31:23.280
<v Speaker 3>It to me, Margaret, she's so good in it. She

1:31:23.360 --> 1:31:25.080
<v Speaker 3>could do so much. I just think that, yeah, like

1:31:25.439 --> 1:31:27.720
<v Speaker 3>it has nothing to do with the characters, and I

1:31:27.760 --> 1:31:29.439
<v Speaker 3>don't even really think has very much to do with

1:31:29.520 --> 1:31:31.400
<v Speaker 3>the direction. It's just like the way that the character

1:31:31.520 --> 1:31:35.519
<v Speaker 3>is written is just such a is so disjointed and messy,

1:31:35.920 --> 1:31:41.679
<v Speaker 3>and yeah, I don't know, Yeah, is there other stuff?

1:31:42.120 --> 1:31:44.240
<v Speaker 3>Was there anything else that you'll wanted to get into.

1:31:45.200 --> 1:31:49.680
<v Speaker 2>I think it's worth mentioning that these types of survival

1:31:49.840 --> 1:31:55.360
<v Speaker 2>stories are almost always told through a very Western lens,

1:31:56.040 --> 1:31:58.960
<v Speaker 2>because so much of Western culture has been kind of

1:31:59.040 --> 1:32:07.200
<v Speaker 2>built around removing humans from nature, whereas indigenous cultures are

1:32:07.400 --> 1:32:11.120
<v Speaker 2>all about having a symbiotic relationship with nature and being

1:32:11.240 --> 1:32:14.960
<v Speaker 2>stewards of the land. So a story like this is

1:32:15.120 --> 1:32:18.640
<v Speaker 2>just like, to me, so obviously like western kind of

1:32:18.720 --> 1:32:22.360
<v Speaker 2>imperial vibes, because it's like, well, you wouldn't even have

1:32:22.640 --> 1:32:26.120
<v Speaker 2>to try so hard to survive in a situation like

1:32:26.200 --> 1:32:32.639
<v Speaker 2>this if you hadn't been so significantly removed from nature

1:32:33.080 --> 1:32:34.680
<v Speaker 2>to begin with, kind of thing.

1:32:35.439 --> 1:32:39.000
<v Speaker 4>Yeah, Yeah, that's definitely, that's definitely the case in terms

1:32:39.080 --> 1:32:43.240
<v Speaker 4>of like people from cultures that live close to the

1:32:43.360 --> 1:32:47.240
<v Speaker 4>land don't experience being trapped in the wilderness as a

1:32:47.320 --> 1:32:49.639
<v Speaker 4>survival situation. In the same way, it can be more

1:32:49.800 --> 1:32:54.920
<v Speaker 4>like like if someone lives a subsistence lifestyle and they

1:32:55.680 --> 1:32:57.559
<v Speaker 4>I don't know, something happens with their boat and they're

1:32:57.560 --> 1:32:59.759
<v Speaker 4>stuck on an island for a while, or there's a storm,

1:33:00.000 --> 1:33:02.160
<v Speaker 4>they're stuck out on a hunting trip or anything like that.

1:33:02.960 --> 1:33:05.920
<v Speaker 4>Like that is almost the equivalent of like, oh, man,

1:33:06.000 --> 1:33:08.120
<v Speaker 4>I went into the city and I like missed the

1:33:08.240 --> 1:33:13.360
<v Speaker 4>last bus home, right, and you know, it's an annoying maybe,

1:33:13.600 --> 1:33:15.720
<v Speaker 4>but it's not. It's not life or death. In the

1:33:15.760 --> 1:33:17.639
<v Speaker 4>same way, it's like, oh, I had to do something

1:33:17.720 --> 1:33:20.000
<v Speaker 4>else or be creative or sleep in a place I

1:33:20.000 --> 1:33:22.960
<v Speaker 4>would rather not have slept if I had caught the bus, right.

1:33:23.280 --> 1:33:27.040
<v Speaker 4>And that's not universal in every culture, of course. For sure,

1:33:27.320 --> 1:33:30.200
<v Speaker 4>it's definitely a pattern in terms of, you know, the

1:33:30.240 --> 1:33:33.920
<v Speaker 4>closer side, the more wilderness is part of your everyday life,

1:33:34.600 --> 1:33:36.599
<v Speaker 4>the less of an emergency it is to be stuck

1:33:36.640 --> 1:33:36.800
<v Speaker 4>in it.

1:33:37.200 --> 1:33:40.479
<v Speaker 3>For sure, I guess this is if this is like

1:33:40.800 --> 1:33:43.639
<v Speaker 3>to putting you on the spot, please feel free to disregard.

1:33:43.760 --> 1:33:46.439
<v Speaker 3>But if because this is like so rare to see

1:33:47.479 --> 1:33:51.200
<v Speaker 3>women in a survivalist plot, is there something that you

1:33:51.800 --> 1:33:54.840
<v Speaker 3>would like to see? Is there like anything that sticks

1:33:54.880 --> 1:33:56.479
<v Speaker 3>out is like, well, why the hell isn't there a

1:33:56.560 --> 1:34:01.000
<v Speaker 3>movie about this person dynamic situation or I don't know.

1:34:01.640 --> 1:34:05.120
<v Speaker 4>That's a really good question. I want to see more

1:34:05.800 --> 1:34:08.160
<v Speaker 4>stories about girls in survival. I'm writing a book actually

1:34:08.240 --> 1:34:10.360
<v Speaker 4>right now that's like a middle grade book about a

1:34:10.640 --> 1:34:12.320
<v Speaker 4>girl who's lost in the woods with her dog, just

1:34:12.360 --> 1:34:14.479
<v Speaker 4>because that's like that, I want it to exist.

1:34:15.000 --> 1:34:16.480
<v Speaker 3>Look up Baby Island.

1:34:18.880 --> 1:34:23.439
<v Speaker 4>And yeah, I think like fiction and nonfiction are different,

1:34:23.760 --> 1:34:25.720
<v Speaker 4>right in terms of how these stories are told. So

1:34:26.720 --> 1:34:29.960
<v Speaker 4>in nonfiction, it's always interesting to see sort of how

1:34:30.160 --> 1:34:34.040
<v Speaker 4>women handle these situations, and women are often I think

1:34:34.080 --> 1:34:36.719
<v Speaker 4>there's a presumption that women in a wilderness survival situation

1:34:36.760 --> 1:34:39.000
<v Speaker 4>are less capable than men, and that often is not

1:34:39.640 --> 1:34:42.080
<v Speaker 4>the case when it actually plays out in real life,

1:34:42.120 --> 1:34:44.960
<v Speaker 4>and you will see like women surviving where men don't,

1:34:45.320 --> 1:34:49.640
<v Speaker 4>or women trying to survive where men might, I don't know,

1:34:49.760 --> 1:34:52.160
<v Speaker 4>immediately decide that they should just kill themselves to save

1:34:52.200 --> 1:34:55.240
<v Speaker 4>themselves suffering, whereas women will sort of fight fight for longer.

1:34:55.320 --> 1:34:58.040
<v Speaker 4>And that's obviously on a very case by case basis,

1:34:58.960 --> 1:35:03.559
<v Speaker 4>but I think that in fictional stories you will see

1:35:03.600 --> 1:35:07.120
<v Speaker 4>a lot more assumptions coming into play, where like a

1:35:07.240 --> 1:35:10.840
<v Speaker 4>woman in a survival situation is sort of becoming more

1:35:10.960 --> 1:35:14.439
<v Speaker 4>quote unquote manly in order to survive, and that is

1:35:14.520 --> 1:35:17.280
<v Speaker 4>not necessarily the case. One of my one of my

1:35:17.320 --> 1:35:20.680
<v Speaker 4>favorite survival stories is about Maurice and Marilyn Bailey, and

1:35:20.680 --> 1:35:23.559
<v Speaker 4>there's an incredible book about them that came out recently

1:35:23.640 --> 1:35:27.320
<v Speaker 4>called A Marriage at Sea, and this couple are stranded

1:35:27.439 --> 1:35:32.280
<v Speaker 4>on a lifeboat for months and Maurice just immediately is

1:35:32.400 --> 1:35:35.599
<v Speaker 4>like throwing in the towel like time to commit suicide,

1:35:35.720 --> 1:35:39.320
<v Speaker 4>and Marilyn sort of saves them both. And also while

1:35:39.400 --> 1:35:43.120
<v Speaker 4>she's doing it, is like sketching dresses she wants to

1:35:43.240 --> 1:35:45.600
<v Speaker 4>sew in her notebook for when she gets home and

1:35:45.720 --> 1:35:47.400
<v Speaker 4>planning dinner party she's gonna wear.

1:35:47.360 --> 1:35:49.080
<v Speaker 3>Them at and then are so awesome.

1:35:50.640 --> 1:35:54.360
<v Speaker 4>And it's these things that would be seen as dichotomus,

1:35:54.479 --> 1:35:57.400
<v Speaker 4>like that being so sort of stereotypically feminine, while she's

1:35:57.439 --> 1:36:00.160
<v Speaker 4>also like harnessing sea turtles to pull them through the

1:36:00.240 --> 1:36:02.639
<v Speaker 4>ocean to try to like go against the current toward

1:36:02.680 --> 1:36:03.040
<v Speaker 4>the land.

1:36:03.960 --> 1:36:07.240
<v Speaker 5>Like the truth is that femininity is not at odds.

1:36:07.080 --> 1:36:10.600
<v Speaker 4>With survival and it's not less tough, and that is

1:36:10.680 --> 1:36:13.960
<v Speaker 4>a truth that is very hard to hold in fiction.

1:36:14.320 --> 1:36:17.240
<v Speaker 4>For people. But it's a really interesting pattern that I

1:36:17.280 --> 1:36:19.479
<v Speaker 4>see playing out, and I would love to see more

1:36:19.800 --> 1:36:23.120
<v Speaker 4>of that reflected, sort of like skills that are seen

1:36:23.160 --> 1:36:26.960
<v Speaker 4>as traditionally female being respected for the survival skills that

1:36:27.080 --> 1:36:32.680
<v Speaker 4>they are as opposed to seeming beside the point or irrelevant, right,

1:36:33.120 --> 1:36:34.960
<v Speaker 4>you know the idea that like women will get on

1:36:35.040 --> 1:36:37.120
<v Speaker 4>a desert island be like I broken nail, you know,

1:36:37.240 --> 1:36:40.360
<v Speaker 4>like those sort of tropes, or they like become masculine

1:36:40.400 --> 1:36:43.519
<v Speaker 4>and that's how they're like becoming tough, Whereas in real

1:36:43.600 --> 1:36:46.800
<v Speaker 4>life what you see is like, obviously not every woman

1:36:46.920 --> 1:36:49.560
<v Speaker 4>is feminine, but like a woman who is feminine that

1:36:49.760 --> 1:36:53.719
<v Speaker 4>is not in conflict with her being a really badass

1:36:53.760 --> 1:36:56.719
<v Speaker 4>survivor and it can even sort of augment her skills.

1:36:56.760 --> 1:36:59.640
<v Speaker 4>And I think that's like a really interesting thing I

1:36:59.680 --> 1:37:01.200
<v Speaker 4>never see portrayed in stories.

1:37:02.400 --> 1:37:06.519
<v Speaker 3>Yeah, that like femininity is not disqualifying to survive and

1:37:06.560 --> 1:37:07.320
<v Speaker 3>can be an asset.

1:37:07.680 --> 1:37:09.360
<v Speaker 5>Yeah exactly, yeah, exactly.

1:37:10.880 --> 1:37:14.960
<v Speaker 3>Well, someday, someday, you know, women will be allowed to

1:37:15.000 --> 1:37:16.920
<v Speaker 3>write a movie and maybe we'll see it.

1:37:17.760 --> 1:37:19.559
<v Speaker 2>I'm fingers crossed.

1:37:20.000 --> 1:37:23.000
<v Speaker 3>I'm so excited for your ya book.

1:37:23.040 --> 1:37:25.680
<v Speaker 4>That's incredible, Thank you, thank you that one.

1:37:25.880 --> 1:37:26.160
<v Speaker 2>That one.

1:37:27.120 --> 1:37:28.120
<v Speaker 4>I've been wanting to do that.

1:37:28.160 --> 1:37:30.479
<v Speaker 3>For a while, absolutely amazing.

1:37:32.080 --> 1:37:34.519
<v Speaker 2>Well does the movie pass the Bechdel test?

1:37:35.680 --> 1:37:35.800
<v Speaker 4>Uh?

1:37:40.000 --> 1:37:43.160
<v Speaker 3>I think on it. You could argue on a technicality,

1:37:43.479 --> 1:37:45.680
<v Speaker 3>but I'm not really inclined to give it to it.

1:37:45.760 --> 1:37:47.840
<v Speaker 3>But what do you think, Caitlin, Well.

1:37:47.720 --> 1:37:51.040
<v Speaker 2>Okay, there's a there's a moment where Linda talks to

1:37:51.200 --> 1:37:54.040
<v Speaker 2>her colleague in the office who's a woman, but they

1:37:54.120 --> 1:37:56.400
<v Speaker 2>mostly talk about that guy Donovan, So that one I

1:37:56.439 --> 1:37:59.000
<v Speaker 2>don't think count does she have a name? If so,

1:37:59.360 --> 1:38:02.040
<v Speaker 2>we barely learn it, So let's say no to that.

1:38:03.080 --> 1:38:07.560
<v Speaker 2>Linda does talk to Zuri, but I think pretty exclusively.

1:38:09.560 --> 1:38:12.560
<v Speaker 2>And then Linda talks to that woman journalist at the

1:38:12.720 --> 1:38:14.400
<v Speaker 2>very end who's interviewing.

1:38:15.720 --> 1:38:18.080
<v Speaker 3>What I had marked as like what she I guess

1:38:18.840 --> 1:38:21.559
<v Speaker 3>there might be what I'll open up for a possibility

1:38:21.640 --> 1:38:26.560
<v Speaker 3>is there might be a one pass in Zuri and

1:38:27.280 --> 1:38:30.360
<v Speaker 3>Linda talking the second time where she's like, oh, is

1:38:30.400 --> 1:38:34.559
<v Speaker 3>it just just you? But the subtext to that conversation,

1:38:34.560 --> 1:38:36.600
<v Speaker 3>I would still say, the subtext to that conversation is

1:38:36.760 --> 1:38:37.559
<v Speaker 3>very much Bradley.

1:38:37.920 --> 1:38:39.040
<v Speaker 2>It's where's Bradley?

1:38:39.280 --> 1:38:43.720
<v Speaker 3>Yeah, where's Bradley? Ah? Yeah. So even if there's a

1:38:43.880 --> 1:38:49.000
<v Speaker 3>tech I'm sure it passest a technicality somewhere, but spiritually

1:38:49.080 --> 1:38:51.200
<v Speaker 3>I would say nor agree.

1:38:51.600 --> 1:38:52.720
<v Speaker 4>Yeah, I don't think it does.

1:38:53.240 --> 1:38:57.040
<v Speaker 2>But what about the Bechdel cast nipple scale, where we

1:38:57.560 --> 1:39:01.040
<v Speaker 2>rate the movie based on a scale of zero to

1:39:01.120 --> 1:39:05.639
<v Speaker 2>five nipples. Examining the movie through an intersectional feminist lens,

1:39:07.600 --> 1:39:10.800
<v Speaker 2>I feel like maybe a two for this one, two

1:39:10.920 --> 1:39:14.280
<v Speaker 2>two and a half. I do appreciate that it is

1:39:14.840 --> 1:39:21.919
<v Speaker 2>a survival story about a woman and showcasing a woman's

1:39:21.960 --> 1:39:27.400
<v Speaker 2>ability to survive and her skills that she has developed.

1:39:27.720 --> 1:39:29.880
<v Speaker 2>I think that's cool, and I wish there were more

1:39:29.960 --> 1:39:35.320
<v Speaker 2>stories with that basic premise. I think the movie starts

1:39:35.400 --> 1:39:41.479
<v Speaker 2>to explore potentially interesting things about shifting power dynamics and

1:39:42.840 --> 1:39:47.360
<v Speaker 2>abuse of power regardless of the gender of the person

1:39:47.400 --> 1:39:52.479
<v Speaker 2>who holds the power. But the movie, again, as we've discussed,

1:39:52.640 --> 1:39:59.479
<v Speaker 2>just like Still Employees sexist tropes, so I'm not as

1:39:59.520 --> 1:40:03.240
<v Speaker 2>inclined to find it that interesting. Yeah, yeah, I think

1:40:03.280 --> 1:40:08.600
<v Speaker 2>two and a half and I'll give one to Rachel McAdams,

1:40:09.000 --> 1:40:15.320
<v Speaker 2>one to Edel who plays Zuri, and my half nipple

1:40:16.720 --> 1:40:21.639
<v Speaker 2>will go to the bore. Wow, that boar did nothing wrong.

1:40:23.840 --> 1:40:25.559
<v Speaker 3>I'll go to it and a half as well. Yeah,

1:40:25.600 --> 1:40:28.439
<v Speaker 3>I think that this movie is fun. It is like

1:40:29.160 --> 1:40:34.080
<v Speaker 3>not setting back feminism, but it's not really it's I

1:40:34.120 --> 1:40:36.720
<v Speaker 3>would say it is. It is not doing anything for

1:40:36.840 --> 1:40:38.639
<v Speaker 3>it either. It is kind of which is why I'm

1:40:38.680 --> 1:40:42.479
<v Speaker 3>giving it a basically neutral score. I like Linda as

1:40:42.520 --> 1:40:46.160
<v Speaker 3>a character, and I feel like ultimately the way that

1:40:46.240 --> 1:40:49.840
<v Speaker 3>she's characterized kind of loses its way in a way

1:40:49.920 --> 1:40:54.640
<v Speaker 3>that I wish it hadn't. But great performance from Rachel McAdams,

1:40:54.920 --> 1:40:57.080
<v Speaker 3>and yeah, I think that's all I have to say.

1:40:57.120 --> 1:40:59.679
<v Speaker 3>So I'm gonna go two and a half nipples given

1:41:00.120 --> 1:41:05.559
<v Speaker 3>wonder Linda, Wonder Rachel, and half to my favorite character

1:41:05.640 --> 1:41:07.040
<v Speaker 3>from Lost, John Locke.

1:41:08.240 --> 1:41:10.519
<v Speaker 2>Of course. Yeah, Blair, how about you.

1:41:11.240 --> 1:41:14.040
<v Speaker 4>I was also independently thinking two to two and a

1:41:14.080 --> 1:41:17.040
<v Speaker 4>half stars, but I think you're You're right. There's some

1:41:17.160 --> 1:41:19.840
<v Speaker 4>things that's doing right, Like she has more survival skills

1:41:19.880 --> 1:41:20.240
<v Speaker 4>than him.

1:41:20.360 --> 1:41:22.040
<v Speaker 5>So I'll do two and a half.

1:41:22.040 --> 1:41:24.560
<v Speaker 4>I'll do the higher end of that scale. And I

1:41:24.920 --> 1:41:27.840
<v Speaker 4>am giving I think, all of my nipples to the

1:41:27.880 --> 1:41:32.160
<v Speaker 4>fact that this island has no bugs, because this island

1:41:32.200 --> 1:41:37.000
<v Speaker 4>would be so full of sandflies and fleas and mosquitoes,

1:41:37.120 --> 1:41:38.800
<v Speaker 4>and like everyone would just be ab look at have

1:41:38.960 --> 1:41:42.760
<v Speaker 4>like skin that looks like it's raw bumps constantly all

1:41:42.800 --> 1:41:46.000
<v Speaker 4>the time, and I appreciate it that that wasn't part

1:41:46.000 --> 1:41:46.439
<v Speaker 4>of the film.

1:41:46.600 --> 1:41:48.560
<v Speaker 5>And it also seems like an island I want to

1:41:48.600 --> 1:41:49.680
<v Speaker 5>go to for that reason.

1:41:49.520 --> 1:41:52.200
<v Speaker 3>So totally let it where it is due. Yeah, I mean,

1:41:52.240 --> 1:41:56.720
<v Speaker 3>apparently it is a destination. There is a mansion there,

1:41:56.840 --> 1:41:59.559
<v Speaker 3>so maybe that's why they built the freaky mansion. It's

1:41:59.600 --> 1:42:01.120
<v Speaker 3>because of the buglass island.

1:42:01.920 --> 1:42:03.800
<v Speaker 4>Yeah, I'm thinking, how did they get rid of the

1:42:03.880 --> 1:42:04.439
<v Speaker 4>bugs for.

1:42:04.520 --> 1:42:08.840
<v Speaker 2>The filming pesticides? The billionaire who owns the house probably

1:42:09.000 --> 1:42:11.639
<v Speaker 2>just dumped a bunch of pesticides all over the island.

1:42:11.920 --> 1:42:14.719
<v Speaker 4>You know what, maybe there are secret tropical places without bugs,

1:42:14.760 --> 1:42:17.519
<v Speaker 4>but it's only owned by billionaires. They've snapped them up

1:42:17.560 --> 1:42:19.040
<v Speaker 4>and that's why the rest of us don't know.

1:42:19.479 --> 1:42:23.240
<v Speaker 2>Yeah. Oh, could be brutal in any case, Blair, thank

1:42:23.240 --> 1:42:26.320
<v Speaker 2>you so much for joining us for this discussion. Thank

1:42:26.439 --> 1:42:29.240
<v Speaker 2>you for having me come back any time. I would

1:42:29.280 --> 1:42:33.040
<v Speaker 2>love to tell us where people can follow your work,

1:42:33.280 --> 1:42:35.960
<v Speaker 2>listen to your podcast, read your books, etc.

1:42:37.360 --> 1:42:39.920
<v Speaker 5>So I'm the author of a couple different books.

1:42:40.040 --> 1:42:43.599
<v Speaker 4>Most relevant to the topics here probably is the novel

1:42:43.680 --> 1:42:47.320
<v Speaker 4>Small Game, which is about a survival reality show where

1:42:47.320 --> 1:42:50.519
<v Speaker 4>the crew disappears and the survivors have to actually survive

1:42:50.600 --> 1:42:53.800
<v Speaker 4>and figure out where that line is between choosing to

1:42:54.000 --> 1:42:56.920
<v Speaker 4>partake in a survival game and actually being in a

1:42:56.960 --> 1:42:57.839
<v Speaker 4>survival situation.

1:42:58.880 --> 1:43:02.439
<v Speaker 5>And you know, the women do great in that story.

1:43:03.439 --> 1:43:07.920
<v Speaker 4>And more relevantly perhaps is that I'm now hosting a

1:43:08.000 --> 1:43:10.800
<v Speaker 4>podcast called What to Carry, What to Burn, and in

1:43:10.920 --> 1:43:14.679
<v Speaker 4>each episode, I tell a true survival story and they're

1:43:14.720 --> 1:43:17.960
<v Speaker 4>really interesting. I really loved researching them, and I was

1:43:18.000 --> 1:43:20.400
<v Speaker 4>thinking about them a lot with this film, like there's

1:43:21.080 --> 1:43:25.080
<v Speaker 4>you know, like an example would be this island that

1:43:25.320 --> 1:43:30.519
<v Speaker 4>two shipwrecks happened on at the same time, and one

1:43:30.600 --> 1:43:33.360
<v Speaker 4>of the shipwrecks the people all work together and they

1:43:33.479 --> 1:43:36.719
<v Speaker 4>ended up like building society from scratch and then building

1:43:36.720 --> 1:43:39.360
<v Speaker 4>a ship and sailing away to safety after several years,

1:43:39.400 --> 1:43:42.720
<v Speaker 4>and every single person lived and the other shipwreck on

1:43:42.840 --> 1:43:46.040
<v Speaker 4>the same island at the same time. Everyone was very

1:43:46.120 --> 1:43:48.559
<v Speaker 4>stuck in their roles, like the captain of the ship

1:43:48.680 --> 1:43:50.439
<v Speaker 4>was like I'm the captain, and they tried to be

1:43:50.600 --> 1:43:55.599
<v Speaker 4>very hierarchical, and it immediately devolved into everyone hunting each

1:43:55.600 --> 1:43:58.920
<v Speaker 4>other for cannibalism woo. So I think these stories are

1:43:59.000 --> 1:44:01.280
<v Speaker 4>very interesting if you are interested in them. Also, come

1:44:01.360 --> 1:44:02.840
<v Speaker 4>on over to What to Carry, What to Burn?

1:44:03.280 --> 1:44:03.719
<v Speaker 2>Totally.

1:44:03.880 --> 1:44:06.880
<v Speaker 3>Yeah, gosh, oh Clair, you're the coolest. Thank you so

1:44:07.000 --> 1:44:08.120
<v Speaker 3>much for coving on this show.

1:44:08.600 --> 1:44:12.719
<v Speaker 2>Oh my gosh, thank you you're the best cool.

1:44:12.840 --> 1:44:13.000
<v Speaker 3>Yeah.

1:44:13.240 --> 1:44:13.439
<v Speaker 4>Yeah.

1:44:13.720 --> 1:44:13.840
<v Speaker 2>Uh.

1:44:14.040 --> 1:44:16.439
<v Speaker 3>You can find us in all the regular places, mostly

1:44:16.520 --> 1:44:21.439
<v Speaker 3>Instagram at Patreon aka Matreon, where every month, uh, we

1:44:21.880 --> 1:44:25.840
<v Speaker 3>cover a very specific topic of ours. Are your choosing

1:44:25.960 --> 1:44:28.840
<v Speaker 3>this this month? It's it's me because it's my birthday month,

1:44:28.920 --> 1:44:32.439
<v Speaker 3>and so we're covering a Minions movie. And if you

1:44:32.479 --> 1:44:35.160
<v Speaker 3>don't like it, please don't unsubscribe. It is the best

1:44:35.200 --> 1:44:36.840
<v Speaker 3>way to support the show and we need you to

1:44:37.040 --> 1:44:37.479
<v Speaker 3>so badly.

1:44:37.960 --> 1:44:41.960
<v Speaker 2>You never who knows how to survive the Dominions Dominions?

1:44:42.160 --> 1:44:44.760
<v Speaker 3>Yeah, yeah, I think the Minions are spreading the idea

1:44:44.840 --> 1:44:48.280
<v Speaker 3>that men are inherently survived, like the survived. There's no

1:44:48.400 --> 1:44:54.120
<v Speaker 3>women Minions until my Minion movie and then things change. Yeah.

1:44:54.160 --> 1:44:57.040
<v Speaker 3>And also Minions they're cheating because they can't die, so

1:44:57.240 --> 1:44:59.559
<v Speaker 3>I think that they would actually die if they could,

1:44:59.640 --> 1:45:02.160
<v Speaker 3>but they can so they don't. That's glad for that.

1:45:02.360 --> 1:45:04.400
<v Speaker 3>I'm so glad for that. I don't think I'd be

1:45:04.439 --> 1:45:05.920
<v Speaker 3>able to handle a.

1:45:06.000 --> 1:45:10.599
<v Speaker 2>Dead Menion Kevin Laimon, may he live forever and ever.

1:45:11.000 --> 1:45:12.040
<v Speaker 3>I don't think we have a say.

1:45:12.120 --> 1:45:12.960
<v Speaker 2>We don't have a choice.

1:45:13.560 --> 1:45:17.160
<v Speaker 3>He can't die, and and thank and thank Minion God

1:45:17.240 --> 1:45:22.080
<v Speaker 3>for that. All right, Well with that, let's go take

1:45:22.160 --> 1:45:25.880
<v Speaker 3>our bird and good for hers all all the way

1:45:26.600 --> 1:45:27.360
<v Speaker 3>down the island.

1:45:27.720 --> 1:45:30.639
<v Speaker 2>Yeah, bye, bye bye.

1:45:34.000 --> 1:45:37.320
<v Speaker 3>The Bechdel Cast is a production of iHeartMedia, hosted and

1:45:37.479 --> 1:45:39.600
<v Speaker 3>produced by Me Jamie Loftus and.

1:45:39.720 --> 1:45:44.480
<v Speaker 2>Me Caitlyn Durrante. The podcast is also produced by Sophie Lichtermann.

1:45:44.320 --> 1:45:46.960
<v Speaker 3>And edited by Caitlyn Durrante. Ever heard of Them?

1:45:47.520 --> 1:45:50.920
<v Speaker 2>That's me? And our logo and merch and all of

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<v Speaker 2>our artwork, in fact are designed by Jamie Loftus, Ever

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<v Speaker 2>heard of her?

1:45:55.400 --> 1:45:58.360
<v Speaker 3>Oh my God? And our theme song, by the way,

1:45:58.520 --> 1:46:02.400
<v Speaker 3>was composed by Mike Kaplan with vocals by Katherine Voskrasinski.

1:46:02.800 --> 1:46:07.280
<v Speaker 3>Iconic and especial thanks to the one and only Aristotle Ascevedo.

1:46:07.800 --> 1:46:11.599
<v Speaker 2>For more information about the podcast, please visit Linktree Slash

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<v Speaker 2>Spectelcast