1 00:00:05,200 --> 00:00:07,600 Speaker 1: Hey, this is Annie and Samantha, and welcome to stuff. 2 00:00:07,600 --> 00:00:19,400 Speaker 1: I've never told your production of I Heart Radio today 3 00:00:20,320 --> 00:00:23,040 Speaker 1: because I guess I can't talk about scream enough. I'm 4 00:00:23,079 --> 00:00:25,200 Speaker 1: going to continue with something I didn't get to touch 5 00:00:25,239 --> 00:00:27,560 Speaker 1: on in our recent Screen Queen's episode, but it was 6 00:00:27,600 --> 00:00:31,800 Speaker 1: triggered by headline I saw after I was researching this. 7 00:00:31,840 --> 00:00:34,519 Speaker 1: And of course after your researching episode, you get a 8 00:00:34,560 --> 00:00:37,560 Speaker 1: million things about what you just talked about and you're like, oh, 9 00:00:37,560 --> 00:00:40,080 Speaker 1: this would have been nice to have earlier. But I 10 00:00:40,120 --> 00:00:44,360 Speaker 1: saw a headline of this article. It's a philosophical horror question. 11 00:00:44,400 --> 00:00:47,040 Speaker 1: I wanted you to weigh in on. Samantha, can a 12 00:00:47,159 --> 00:00:51,760 Speaker 1: final girl ever be happy? According to the movies I've seen, 13 00:00:53,000 --> 00:00:57,440 Speaker 1: it doesn't seem so because either they a have the 14 00:00:57,840 --> 00:01:00,320 Speaker 1: little bad guy pop up at the very with a 15 00:01:00,400 --> 00:01:03,280 Speaker 1: dude when you think that things are happening, right, or 16 00:01:03,360 --> 00:01:11,120 Speaker 1: be they become evil themselves somehow right? Right? Yes? Or 17 00:01:11,240 --> 00:01:14,720 Speaker 1: that or that? I mean this, it's very as we 18 00:01:14,800 --> 00:01:18,199 Speaker 1: discussed in the Screen Queens episode, it is very alright, Candy, 19 00:01:18,319 --> 00:01:21,480 Speaker 1: It's not always look at trauma. And that's not to 20 00:01:21,520 --> 00:01:26,000 Speaker 1: say you can't like be happy and have trauma. Um 21 00:01:26,000 --> 00:01:27,440 Speaker 1: and We've talked about that a lot. That this is 22 00:01:27,520 --> 00:01:30,840 Speaker 1: you know, ups and downs, good days, bad days. But 23 00:01:30,920 --> 00:01:33,119 Speaker 1: I just thought that was interesting. And I will get 24 00:01:33,160 --> 00:01:35,520 Speaker 1: to the point that this article was making it a 25 00:01:35,520 --> 00:01:40,080 Speaker 1: second because there is a piece I didn't touch on 26 00:01:40,680 --> 00:01:46,800 Speaker 1: that I wanted to about Scream three Yes, which is, 27 00:01:47,319 --> 00:01:48,960 Speaker 1: by the way, I think I made this point. This 28 00:01:49,000 --> 00:01:51,880 Speaker 1: movie is not really well acclaimed like it's It doesn't 29 00:01:51,880 --> 00:01:55,560 Speaker 1: get a lot of praise from like fans or critics. 30 00:01:56,160 --> 00:01:59,000 Speaker 1: A part of that is generally believed to be that 31 00:01:59,240 --> 00:02:01,920 Speaker 1: the scream in question, the final rule in question, Sidney 32 00:02:01,920 --> 00:02:04,800 Speaker 1: Prescott is actually not in a lot of it. And 33 00:02:04,840 --> 00:02:07,440 Speaker 1: that was because at the time, Nev Campbell was filming 34 00:02:07,480 --> 00:02:10,440 Speaker 1: another movie and she only had twenty days on set, 35 00:02:10,480 --> 00:02:12,520 Speaker 1: I think, and also she was wearing a wig, which 36 00:02:12,560 --> 00:02:17,160 Speaker 1: I didn't know anyway, Despite that, a lot of people 37 00:02:17,440 --> 00:02:20,600 Speaker 1: do think that the ending for her was a good 38 00:02:20,760 --> 00:02:26,160 Speaker 1: ending that because she mostly spent the movie being isolated 39 00:02:26,360 --> 00:02:28,440 Speaker 1: and not talking to anybody and saying like, you know, 40 00:02:28,520 --> 00:02:31,560 Speaker 1: killers can't kill what they can't find or whatever, so 41 00:02:31,760 --> 00:02:36,799 Speaker 1: she was just by herself and experiencing this trauma by herself. 42 00:02:37,880 --> 00:02:42,960 Speaker 1: It ends with her walking the dog bright light and 43 00:02:43,000 --> 00:02:46,400 Speaker 1: the gate opens and she leaves it open, and then 44 00:02:46,440 --> 00:02:48,440 Speaker 1: at the end the door opens and what would be 45 00:02:48,560 --> 00:02:50,920 Speaker 1: kind of a classic like who is there something behind 46 00:02:51,000 --> 00:02:53,519 Speaker 1: their horror movie thing? But then she sees it and 47 00:02:53,520 --> 00:02:56,840 Speaker 1: it's just like it's fine, and she smiles and she's 48 00:02:56,880 --> 00:03:00,280 Speaker 1: living with well I don't know, but that cop that 49 00:03:00,280 --> 00:03:03,120 Speaker 1: Patrick Jimsey played is there, and then Dewey and Gail 50 00:03:03,160 --> 00:03:06,160 Speaker 1: are there, and it's implied that like she's moving on 51 00:03:06,280 --> 00:03:09,320 Speaker 1: or she's healing, but I mean, I think she's rightfully 52 00:03:09,320 --> 00:03:12,240 Speaker 1: paranoid at this point. But it's kind of the messages 53 00:03:12,919 --> 00:03:16,080 Speaker 1: she's taken a step in her life. What they do 54 00:03:16,160 --> 00:03:18,160 Speaker 1: that with all the movies, like it seems like it's 55 00:03:18,320 --> 00:03:21,280 Speaker 1: ending fine where they're happily going on their way, and 56 00:03:21,320 --> 00:03:24,360 Speaker 1: then the next thing, you know, there's a numer Well 57 00:03:24,400 --> 00:03:27,400 Speaker 1: that's the question, isn't it. That's the Can the Final 58 00:03:27,440 --> 00:03:29,440 Speaker 1: Girl ever be happy as long as there's a franchise? 59 00:03:29,480 --> 00:03:31,360 Speaker 1: And that was the point this article was making, is 60 00:03:31,440 --> 00:03:34,880 Speaker 1: that if it had ended there, then we could as 61 00:03:34,880 --> 00:03:37,640 Speaker 1: the audience, be like, Okay, she found some sort of 62 00:03:37,840 --> 00:03:40,480 Speaker 1: peace or happyness. But these movies are successful, they make 63 00:03:40,520 --> 00:03:44,200 Speaker 1: another one, The fourth one spoilers more killers coming for 64 00:03:44,320 --> 00:03:49,000 Speaker 1: her like it doesn't end. I do think that this 65 00:03:49,120 --> 00:03:54,160 Speaker 1: is an issue with just franchises in general. Like we said, 66 00:03:54,320 --> 00:03:58,119 Speaker 1: people want to see these characters come back. Um, that's 67 00:03:58,120 --> 00:04:00,200 Speaker 1: what people are paying to see. That's what people back 68 00:04:00,280 --> 00:04:02,760 Speaker 1: to see. But that does mean, especially in these horror movies, 69 00:04:02,760 --> 00:04:06,680 Speaker 1: there's no real happy ending. It's just keeps going and 70 00:04:06,720 --> 00:04:10,040 Speaker 1: going again. We could get really in depth, hear, we 71 00:04:10,080 --> 00:04:14,119 Speaker 1: won't about trauma and good day's bad days. Happy ending 72 00:04:14,200 --> 00:04:16,719 Speaker 1: is kind of not really the the goal. It's more like, 73 00:04:16,800 --> 00:04:21,200 Speaker 1: can you live with it and be healthy and generally happy? Yeah, 74 00:04:21,240 --> 00:04:24,920 Speaker 1: And I feel like the question of like Michael Myers 75 00:04:25,000 --> 00:04:27,880 Speaker 1: always coming back or Jason always coming back, how many 76 00:04:27,880 --> 00:04:30,640 Speaker 1: times can something or someone, which Jason is implied to 77 00:04:30,640 --> 00:04:33,760 Speaker 1: be a demon by the way, be blown up and 78 00:04:33,800 --> 00:04:35,880 Speaker 1: just come back On top of that, well, I do 79 00:04:36,040 --> 00:04:38,599 Speaker 1: think the screen queen is the foil for the villain. 80 00:04:38,640 --> 00:04:41,839 Speaker 1: There are plenty of examples where the screen queen, like 81 00:04:41,880 --> 00:04:46,040 Speaker 1: the recent Halloween movies, especially if they are the older 82 00:04:46,080 --> 00:04:49,120 Speaker 1: generation that we said is like teaching or traumatized doing trauma, 83 00:04:49,200 --> 00:04:55,400 Speaker 1: are sidelined like Laurie Strode. So they're there, but they're 84 00:04:55,400 --> 00:05:01,760 Speaker 1: to the right and eventually will die. Oh no, scream five. 85 00:05:01,800 --> 00:05:03,479 Speaker 1: Don't you do it to me? Even though I wanted 86 00:05:03,520 --> 00:05:08,440 Speaker 1: to be happy, but it's not happy. Oh my god. Okay, um, 87 00:05:08,480 --> 00:05:11,400 Speaker 1: so all, but today we talked a lot about Final 88 00:05:11,440 --> 00:05:14,840 Speaker 1: Girls in that episode, and so we wanted to bring 89 00:05:14,880 --> 00:05:17,480 Speaker 1: back this episode. It was my first episode, so please 90 00:05:18,200 --> 00:05:21,240 Speaker 1: have some patience. Is figuring things out, but it was 91 00:05:21,279 --> 00:05:30,120 Speaker 1: about buying our girls, so please enjoy. Hey, this is 92 00:05:30,160 --> 00:05:32,679 Speaker 1: bridget Hi, this is Annie, and you're listening that stuff 93 00:05:32,680 --> 00:05:47,480 Speaker 1: mom never told you. And today we're talking about one 94 00:05:47,480 --> 00:05:51,600 Speaker 1: of my favorite things, horror movies. I can already see 95 00:05:51,720 --> 00:05:54,480 Speaker 1: on your face how excited you are to talk about 96 00:05:54,560 --> 00:05:57,719 Speaker 1: horror movies. I am so excited. I am a grown 97 00:05:57,760 --> 00:06:00,840 Speaker 1: woman who probably three times a week stays up too 98 00:06:00,920 --> 00:06:03,920 Speaker 1: late watching harror. You would think that's a been unusual, 99 00:06:03,960 --> 00:06:05,960 Speaker 1: but actually it seems like a lot of women are 100 00:06:06,080 --> 00:06:09,839 Speaker 1: watching a lot of horror movies these days. Yes, Americans 101 00:06:10,520 --> 00:06:14,080 Speaker 1: have been watching them watching horror movies for decades, but 102 00:06:14,160 --> 00:06:18,240 Speaker 1: in the last year, in seventeen, horror films have had 103 00:06:18,279 --> 00:06:21,880 Speaker 1: particularly big numbers thanks to movies like It or Get Out, 104 00:06:22,600 --> 00:06:25,239 Speaker 1: and if you take any given horror movie in the US, 105 00:06:25,640 --> 00:06:29,320 Speaker 1: statistics show that women purchased more tickets to it than men. 106 00:06:30,200 --> 00:06:33,359 Speaker 1: Dom I surprise you, it is surprising. Yeah, but that 107 00:06:33,400 --> 00:06:38,880 Speaker 1: doesn't include torture porn movies. Do you like horror movies? 108 00:06:38,920 --> 00:06:41,599 Speaker 1: Bridget I like horror movies. Well, first of all, I 109 00:06:41,640 --> 00:06:44,080 Speaker 1: like all movies. It's it's you'd be hard pressed to 110 00:06:44,080 --> 00:06:46,640 Speaker 1: find a movie that I don't like. I'm the person 111 00:06:46,720 --> 00:06:48,960 Speaker 1: that you know when you see commercials on TV for 112 00:06:49,279 --> 00:06:51,920 Speaker 1: big budget popcorn movies and you think, who would go 113 00:06:52,040 --> 00:06:54,680 Speaker 1: see that? I'm like the Middle America person that's like, oh, 114 00:06:54,800 --> 00:06:57,800 Speaker 1: that looks good. I'm just happy to be at the movies. 115 00:06:57,839 --> 00:06:59,640 Speaker 1: When I go to the movies, I'm like, I get 116 00:06:59,680 --> 00:07:02,200 Speaker 1: my whiszlers in my coke, and I'm I'm just happy 117 00:07:02,240 --> 00:07:04,480 Speaker 1: to be there. So I like movies in general, but 118 00:07:04,520 --> 00:07:07,080 Speaker 1: I also love bad horror movies. Kind of a thing 119 00:07:07,080 --> 00:07:09,960 Speaker 1: that I enjoy watching me too. Ye. Can we have 120 00:07:09,960 --> 00:07:15,920 Speaker 1: a sminty horror movie night, Yes, night horror movie meet up? Yes? Oh, 121 00:07:16,200 --> 00:07:18,119 Speaker 1: there are some that I would love to like live 122 00:07:18,160 --> 00:07:20,960 Speaker 1: stream on here. Maybe we can. Maybe we can pull 123 00:07:20,960 --> 00:07:25,520 Speaker 1: that together. Um. And one reason I found for why 124 00:07:25,720 --> 00:07:29,080 Speaker 1: women might be seeing horror movies more than men UM 125 00:07:29,200 --> 00:07:33,080 Speaker 1: is that women kind of have this low level fear 126 00:07:33,800 --> 00:07:36,240 Speaker 1: that they're just living with more than men. Are you 127 00:07:36,280 --> 00:07:38,960 Speaker 1: saying that being a woman is a little bit stressful sometimes, Anny, 128 00:07:39,080 --> 00:07:42,440 Speaker 1: I'm saying it might could be possibly maybe a little 129 00:07:42,480 --> 00:07:46,640 Speaker 1: stressful virgin and horror movies are a great way or 130 00:07:46,680 --> 00:07:48,760 Speaker 1: at least in my experience, not everyone agrees with me, 131 00:07:48,840 --> 00:07:51,360 Speaker 1: but for people who enjoy them, and they're a good 132 00:07:51,360 --> 00:07:54,680 Speaker 1: way to relieve stress, uh, in a way that you 133 00:07:54,720 --> 00:07:57,000 Speaker 1: can't any real life. It's a fear that you choose 134 00:07:57,120 --> 00:08:01,120 Speaker 1: and therefore you can control. And I remember an argument 135 00:08:01,160 --> 00:08:05,160 Speaker 1: for um why people like zombie movies so much, zombie things, 136 00:08:05,160 --> 00:08:08,600 Speaker 1: and it's because it reduces the stresses of your life 137 00:08:08,760 --> 00:08:11,960 Speaker 1: to this one terrible thing. But it does simplify things. 138 00:08:12,480 --> 00:08:17,400 Speaker 1: You're you've got to survive the zombies done hopefully, um. 139 00:08:17,440 --> 00:08:20,240 Speaker 1: And to quote journalist Brianna Wou, horror movies are a 140 00:08:20,240 --> 00:08:22,560 Speaker 1: world where money can't save you, privilege can't save you, 141 00:08:22,600 --> 00:08:25,920 Speaker 1: strength can't save you. So they're kind of, I mean, 142 00:08:25,960 --> 00:08:28,840 Speaker 1: in a perfect world, they're kind of equalizing in that way. Yeah, 143 00:08:28,840 --> 00:08:30,720 Speaker 1: I get what you're saying. It's sort of this fantasy 144 00:08:30,760 --> 00:08:33,520 Speaker 1: world where we're all on the same playing field. Um, 145 00:08:33,559 --> 00:08:35,240 Speaker 1: even though you know, one of the tropes and horror 146 00:08:35,240 --> 00:08:37,600 Speaker 1: movies is like all the black person dies first, or 147 00:08:37,840 --> 00:08:42,040 Speaker 1: you know. And I think that it's important to recognize 148 00:08:42,120 --> 00:08:44,440 Speaker 1: the way that tropes play out in movies like this 149 00:08:44,520 --> 00:08:46,559 Speaker 1: because you know, a lot of people might be saying, 150 00:08:46,920 --> 00:08:49,160 Speaker 1: horror movies, this is dumb. Why is this the thing 151 00:08:49,160 --> 00:08:51,600 Speaker 1: we're talking about? But actually, when you look at what 152 00:08:51,679 --> 00:08:54,520 Speaker 1: we recognize as tropes in these kinds of movies, they 153 00:08:54,520 --> 00:08:56,800 Speaker 1: can tell us a lot about culture and society. And 154 00:08:57,160 --> 00:09:00,280 Speaker 1: you know what we think about women. Oh, absolutely, horror 155 00:09:00,280 --> 00:09:02,719 Speaker 1: movies I think, and I am a fan, but I 156 00:09:02,800 --> 00:09:06,319 Speaker 1: think they say a lot about society in general. And 157 00:09:06,360 --> 00:09:09,040 Speaker 1: even though women we're seeing these movies, but when it 158 00:09:09,080 --> 00:09:12,920 Speaker 1: comes to behind the scenes, if you look at director, writer, producer, 159 00:09:13,000 --> 00:09:17,160 Speaker 1: roles so on, women are very poorly represented. Um. They're 160 00:09:17,160 --> 00:09:20,959 Speaker 1: more likely to work in documentary or drama genres that's 161 00:09:20,960 --> 00:09:24,520 Speaker 1: a fun tongue restor um, and at least likely to 162 00:09:24,520 --> 00:09:28,040 Speaker 1: work in action or horror genres. They accounted from twelve 163 00:09:28,520 --> 00:09:31,560 Speaker 1: of those working on horror. According to a seventeen study 164 00:09:31,640 --> 00:09:35,959 Speaker 1: out of San Diego State University, the film industry in general, 165 00:09:36,040 --> 00:09:39,640 Speaker 1: off screen and on screen is dominated by men on screen. 166 00:09:39,679 --> 00:09:42,000 Speaker 1: These films are truck full of stereotypes and portrayals of 167 00:09:42,040 --> 00:09:46,959 Speaker 1: women that are disparaging and negative and historically a lot 168 00:09:46,960 --> 00:09:49,199 Speaker 1: of messaging and tropes like you were saying that they 169 00:09:49,200 --> 00:09:52,960 Speaker 1: don't do women any favors, and one of the most prevalent. 170 00:09:53,440 --> 00:09:56,720 Speaker 1: The topic of today's episode is the trope of the 171 00:09:56,760 --> 00:10:00,160 Speaker 1: Final Girl. So I can't wait to find out more 172 00:10:00,200 --> 00:10:03,160 Speaker 1: about what exactly this trope is after this quick break 173 00:10:11,960 --> 00:10:16,120 Speaker 1: and we're back. So Annie, horror movie aficionado, tell me 174 00:10:16,160 --> 00:10:20,600 Speaker 1: about the Final Girl. Okay, I would love to. I 175 00:10:20,640 --> 00:10:25,360 Speaker 1: believe probably those who are familiar with horror movies you 176 00:10:25,440 --> 00:10:27,439 Speaker 1: know right away what what we're talking about with us 177 00:10:27,840 --> 00:10:29,920 Speaker 1: haven't without us having to explain it. But for those 178 00:10:29,960 --> 00:10:33,480 Speaker 1: that aren't big on the genre, it's the last woman standing. 179 00:10:33,480 --> 00:10:38,720 Speaker 1: In horror movies and specifically slasher films, the final girl 180 00:10:38,800 --> 00:10:42,040 Speaker 1: is the one to confront the killer or the monster, 181 00:10:42,200 --> 00:10:44,720 Speaker 1: whatever the thing is, after everyone else has been slain 182 00:10:45,040 --> 00:10:48,920 Speaker 1: and she survives to tell the tale. She's almost guaranteed 183 00:10:48,920 --> 00:10:54,240 Speaker 1: to be a virgin, straight white, probably brunette. Um. She 184 00:10:54,400 --> 00:10:57,720 Speaker 1: usually chased, doesn't really drink our otherwise engage in drugs. 185 00:10:57,800 --> 00:11:01,680 Speaker 1: And it is also probably rocking a gender neutral name 186 00:11:02,360 --> 00:11:06,600 Speaker 1: Sam or Joe or Alex. When I was a kid, 187 00:11:06,640 --> 00:11:08,840 Speaker 1: I always wanted a name like that. I did too, 188 00:11:08,880 --> 00:11:13,440 Speaker 1: I wanted Will or Jack. I wanted Billy Billy. That's 189 00:11:13,480 --> 00:11:18,240 Speaker 1: close to Will. I like that um and probably is 190 00:11:18,320 --> 00:11:23,000 Speaker 1: masculine will not masculine, but masculine ish hairstyle. The Final 191 00:11:23,040 --> 00:11:25,559 Speaker 1: Girl choke at its start in the nineteen seventies, but 192 00:11:25,600 --> 00:11:30,280 Speaker 1: it wasn't until that American film professor Carol Clover first 193 00:11:30,280 --> 00:11:33,480 Speaker 1: coined at the term in her book Men, Women in Chainsaws, 194 00:11:33,760 --> 00:11:38,200 Speaker 1: Gender and the Modern Horror Film. Clover argued that in 195 00:11:38,280 --> 00:11:41,440 Speaker 1: order to survive, the Final Girl had to in some 196 00:11:41,480 --> 00:11:45,760 Speaker 1: way become more masculine um, probably by adopting a weapon 197 00:11:45,840 --> 00:11:49,440 Speaker 1: of the phallic variety, like a spear, a spear or 198 00:11:49,480 --> 00:11:53,959 Speaker 1: a knife. Um, something you stick in someone, Yes, got it? 199 00:11:54,240 --> 00:11:56,559 Speaker 1: Thank you for the jesture. At least, I don't know 200 00:11:56,559 --> 00:11:59,080 Speaker 1: if you know how it works. That's how I do it. 201 00:11:59,559 --> 00:12:05,080 Speaker 1: She's I kin stabbing motion starts me totally non threatening 202 00:12:05,080 --> 00:12:11,400 Speaker 1: podcast No, no, I'm totally safe. Clover interprets this as 203 00:12:11,960 --> 00:12:15,800 Speaker 1: messaging of women needing men are needing to be masculine 204 00:12:16,160 --> 00:12:20,120 Speaker 1: in order to survive this horrible ordeal they are going through. 205 00:12:21,200 --> 00:12:25,280 Speaker 1: Laurie from Halloween a k a. Jamie Lee Curtis's character 206 00:12:25,920 --> 00:12:29,520 Speaker 1: is one of the first and most pure examples of 207 00:12:29,800 --> 00:12:32,880 Speaker 1: the Final Girl, and one of the interesting things about 208 00:12:32,880 --> 00:12:34,920 Speaker 1: her is that throughout the course of this film she 209 00:12:35,040 --> 00:12:38,760 Speaker 1: uses traditionally feminine objects like a knitting needle or a 210 00:12:38,760 --> 00:12:44,080 Speaker 1: coat hanger as her weapons of choice or necessity. Probably 211 00:12:44,160 --> 00:12:48,679 Speaker 1: is more accurate. Other famous Final Girls include Ripley from Alien, 212 00:12:49,080 --> 00:12:51,439 Speaker 1: Nancy from The Nightmare in Elm Street, and even Sydney 213 00:12:51,440 --> 00:12:53,400 Speaker 1: from one of my favorite horror movies making fun of 214 00:12:53,440 --> 00:12:57,400 Speaker 1: horror movies, Wes Craven's films, Scream. Okay, so let's talk 215 00:12:57,440 --> 00:12:59,960 Speaker 1: about Scream because it's one of my favorite movies. She's 216 00:13:00,040 --> 00:13:02,319 Speaker 1: such a clever example of the Final Girl where it 217 00:13:02,360 --> 00:13:05,040 Speaker 1: kind of spins the trope on its head. To comment 218 00:13:05,120 --> 00:13:08,760 Speaker 1: on it, yeah, yeah, and I love they were so 219 00:13:08,800 --> 00:13:13,720 Speaker 1: sneaky about it because um Drew Barrymore was the biggest 220 00:13:13,720 --> 00:13:16,720 Speaker 1: star at the time. And if you look at the cover, 221 00:13:17,040 --> 00:13:19,680 Speaker 1: she's on the front like she's prominently not just on 222 00:13:19,720 --> 00:13:22,120 Speaker 1: the front, she's they're all standing in a line and 223 00:13:22,160 --> 00:13:26,680 Speaker 1: she's like the first girl in the line right prominently displayed. Yes, 224 00:13:27,320 --> 00:13:30,520 Speaker 1: and she fits the bill of what you would imagine 225 00:13:30,520 --> 00:13:33,200 Speaker 1: a final girl is the movie starts with her, but 226 00:13:33,320 --> 00:13:35,920 Speaker 1: she dies within the first fifteen minutes. She's in the Yeah, 227 00:13:35,960 --> 00:13:37,880 Speaker 1: she's in the movie for like five minutes. Yeah, and 228 00:13:37,920 --> 00:13:40,600 Speaker 1: he's sober sister, but all the other girls about drinking 229 00:13:40,600 --> 00:13:43,559 Speaker 1: and partying. So she's like the opposite of Final Girl, 230 00:13:45,040 --> 00:13:48,280 Speaker 1: the opposite of final first first girl, first girls. She 231 00:13:48,360 --> 00:13:51,400 Speaker 1: was first and the one that it's stuck with me. 232 00:13:51,559 --> 00:13:56,040 Speaker 1: That was quite the brutal, brutal scene. Uh. And Scream 233 00:13:56,080 --> 00:14:00,560 Speaker 1: also has a horror movie buff Randy and Randy. Uh. 234 00:14:00,600 --> 00:14:04,280 Speaker 1: He even directly speaks to the rules of surviving a 235 00:14:04,320 --> 00:14:07,559 Speaker 1: horror movie, and a couple of them are never say 236 00:14:07,679 --> 00:14:12,360 Speaker 1: I'll be back um. Never two jugs or alcohol for 237 00:14:12,440 --> 00:14:14,840 Speaker 1: the love that is all all that is holy in 238 00:14:14,840 --> 00:14:17,959 Speaker 1: the world. Do not have sex or your don't show you. 239 00:14:18,400 --> 00:14:20,280 Speaker 1: Once you show your moobs, you're pretty much that. You 240 00:14:20,720 --> 00:14:26,240 Speaker 1: pretty much just crawl into a grave. Right You're through. 241 00:14:26,920 --> 00:14:30,240 Speaker 1: Another great example of a subversion of the Final Girl 242 00:14:30,400 --> 00:14:34,960 Speaker 1: is Twelves Cabin and Cabin in the Woods. Excuse me. 243 00:14:35,760 --> 00:14:39,600 Speaker 1: This movie directly addresses the trope to So there's this 244 00:14:39,960 --> 00:14:43,800 Speaker 1: bengeful god, which I'm fairly certain is meant to represent 245 00:14:43,880 --> 00:14:49,120 Speaker 1: the American audience. Um, and the Final Girl Dana. She's chased, 246 00:14:49,160 --> 00:14:54,200 Speaker 1: she's smart, she's sexually conservative, pale Brunett is given the 247 00:14:54,280 --> 00:14:57,520 Speaker 1: chance at survival, but only after making sure all of 248 00:14:57,520 --> 00:14:59,560 Speaker 1: our friends died. And they're on this cabin cabin in 249 00:14:59,600 --> 00:15:02,520 Speaker 1: the woods like trip Um, and she has to make 250 00:15:02,520 --> 00:15:04,480 Speaker 1: sure all of her friends die, and she is the 251 00:15:04,520 --> 00:15:08,600 Speaker 1: Final Girl, and each of her friends fits the stereotype too, 252 00:15:08,680 --> 00:15:12,200 Speaker 1: but only after they were forced to fit into them 253 00:15:12,480 --> 00:15:16,320 Speaker 1: through weird circumstances. So there's a blonde, slooty bimbo, the 254 00:15:16,400 --> 00:15:20,440 Speaker 1: dumb jock played by Chris Him's worth, he's so cute, 255 00:15:20,920 --> 00:15:24,440 Speaker 1: the stoner, and the sweet bookish guy Um that is 256 00:15:24,480 --> 00:15:30,120 Speaker 1: the Final Girl's sweetheart, of course, and it's it's so 257 00:15:30,200 --> 00:15:33,360 Speaker 1: hard to explain this movie without having seen it, but basically, like, 258 00:15:33,400 --> 00:15:37,160 Speaker 1: there's this government entity that's watching them through secret like 259 00:15:37,280 --> 00:15:41,760 Speaker 1: security cameras, making sure that they fulfill the prophecy of 260 00:15:41,760 --> 00:15:44,800 Speaker 1: this final God. Is that the plot of the movie. Yeah, 261 00:15:44,920 --> 00:15:47,600 Speaker 1: I haven't seen it. Full disclosure, Yeah, well I don't 262 00:15:47,720 --> 00:15:52,120 Speaker 1: spoil it for you. Oh no, well yeah, it's it's 263 00:15:52,200 --> 00:15:55,160 Speaker 1: like this weird government thing where there's a god. They 264 00:15:55,200 --> 00:15:58,040 Speaker 1: have to satisfy the god by meeting this criteria. The 265 00:15:58,480 --> 00:16:01,320 Speaker 1: sweet girl has to end up with the bookish guy 266 00:16:01,440 --> 00:16:03,400 Speaker 1: and that's how she sort of say, that's how she 267 00:16:03,960 --> 00:16:07,400 Speaker 1: pleases this is this god who's watching above? And does that? 268 00:16:07,480 --> 00:16:09,600 Speaker 1: Does that ensure her safety? Does that? Is that what 269 00:16:09,640 --> 00:16:12,760 Speaker 1: allows her to get out of the situation. No, she 270 00:16:12,840 --> 00:16:15,720 Speaker 1: can either have sex or not, and she can either 271 00:16:15,800 --> 00:16:17,760 Speaker 1: die or not. And it's actually really sad. There's a 272 00:16:17,800 --> 00:16:20,800 Speaker 1: sad moment where they take bets the government. People watching 273 00:16:20,880 --> 00:16:23,120 Speaker 1: like is she gonna have sex? Is she gonna die? 274 00:16:23,240 --> 00:16:25,440 Speaker 1: Like how is she going to die? And there's a 275 00:16:25,480 --> 00:16:28,160 Speaker 1: moment where she's getting the crap beat out of her 276 00:16:28,800 --> 00:16:32,360 Speaker 1: and they're just watching like wondering is she gonna survive? 277 00:16:32,880 --> 00:16:35,400 Speaker 1: And it's weird because you're as the viewer, you're in 278 00:16:35,400 --> 00:16:40,000 Speaker 1: that position, right, You're watching someone when you're watching horror movie, 279 00:16:40,400 --> 00:16:42,640 Speaker 1: wondering is she going to survive? And it's brutal. It 280 00:16:42,680 --> 00:16:44,480 Speaker 1: goes on for a long time, and it's the same 281 00:16:44,840 --> 00:16:48,800 Speaker 1: in horror movies. Um, it is worth it's worth a watch, 282 00:16:48,840 --> 00:16:52,040 Speaker 1: but it's a strange one, and it also has the 283 00:16:52,400 --> 00:16:56,960 Speaker 1: virgin horde dichotomy of Dana, the final girl who is 284 00:16:57,000 --> 00:17:01,240 Speaker 1: pure and innocent but she's sexualized, but when she actually 285 00:17:01,280 --> 00:17:04,920 Speaker 1: has sex, she is looked out upon. She's seen as 286 00:17:05,080 --> 00:17:10,280 Speaker 1: less than she was, just like in society, you're you're 287 00:17:10,359 --> 00:17:13,760 Speaker 1: on my wave length here um. And the person overseeing 288 00:17:13,800 --> 00:17:17,520 Speaker 1: this whole thing, she's called the director, um and she's 289 00:17:17,520 --> 00:17:22,600 Speaker 1: played by Sigourney Weaver tells Dana that she fulfills the 290 00:17:22,720 --> 00:17:25,520 Speaker 1: virgin archetype. But when Dana is like, actually I had sex, 291 00:17:26,040 --> 00:17:29,119 Speaker 1: you know, the director tells her, we work with what 292 00:17:29,320 --> 00:17:32,760 Speaker 1: we have. So it's also kind of a commentary on 293 00:17:32,760 --> 00:17:35,680 Speaker 1: on these different tropes. Yeah, yeah, yeah, I don't want 294 00:17:35,680 --> 00:17:37,840 Speaker 1: to spoil it, but definitely check it out if you're interested. 295 00:17:38,119 --> 00:17:40,000 Speaker 1: It does not sound anything like what I thought it 296 00:17:40,040 --> 00:17:44,359 Speaker 1: was going to be like when he started to I 297 00:17:44,400 --> 00:17:46,320 Speaker 1: don't know if you remember the posters, but the posters 298 00:17:46,320 --> 00:17:48,840 Speaker 1: said things like it was obviously a horror movie just 299 00:17:48,880 --> 00:17:51,359 Speaker 1: through the decor and the whole feel of it. But 300 00:17:51,400 --> 00:17:53,879 Speaker 1: it would say like if you hear a strange noise, 301 00:17:54,400 --> 00:17:57,399 Speaker 1: separate like the opposite things of what you should be 302 00:17:57,440 --> 00:17:59,680 Speaker 1: doing now that I think about it, the trailers and 303 00:17:59,720 --> 00:18:04,320 Speaker 1: stuff didn't I didn't understand. Now it makes more sense. Yeah, yeah, yeah. 304 00:18:04,560 --> 00:18:07,399 Speaker 1: And as a horror movie fan, it's I very much 305 00:18:07,480 --> 00:18:10,040 Speaker 1: enjoyed it because there's one part where like every horror 306 00:18:10,040 --> 00:18:13,720 Speaker 1: movie villain ever is on display, because it could be 307 00:18:13,800 --> 00:18:16,320 Speaker 1: they kind of draw randomly what the villain is of 308 00:18:16,480 --> 00:18:19,280 Speaker 1: what every year they have to fulfill this prophecy. So 309 00:18:19,359 --> 00:18:22,480 Speaker 1: they have this case of every horror movie villa and 310 00:18:22,520 --> 00:18:25,720 Speaker 1: ever they could full from. I like Freeze Frameman, Like, 311 00:18:25,760 --> 00:18:29,119 Speaker 1: oh yeah, that's fame. Oh yeah, oh my god. Growing up? 312 00:18:29,200 --> 00:18:31,960 Speaker 1: What villain were you the most afraid of? Oh man, 313 00:18:32,800 --> 00:18:36,600 Speaker 1: the girl from the Rings Tomorrow. I saw that like 314 00:18:37,000 --> 00:18:39,560 Speaker 1: right when it came out in theaters, and I covered 315 00:18:39,640 --> 00:18:42,920 Speaker 1: my TV. I unplugged it, I covered it, I unplugged 316 00:18:42,920 --> 00:18:44,359 Speaker 1: the phone, and I kept getting in trouble with my mom. 317 00:18:44,440 --> 00:18:48,080 Speaker 1: She'd be like, who's unplugging the phone? Like seven days later, 318 00:18:48,280 --> 00:18:53,080 Speaker 1: sitting in my room, wide awake. Yeah that was pretty scary. 319 00:18:53,320 --> 00:18:57,400 Speaker 1: Mine was Chucky. I'm still unnerved by Chucky. I saw 320 00:18:57,520 --> 00:18:59,320 Speaker 1: Child to Play in the theater when it first came out, 321 00:18:59,359 --> 00:19:01,359 Speaker 1: so I was kid. My parents were the kind of 322 00:19:01,400 --> 00:19:03,320 Speaker 1: parents who like I was like, I'm not paying for 323 00:19:03,400 --> 00:19:05,639 Speaker 1: a babysitter and bringing all the kids here. You know 324 00:19:05,720 --> 00:19:07,640 Speaker 1: that family where you're like you brought all the kids? 325 00:19:08,160 --> 00:19:11,280 Speaker 1: That was um. But I saw Chucky at a really 326 00:19:11,320 --> 00:19:13,840 Speaker 1: young age, and my brother loved Chucky. So we had 327 00:19:13,920 --> 00:19:16,760 Speaker 1: the doll and like the poster and all this stuff, 328 00:19:16,800 --> 00:19:20,639 Speaker 1: like he had Chucky paraphernalia. And to this to this day, 329 00:19:20,680 --> 00:19:24,320 Speaker 1: I find it unnerving. I'm bothered by it as an adult. Yeah, 330 00:19:25,119 --> 00:19:27,440 Speaker 1: that's some staying power those movies you see as a kid. 331 00:19:28,080 --> 00:19:29,920 Speaker 1: Another one of mine that we'll be talking about in 332 00:19:29,960 --> 00:19:33,600 Speaker 1: a little bit is Alien. Oh yeah, that's a that's 333 00:19:33,600 --> 00:19:35,119 Speaker 1: a good one. That took you when when I think 334 00:19:35,119 --> 00:19:38,399 Speaker 1: about Chucky, I mean it was obviously as the movies 335 00:19:38,400 --> 00:19:40,520 Speaker 1: went on, they were pretty hokey, but they illustrate something 336 00:19:40,560 --> 00:19:42,639 Speaker 1: that you were just talking about, which is this weird 337 00:19:42,800 --> 00:19:46,720 Speaker 1: mix between female sexuality and horror and also like maybe 338 00:19:46,720 --> 00:19:49,560 Speaker 1: a little bit of camp because as the child's play 339 00:19:49,680 --> 00:19:52,600 Speaker 1: movies went on, they had the one where, um, it's 340 00:19:52,680 --> 00:19:54,920 Speaker 1: Bride of Chucky and it's a it's a grown woman. 341 00:19:54,960 --> 00:19:58,680 Speaker 1: I think it's Jennifer Tilly, right, So it's Jennifer Tilly 342 00:19:58,800 --> 00:20:02,480 Speaker 1: and she's just sort of like throaty voiced blonde, and 343 00:20:02,920 --> 00:20:06,040 Speaker 1: she becomes like she has a sexual relationship with Chucky 344 00:20:06,080 --> 00:20:08,159 Speaker 1: and they end up having a child in this in 345 00:20:08,280 --> 00:20:11,760 Speaker 1: this later iterations of the film, and again it's this 346 00:20:11,920 --> 00:20:17,040 Speaker 1: weird thing where horror movies always present this very unusual 347 00:20:17,119 --> 00:20:20,119 Speaker 1: image of female sexuality. And you know, in Chucky, you're like, 348 00:20:20,280 --> 00:20:22,880 Speaker 1: she shaking a doll, like what's going on. But it's 349 00:20:23,000 --> 00:20:26,879 Speaker 1: it's interesting how a lot of horror movies always have 350 00:20:27,040 --> 00:20:29,240 Speaker 1: like a sexy scene or something like that that you 351 00:20:29,359 --> 00:20:33,440 Speaker 1: it's almost expected, and how they display female sexuality in 352 00:20:33,520 --> 00:20:39,240 Speaker 1: this very weird way. Yeah, And I think you could 353 00:20:39,280 --> 00:20:42,560 Speaker 1: extrapolate that and say that society sees it as that 354 00:20:42,600 --> 00:20:45,479 Speaker 1: way because at their core, I think horror movies they 355 00:20:45,560 --> 00:20:50,480 Speaker 1: simplify the norms and taboos of society into if you 356 00:20:50,720 --> 00:20:54,119 Speaker 1: break these, you will be punished. There are consequences for 357 00:20:55,200 --> 00:20:58,159 Speaker 1: having sex outside of marriage if you're a woman. There 358 00:20:58,200 --> 00:21:02,280 Speaker 1: are consequences for doing drugs or alcohol as a not 359 00:21:02,680 --> 00:21:06,280 Speaker 1: twenty one year old, you know. So I think that's 360 00:21:06,320 --> 00:21:08,280 Speaker 1: one of the reasons that I'm glad we're talking about 361 00:21:08,320 --> 00:21:10,160 Speaker 1: this today is I think you can take lessons from 362 00:21:10,200 --> 00:21:13,639 Speaker 1: that or at least it gives you a little snapshot 363 00:21:13,680 --> 00:21:17,760 Speaker 1: of where we are perhaps as a society um and 364 00:21:17,840 --> 00:21:19,719 Speaker 1: going back to Cavin in the Woods for a second, 365 00:21:21,040 --> 00:21:24,720 Speaker 1: can we talk about the vampires? Can we? Can we? Ever? 366 00:21:26,400 --> 00:21:29,000 Speaker 1: Buffy is kind of the TV version of the Final Girl. 367 00:21:30,040 --> 00:21:34,440 Speaker 1: Week after week she's the last one after fighting vampires 368 00:21:34,520 --> 00:21:37,359 Speaker 1: or demons or whatever, although fortunately most of her friends 369 00:21:37,560 --> 00:21:42,359 Speaker 1: did survive. In the final episode of Buffy, she's speaking 370 00:21:42,400 --> 00:21:47,000 Speaker 1: to a group of potential successors, potential slayers, and she 371 00:21:47,240 --> 00:21:50,160 Speaker 1: comments on kind of this whole thing directly. She says, 372 00:21:50,640 --> 00:21:53,200 Speaker 1: in every generation, one slayer is born because a bunch 373 00:21:53,240 --> 00:21:56,040 Speaker 1: of men who died thousands of years ago made up 374 00:21:56,160 --> 00:21:58,520 Speaker 1: that rule. From now on, every girl in the world 375 00:21:58,520 --> 00:22:01,200 Speaker 1: who might be a slayer will be a slayer. Every 376 00:22:01,280 --> 00:22:03,760 Speaker 1: girl who could have the power will have the power, 377 00:22:04,200 --> 00:22:07,639 Speaker 1: can stand up? Will stand up players? Every one of us? 378 00:22:08,040 --> 00:22:10,520 Speaker 1: Make your choice? Are you ready to be strong? So 379 00:22:10,760 --> 00:22:14,200 Speaker 1: every girl is is a final girl in this iteration. Yes, 380 00:22:14,720 --> 00:22:17,200 Speaker 1: we all have the power to be the final Girl. 381 00:22:17,320 --> 00:22:21,359 Speaker 1: And I just love the line of men thousands of 382 00:22:21,480 --> 00:22:23,160 Speaker 1: years ago made that rule because I kind of think 383 00:22:23,200 --> 00:22:26,240 Speaker 1: that's what the final girl is. Is this the first 384 00:22:26,280 --> 00:22:28,840 Speaker 1: scripts about these final Girls were written by men, and 385 00:22:28,920 --> 00:22:33,400 Speaker 1: then because they sold well or um, they were popular, 386 00:22:33,520 --> 00:22:35,760 Speaker 1: they just continued. All the scripts continue to be kind 387 00:22:35,800 --> 00:22:38,399 Speaker 1: of the same formula. And now that now that we're 388 00:22:38,480 --> 00:22:40,160 Speaker 1: kind of mixing it up a little bit and trying 389 00:22:40,200 --> 00:22:43,520 Speaker 1: different things, we're seeing that other things could work too. 390 00:22:44,760 --> 00:22:48,240 Speaker 1: People might enjoy a different take perhaps, Yeah, And I 391 00:22:48,400 --> 00:22:50,359 Speaker 1: think what that really shows is that we're ready for 392 00:22:50,440 --> 00:22:52,920 Speaker 1: different kinds of storytelling, that we don't have to rely 393 00:22:53,080 --> 00:22:55,720 Speaker 1: on one trope or one theme just because it was 394 00:22:55,800 --> 00:22:58,919 Speaker 1: popular successful. There are all different kinds of different stories 395 00:22:59,080 --> 00:23:00,600 Speaker 1: that I think people want to see. Even look at 396 00:23:00,600 --> 00:23:03,760 Speaker 1: the success of something like get Out, which was very unusual, 397 00:23:04,280 --> 00:23:07,359 Speaker 1: not quite like any horror thriller movie I've ever seen, 398 00:23:07,880 --> 00:23:09,879 Speaker 1: and people loved it. And so I think that the 399 00:23:09,960 --> 00:23:13,080 Speaker 1: industry can get very it's kind of stuck in a 400 00:23:13,200 --> 00:23:15,600 Speaker 1: run of telling the same story, the same types of story, 401 00:23:15,640 --> 00:23:17,280 Speaker 1: and get it again and again. But then when a 402 00:23:17,320 --> 00:23:20,440 Speaker 1: story comes and it's not like that, people really pay attention. Yeah. 403 00:23:20,640 --> 00:23:24,600 Speaker 1: And I think some nostalgia plays a role in that 404 00:23:24,720 --> 00:23:27,479 Speaker 1: as well. Just people remember those movies as a kid 405 00:23:27,520 --> 00:23:30,200 Speaker 1: and they want to kind of have maybe nomage or 406 00:23:30,320 --> 00:23:32,480 Speaker 1: just that's what they liked, so they want to recreate it, 407 00:23:32,600 --> 00:23:36,080 Speaker 1: and people keep recreating it. But yeah, I think we're 408 00:23:36,160 --> 00:23:39,440 Speaker 1: we might be ready for something new and Buffy, before 409 00:23:39,480 --> 00:23:43,639 Speaker 1: we move on, she has another great quote related to this, 410 00:23:43,880 --> 00:23:46,520 Speaker 1: where her boyfriend of the time I believe, is saying 411 00:23:47,040 --> 00:23:48,520 Speaker 1: they were watching a horror movie and he says, I 412 00:23:48,640 --> 00:23:51,320 Speaker 1: want to know what happens, and Buffy says, everyone gets 413 00:23:51,359 --> 00:23:53,600 Speaker 1: horribly killed, except the blonde girl in the night who 414 00:23:53,640 --> 00:23:55,359 Speaker 1: finally kills the monster with a machete, but it's not 415 00:23:55,400 --> 00:23:58,080 Speaker 1: really dead, and he says, oh really, She says, I 416 00:23:58,080 --> 00:24:02,760 Speaker 1: don't know what movie is this. It's true, though, I 417 00:24:02,800 --> 00:24:05,199 Speaker 1: mean like you can sort of if you've seen one, 418 00:24:05,240 --> 00:24:06,560 Speaker 1: you've seen them all on a kind of way. So 419 00:24:06,680 --> 00:24:10,639 Speaker 1: she's not wrong. Yeah, there's certainly at the beginning, I 420 00:24:10,960 --> 00:24:13,440 Speaker 1: usually am like, probably not gonna live, Probably not gonna live. 421 00:24:13,480 --> 00:24:17,520 Speaker 1: I know there's even a table for like percentages based 422 00:24:17,560 --> 00:24:21,880 Speaker 1: just on um hair color, skin color. What they do. Well, 423 00:24:21,920 --> 00:24:23,879 Speaker 1: that's like this movie House of Wax. You've ever seen that? 424 00:24:24,400 --> 00:24:26,040 Speaker 1: So in that that movie when it came out, this 425 00:24:26,200 --> 00:24:28,560 Speaker 1: was in the heyday of Paris Hilton. That seems like 426 00:24:28,640 --> 00:24:31,159 Speaker 1: forever ago, but whatever, it wasn't that long ago. That 427 00:24:31,280 --> 00:24:33,520 Speaker 1: movie has a perfect example of a of a final 428 00:24:33,600 --> 00:24:36,600 Speaker 1: girl where it's the brunette girl. She's got to have 429 00:24:36,640 --> 00:24:38,680 Speaker 1: a name like Sam or Joe. She probably doesn't, but 430 00:24:38,760 --> 00:24:41,560 Speaker 1: like you know, she she probably does, Like don't write 431 00:24:41,600 --> 00:24:43,879 Speaker 1: in if she doesn't, but I think she does. She 432 00:24:44,040 --> 00:24:46,359 Speaker 1: wears like in the beginning of the movie, she gets 433 00:24:46,920 --> 00:24:48,920 Speaker 1: like deer guts on her, so she has to change 434 00:24:48,920 --> 00:24:51,600 Speaker 1: her clothes, and so she's wearing male clothes for most 435 00:24:51,640 --> 00:24:54,000 Speaker 1: of the movie because her clothes get destroyed into her 436 00:24:54,040 --> 00:24:57,200 Speaker 1: brother gives gives her like his tank top that happens 437 00:24:57,200 --> 00:24:58,680 Speaker 1: to be very sexy by the way, So it's a 438 00:24:58,800 --> 00:25:02,120 Speaker 1: it's a men sure, but like somehow luckily it falls perfectly, 439 00:25:02,200 --> 00:25:06,800 Speaker 1: I mean, thank god. Um. So she's the kind of chased, 440 00:25:07,000 --> 00:25:11,239 Speaker 1: brown haired, somewhat masculine, you know, clearly being set up 441 00:25:11,240 --> 00:25:13,800 Speaker 1: to be the final girl. Paris Hulton. On the other hand, 442 00:25:14,160 --> 00:25:17,040 Speaker 1: you know she's gonna die soon, like before you even 443 00:25:17,080 --> 00:25:20,320 Speaker 1: see the movie. You know exactly, like they're definitely gonna 444 00:25:20,400 --> 00:25:23,879 Speaker 1: kill her. She's blonde. She has like a sexy scene 445 00:25:23,880 --> 00:25:26,600 Speaker 1: with her boyfriend in the movie. She's in an interracial relationship. 446 00:25:26,840 --> 00:25:29,080 Speaker 1: She wears a pink track suit. Throughout most of the movie, 447 00:25:29,720 --> 00:25:32,080 Speaker 1: she's kind of presented as the one who's supposed to 448 00:25:32,119 --> 00:25:37,040 Speaker 1: be vapid or fast, and her death scene is gruesome. 449 00:25:37,119 --> 00:25:40,000 Speaker 1: She gets a like a rusty pole through her head, 450 00:25:40,160 --> 00:25:43,280 Speaker 1: and you can tell that the filmmakers are presenting this 451 00:25:43,400 --> 00:25:46,280 Speaker 1: as a gratuitous death scene, almost like you know, you 452 00:25:46,359 --> 00:25:48,560 Speaker 1: guys know you came to watch Paris Hulton take a 453 00:25:49,119 --> 00:25:51,440 Speaker 1: metal pole to the head. Like it's almost seems to 454 00:25:51,520 --> 00:25:56,080 Speaker 1: be the gaze seems to be very gratuitous as the 455 00:25:56,200 --> 00:25:59,800 Speaker 1: audience is waiting to see Paris Hulton die a bloody 456 00:25:59,800 --> 00:26:02,680 Speaker 1: Paine full death. Yeah, yeah, Yeah, that's something we're definitely 457 00:26:02,760 --> 00:26:06,480 Speaker 1: going to come back to. And it's just a weird 458 00:26:06,680 --> 00:26:10,640 Speaker 1: kind of thing when you're showing this very violent death 459 00:26:10,760 --> 00:26:13,200 Speaker 1: and you're obviously supposed to like take pleasure in it. 460 00:26:13,800 --> 00:26:18,359 Speaker 1: That's not why I like horror movies, but um, I 461 00:26:18,440 --> 00:26:23,280 Speaker 1: guess I guess that's something other people enjoy. Um. If 462 00:26:23,359 --> 00:26:26,440 Speaker 1: we're if we're talking about the history of this, where 463 00:26:26,480 --> 00:26:30,560 Speaker 1: did this come from? Um? Like we were saying earlier, 464 00:26:30,560 --> 00:26:33,080 Speaker 1: you could argue that most horror movies exist to scare 465 00:26:33,160 --> 00:26:36,800 Speaker 1: people into following a certain set of norms, and the 466 00:26:36,880 --> 00:26:40,680 Speaker 1: final girl, I would say, there's no exception. They kind 467 00:26:40,680 --> 00:26:44,400 Speaker 1: of serve as the everyman or every woman. She's tough, resilient, 468 00:26:44,480 --> 00:26:46,880 Speaker 1: and you root for her. I when I was thinking 469 00:26:46,920 --> 00:26:49,399 Speaker 1: about this, I'm I was wondering if maybe she's the 470 00:26:49,520 --> 00:26:52,080 Speaker 1: least common denominator of I don't know if that's the 471 00:26:52,160 --> 00:26:54,080 Speaker 1: right way to say it, but she's the simplest way 472 00:26:54,119 --> 00:26:56,200 Speaker 1: to get people to root for someone to survive. Most 473 00:26:56,240 --> 00:26:59,000 Speaker 1: people can get on board with this person. This kind 474 00:26:59,000 --> 00:27:08,720 Speaker 1: of watered down safe. It's having forbid bridges all the 475 00:27:08,760 --> 00:27:11,040 Speaker 1: other victims, Like we were saying, you can point to 476 00:27:11,119 --> 00:27:13,760 Speaker 1: why they died in terms of sort of a moral 477 00:27:13,880 --> 00:27:17,200 Speaker 1: majority outlook. UM, the vices they indulged in, the mistakes 478 00:27:17,640 --> 00:27:22,440 Speaker 1: they made. UM horror movies all about punishing, especially young people, 479 00:27:22,600 --> 00:27:25,520 Speaker 1: I would say. And when this trope emerged in the 480 00:27:25,600 --> 00:27:27,520 Speaker 1: nineteen seventies, the u S was in the midst of 481 00:27:27,640 --> 00:27:32,960 Speaker 1: all kinds of political, sexual, and economic unrest. As feminism 482 00:27:33,119 --> 00:27:37,240 Speaker 1: was rising. So is the backlash to it. And the 483 00:27:37,320 --> 00:27:40,680 Speaker 1: common interpretation of slasher picks is summarized by I would 484 00:27:40,720 --> 00:27:44,800 Speaker 1: say this quote from UM Students of All Things Horror, 485 00:27:45,080 --> 00:27:49,600 Speaker 1: Robin Woods, the violence against women movies have generally been 486 00:27:49,640 --> 00:27:53,040 Speaker 1: explained as a hysterical response to sixties and seventies feminism. 487 00:27:53,400 --> 00:27:57,360 Speaker 1: The male spectator enjoys a statistic revenge on women who 488 00:27:57,400 --> 00:28:00,520 Speaker 1: have begun to refuse to slot neatly and obligingly into 489 00:28:00,680 --> 00:28:07,000 Speaker 1: his patriarchal patriarchally hard to say, yeah, patriarchally, there we 490 00:28:07,119 --> 00:28:10,520 Speaker 1: go predetermined view of the way things should naturally be. 491 00:28:11,160 --> 00:28:13,920 Speaker 1: In a male dominated culture where power, money, law, and 492 00:28:14,000 --> 00:28:17,359 Speaker 1: social institutions are controlled by past, present, and future patriarchs, 493 00:28:17,920 --> 00:28:22,240 Speaker 1: women as the other assumes particular significance. The dominant images 494 00:28:22,280 --> 00:28:24,639 Speaker 1: of women in our culture are entirely male created and 495 00:28:24,800 --> 00:28:29,520 Speaker 1: male controlled. Women's autonomy and independence are denied onto women. 496 00:28:29,600 --> 00:28:33,040 Speaker 1: Men project their own innate, repressed femininity in order to 497 00:28:33,160 --> 00:28:37,320 Speaker 1: disown it as inferior. In general, the teenagers are punished 498 00:28:37,359 --> 00:28:41,280 Speaker 1: for promisecuity, while the women are punished for being women. Well, 499 00:28:41,360 --> 00:28:43,600 Speaker 1: that's just like what this film. Scholar Linda Williams says. 500 00:28:43,680 --> 00:28:46,480 Speaker 1: She says the horror film maybe the rare example of 501 00:28:46,520 --> 00:28:49,280 Speaker 1: a genre that permits the expression of women's sexual potency 502 00:28:49,640 --> 00:28:53,120 Speaker 1: and desire and associates this desire with the autonomous act 503 00:28:53,160 --> 00:28:56,040 Speaker 1: of looking. But it does so only to punish her 504 00:28:56,080 --> 00:28:59,160 Speaker 1: for this very act, only to demonstrate how monstrous female 505 00:28:59,160 --> 00:29:02,120 Speaker 1: desire can be. And I have this great example in 506 00:29:02,160 --> 00:29:03,960 Speaker 1: my head and this very weird horror movie that I 507 00:29:04,200 --> 00:29:07,120 Speaker 1: saw as a child called Jack Frost. Have you seen it? 508 00:29:08,400 --> 00:29:09,640 Speaker 1: So this is this is gonna be a little bit 509 00:29:09,680 --> 00:29:12,000 Speaker 1: like your Cabin in the Woods explanation. So you haven't 510 00:29:12,040 --> 00:29:16,000 Speaker 1: seen it, It's very difficult to explain, but essentially it's 511 00:29:16,000 --> 00:29:19,240 Speaker 1: a movie that takes place during Christmas time and a 512 00:29:19,360 --> 00:29:22,000 Speaker 1: serial killer is killed in the snow by being doused 513 00:29:22,040 --> 00:29:24,560 Speaker 1: with some sort of chemical or acid and his like 514 00:29:25,240 --> 00:29:29,960 Speaker 1: d NA gets into the snow. You know, don't I 515 00:29:30,040 --> 00:29:33,360 Speaker 1: don't overthink it. He then comes back to life as 516 00:29:33,400 --> 00:29:36,320 Speaker 1: a snowman, like a murdering snowman. And so because he's 517 00:29:36,360 --> 00:29:39,560 Speaker 1: a snowman, he has the ability to like melt and refreeze, 518 00:29:39,600 --> 00:29:42,160 Speaker 1: so melt into water, then refreeze and and a snowman. 519 00:29:43,120 --> 00:29:46,200 Speaker 1: And Shannon Elizabeth, who you might remember from American Pie. 520 00:29:46,840 --> 00:29:48,800 Speaker 1: In one scene she's taking a bath and I think 521 00:29:48,840 --> 00:29:52,360 Speaker 1: she might be touching herself in the bath and the snowman. 522 00:29:53,280 --> 00:29:54,880 Speaker 1: This sounds like I'm making get up, but if you've 523 00:29:54,920 --> 00:29:56,480 Speaker 1: seen it, you know I'm not and go watch it 524 00:29:56,560 --> 00:29:59,840 Speaker 1: and you can be like you were accurate. He melts 525 00:30:00,200 --> 00:30:04,440 Speaker 1: into water, goes into the bathroom, becomes the bathwater that 526 00:30:04,560 --> 00:30:08,760 Speaker 1: she's in, and then he basically violates her with his 527 00:30:08,880 --> 00:30:11,440 Speaker 1: carrot knows and that's how she's killed. And so it's 528 00:30:11,480 --> 00:30:13,440 Speaker 1: interesting because the scene is shot in such a way 529 00:30:13,480 --> 00:30:16,320 Speaker 1: that's exactly what this film scholar Linda Williams is explaining, 530 00:30:17,120 --> 00:30:20,920 Speaker 1: where you are watching like a beautiful woman in a bathtub, 531 00:30:21,360 --> 00:30:24,520 Speaker 1: you know, enjoying her own sexuality and her own sexual desire, 532 00:30:24,600 --> 00:30:29,080 Speaker 1: sexual potency, whatever, and immediately after that she is killed 533 00:30:29,160 --> 00:30:32,600 Speaker 1: in the most gruesome, dehumanizing way. And it's played for 534 00:30:33,000 --> 00:30:35,960 Speaker 1: laughs in the movie. And so within the universe of 535 00:30:36,040 --> 00:30:40,280 Speaker 1: this movie, the expectation of us, the audience is, you 536 00:30:40,400 --> 00:30:43,240 Speaker 1: saw this beautiful woman having a sexual moment alone. You 537 00:30:43,320 --> 00:30:45,720 Speaker 1: were sort of spying on her, and now she's dead 538 00:30:45,800 --> 00:30:48,880 Speaker 1: in this horribly dehumanizing way. Isn't that a riot? You know? 539 00:30:49,000 --> 00:30:52,320 Speaker 1: It's sort of sort of exactly what she's saying that 540 00:30:52,840 --> 00:30:55,600 Speaker 1: because Shannon Elizabeth was shown within the confines of this 541 00:30:55,720 --> 00:30:59,640 Speaker 1: film being a sexual person, that we the audience one 542 00:31:00,040 --> 00:31:02,960 Speaker 1: get to kind of leer at that and to get 543 00:31:03,000 --> 00:31:07,600 Speaker 1: to watch her die in a terrible way because of that. Yeah, yeah, 544 00:31:07,920 --> 00:31:11,280 Speaker 1: you could almost say that it's like and I've seen 545 00:31:11,360 --> 00:31:15,040 Speaker 1: this in other non horror movies too, But um, just 546 00:31:15,200 --> 00:31:19,160 Speaker 1: things like a female sexuality or even periods, and Bridget knows, 547 00:31:19,160 --> 00:31:21,520 Speaker 1: I have a whole theory about theory about this um 548 00:31:21,920 --> 00:31:24,480 Speaker 1: or seemed as monstrous or at least they're kind of like, 549 00:31:24,720 --> 00:31:31,000 Speaker 1: symbolize this, this scary, monstrous thing. Um and horror movies 550 00:31:31,040 --> 00:31:35,720 Speaker 1: are just a perfect if you analyze them, if you 551 00:31:35,840 --> 00:31:40,640 Speaker 1: over analyze them, perhaps like I do. UM and if 552 00:31:40,680 --> 00:31:42,680 Speaker 1: we go back to the seventies, and this is one 553 00:31:42,720 --> 00:31:46,280 Speaker 1: of my favorite examples in the US. As women are 554 00:31:47,080 --> 00:31:51,920 Speaker 1: getting more power and exploring our sexuality, so many horror 555 00:31:51,920 --> 00:31:56,840 Speaker 1: movies proliferated in response. And Alien is one of my faiths, 556 00:31:56,920 --> 00:31:58,760 Speaker 1: even if at the time at the time I wasn't 557 00:31:58,800 --> 00:32:01,440 Speaker 1: alive then, but when I was a kid, they terrified me, 558 00:32:01,520 --> 00:32:03,560 Speaker 1: those movies did. I could do a whole mini series 559 00:32:03,600 --> 00:32:08,080 Speaker 1: on this on sexual imagery and symbolism and messaging in 560 00:32:08,160 --> 00:32:11,120 Speaker 1: the Alien series, and I want to, and we should. 561 00:32:11,360 --> 00:32:15,840 Speaker 1: We should. There are so many symbols of emasculation of 562 00:32:15,920 --> 00:32:19,640 Speaker 1: the male, fear and anxiety of having to share equal 563 00:32:19,680 --> 00:32:25,040 Speaker 1: responsibility of childbirth and child bearing. I'm telling you, you 564 00:32:25,120 --> 00:32:28,600 Speaker 1: cannot see it should be a whole series. I want 565 00:32:28,680 --> 00:32:31,120 Speaker 1: to so bad. I mean, if we if we could 566 00:32:31,200 --> 00:32:33,760 Speaker 1: live stream watching that, I mean you'd have to be 567 00:32:34,520 --> 00:32:37,560 Speaker 1: of age. But we need to do a mystery Science 568 00:32:37,600 --> 00:32:40,680 Speaker 1: three thousand viewing of Alien where it's you and me, 569 00:32:40,760 --> 00:32:44,960 Speaker 1: the silhouettes of our head making feminist commentary at the screen. Yes, 570 00:32:45,640 --> 00:32:49,160 Speaker 1: ruining it for you forever. I love ruining things. It's 571 00:32:49,200 --> 00:32:52,280 Speaker 1: my favorite pastime. I still love the movie, and it 572 00:32:52,360 --> 00:32:56,680 Speaker 1: has it's like interesting to see from that time period 573 00:32:56,920 --> 00:32:59,880 Speaker 1: kind of what was going on. Another thing to consider 574 00:33:00,080 --> 00:33:02,800 Speaker 1: is that when you look at how the male characters 575 00:33:03,040 --> 00:33:06,360 Speaker 1: versus the female characters are killed, there is usually this 576 00:33:06,560 --> 00:33:10,080 Speaker 1: element of torture or brutality involved in the deaths of 577 00:33:10,120 --> 00:33:12,560 Speaker 1: the women that it's not there and death of the men. 578 00:33:13,080 --> 00:33:17,640 Speaker 1: And key two is how the killer monster whatever it 579 00:33:17,840 --> 00:33:20,800 Speaker 1: is have what have you, terrorizes the final girl. It's 580 00:33:20,840 --> 00:33:22,640 Speaker 1: kind of like what you were talking about, bridget that, 581 00:33:23,280 --> 00:33:28,240 Speaker 1: like we're expected to kind of enjoy this, like set 582 00:33:28,320 --> 00:33:31,280 Speaker 1: up to enjoy it, but male characters generally get a 583 00:33:31,400 --> 00:33:36,240 Speaker 1: much more merciful death. Um and another tripe that dovetails 584 00:33:36,320 --> 00:33:40,440 Speaker 1: with the final girl is called men are the expendable gender, 585 00:33:41,440 --> 00:33:44,480 Speaker 1: and this is the idea that women automatically have the 586 00:33:44,520 --> 00:33:48,920 Speaker 1: sympathy of the audience while men don't. Oh, in horror movies, 587 00:33:49,000 --> 00:33:53,120 Speaker 1: they mow through men like they're not right, they mow 588 00:33:53,240 --> 00:33:57,200 Speaker 1: them down. Yeah, you're kind of like, oh no, sorry, buddy. 589 00:33:57,920 --> 00:34:00,800 Speaker 1: The Walking Dead's Nagan sums it up this a I 590 00:34:00,880 --> 00:34:04,000 Speaker 1: don't enjoy killing women men. I can waste them all 591 00:34:04,480 --> 00:34:08,520 Speaker 1: the live all I I didn't try to do Jeffrey 592 00:34:08,560 --> 00:34:11,239 Speaker 1: Dean Morgan voice there. That's probably for the best. Yeah, 593 00:34:11,400 --> 00:34:13,360 Speaker 1: probably I want to hear this impression. We can we 594 00:34:13,400 --> 00:34:14,840 Speaker 1: can take it off their Okay, we can do it 595 00:34:14,920 --> 00:34:18,000 Speaker 1: off perfect. I think you definitely see this trope all 596 00:34:18,000 --> 00:34:20,120 Speaker 1: out of movies, and I think it goes back to 597 00:34:20,160 --> 00:34:21,680 Speaker 1: this thing that EMM and I talked about once, where 598 00:34:21,680 --> 00:34:24,560 Speaker 1: it's benevolent sexism, where women are should have put on 599 00:34:24,600 --> 00:34:27,160 Speaker 1: the same level as children in terms of their helplessness, 600 00:34:27,200 --> 00:34:29,920 Speaker 1: and so films tend to fall on this idea that, oh, 601 00:34:30,280 --> 00:34:32,640 Speaker 1: the audience is going to sympathize with the woman. I've 602 00:34:32,680 --> 00:34:35,760 Speaker 1: seen movies where the woman is pregnant but hasn't told anybody, 603 00:34:35,840 --> 00:34:39,200 Speaker 1: and that when she survives, the audience is like, God, 604 00:34:39,320 --> 00:34:42,480 Speaker 1: she's pregnant. You know. Yeah. I definitely think that plays 605 00:34:42,520 --> 00:34:45,719 Speaker 1: into it too, that the whole thing where women could 606 00:34:45,760 --> 00:34:50,040 Speaker 1: be pregnant and that they're more maybe fragile. Um. That yeah, 607 00:34:50,360 --> 00:34:54,120 Speaker 1: benevolent sexism is a great way to think about that trope. Probably. 608 00:34:54,960 --> 00:34:57,800 Speaker 1: So Annie is the Final Girl? Is it a feminist 609 00:34:57,920 --> 00:35:01,640 Speaker 1: trope in film or no? I was say no, Um, 610 00:35:01,960 --> 00:35:06,640 Speaker 1: it's still a trope that's written by men and largely 611 00:35:06,880 --> 00:35:11,239 Speaker 1: for men. I would say it's a reaction to feminism. Um, 612 00:35:11,560 --> 00:35:13,160 Speaker 1: But like, if you look at the use of POV 613 00:35:13,280 --> 00:35:16,040 Speaker 1: shots at the killer or monster that's talking the Final Girl, 614 00:35:16,400 --> 00:35:19,120 Speaker 1: it demonstrates that we as the audience are still encouraged 615 00:35:19,160 --> 00:35:24,080 Speaker 1: to identify with the generally male tormentor the male force 616 00:35:24,719 --> 00:35:30,160 Speaker 1: that is punishing or tormenting this woman. It was probably 617 00:35:30,239 --> 00:35:35,840 Speaker 1: still masculine. So all this to say, Um, I do 618 00:35:36,040 --> 00:35:39,280 Speaker 1: love horror movies and just good to know the messaging 619 00:35:39,360 --> 00:35:41,600 Speaker 1: you're receiving from the entertainment You're like, and it's not 620 00:35:42,040 --> 00:35:46,040 Speaker 1: all bad, right, Bridget, That's exactly right. This is actually 621 00:35:46,200 --> 00:35:48,000 Speaker 1: changing a little bit. Let's talk about some of the 622 00:35:48,040 --> 00:35:50,000 Speaker 1: ways this is changing for the better. After this quick 623 00:35:50,040 --> 00:36:01,080 Speaker 1: break and we're back, we're just talking about the Final 624 00:36:01,120 --> 00:36:02,880 Speaker 1: Girl trope and some of the ways that trope is 625 00:36:02,960 --> 00:36:05,359 Speaker 1: changing a little bit as we go forward in storytelling 626 00:36:05,440 --> 00:36:07,360 Speaker 1: and movies and all of that. So one of the 627 00:36:07,400 --> 00:36:10,040 Speaker 1: reasons why it's changing really has to do with self awareness. 628 00:36:10,400 --> 00:36:12,840 Speaker 1: We sort of recognize this trope as audiences, and we 629 00:36:12,920 --> 00:36:15,120 Speaker 1: kind of want something that's more creative. I think, just 630 00:36:15,239 --> 00:36:17,560 Speaker 1: like with the example we gave with Get Out earlier, today, 631 00:36:17,920 --> 00:36:21,520 Speaker 1: I think we're sort of done with the same old 632 00:36:21,600 --> 00:36:24,000 Speaker 1: stories that we always see, particularly in horror, and so 633 00:36:24,120 --> 00:36:27,279 Speaker 1: I think audiences expect something different. They don't expect the 634 00:36:27,320 --> 00:36:28,920 Speaker 1: same movies that we saw in the seventies and the 635 00:36:28,960 --> 00:36:30,759 Speaker 1: eighties and the nineties, and so that's one of the 636 00:36:30,840 --> 00:36:33,919 Speaker 1: reasons you find this trope not being as prevalent. Yeah, 637 00:36:34,239 --> 00:36:37,520 Speaker 1: and I will say I thanks to this episode for 638 00:36:37,600 --> 00:36:40,600 Speaker 1: giving me some of the most fun homework I've ever had. Um. 639 00:36:40,840 --> 00:36:44,000 Speaker 1: I watched a movie called The Final Girl, which was 640 00:36:44,040 --> 00:36:46,040 Speaker 1: all about the Final Girl trope, and it was enjoyable. 641 00:36:46,080 --> 00:36:49,000 Speaker 1: But I also watched so many movies that sort of 642 00:36:49,400 --> 00:36:53,759 Speaker 1: play with that trope, a lot of them available on Netflix. 643 00:36:54,360 --> 00:36:56,360 Speaker 1: Another One of the reasons that this is changing, that 644 00:36:56,440 --> 00:36:59,319 Speaker 1: we're getting away from that is that there are more 645 00:36:59,480 --> 00:37:04,480 Speaker 1: female rectors and writers and roles, more female stories. If 646 00:37:04,560 --> 00:37:06,520 Speaker 1: the final girl is a product of the male gaze, 647 00:37:07,400 --> 00:37:10,120 Speaker 1: then it seems like the solution is to get more 648 00:37:10,280 --> 00:37:13,560 Speaker 1: women in the industry. I come back to that as 649 00:37:13,600 --> 00:37:16,239 Speaker 1: a solution to pretty much everything, even more women in 650 00:37:16,280 --> 00:37:19,520 Speaker 1: the mix, whether it's the military, professional sports, whatever, it's 651 00:37:19,520 --> 00:37:22,160 Speaker 1: always gonna be better and so one of the soapboxes 652 00:37:22,200 --> 00:37:25,560 Speaker 1: I love to get on ex ment is more women's storyteller, 653 00:37:25,640 --> 00:37:28,680 Speaker 1: is more diverse storyteller, is more inclusive storytelling. And I'm 654 00:37:28,680 --> 00:37:30,680 Speaker 1: happy to see that more women are in the mix 655 00:37:30,920 --> 00:37:34,359 Speaker 1: telling different kinds of stories. Yeah, yeah, me too. Uh. 656 00:37:34,640 --> 00:37:38,520 Speaker 1: Study out of from Google and the Jena Davis Institute 657 00:37:38,560 --> 00:37:42,160 Speaker 1: on Gender and Media found that in all genres of entertainment, 658 00:37:42,239 --> 00:37:45,160 Speaker 1: men had twice the speaking in scream time, with one 659 00:37:45,239 --> 00:37:50,920 Speaker 1: exception horror, while traditionally that female scream time might have 660 00:37:51,040 --> 00:37:54,799 Speaker 1: been those of the screaming victim variety, but it has 661 00:37:54,880 --> 00:37:59,600 Speaker 1: been moving towards more nuanced survivors and protagonists. And UM, 662 00:37:59,719 --> 00:38:03,680 Speaker 1: as someone who has acted in some horror movies, I 663 00:38:03,760 --> 00:38:07,120 Speaker 1: can say that UM I get so many bad casting calls, 664 00:38:07,680 --> 00:38:10,560 Speaker 1: but they are it has become less. I think there 665 00:38:10,680 --> 00:38:14,880 Speaker 1: is an increased awareness, perhaps out of actually almost absolutely 666 00:38:14,920 --> 00:38:20,000 Speaker 1: out of totally selfish means. But I'm glad to see 667 00:38:20,080 --> 00:38:24,279 Speaker 1: it is moving that way. Still still some work to 668 00:38:24,320 --> 00:38:27,839 Speaker 1: be done, absolutely, but as always yes, So this has 669 00:38:27,880 --> 00:38:30,000 Speaker 1: been really interesting as someone who hasn't really spent that 670 00:38:30,120 --> 00:38:32,959 Speaker 1: much time picking apart of the horror movies that I watch, 671 00:38:33,280 --> 00:38:36,000 Speaker 1: it's interesting to think about how these movie tropes do 672 00:38:36,160 --> 00:38:39,160 Speaker 1: kind of show us about how women are seen in society. Yeah, 673 00:38:39,840 --> 00:38:43,080 Speaker 1: and UM, I do want to mention some some examples 674 00:38:43,239 --> 00:38:46,560 Speaker 1: something some movies that are good examples of how it 675 00:38:46,680 --> 00:38:50,480 Speaker 1: is changing. Before we before we're done here raw from 676 00:38:50,680 --> 00:38:54,440 Speaker 1: French director. It might take a bit of a strong stomach, 677 00:38:54,480 --> 00:38:58,160 Speaker 1: but it's good. Um the Invitation Bob a duke, A 678 00:38:58,280 --> 00:39:01,719 Speaker 1: girl walks home alone at night and it follows They 679 00:39:02,160 --> 00:39:05,000 Speaker 1: all these films have female directors and female main characters, 680 00:39:05,280 --> 00:39:07,399 Speaker 1: and but they might have a final girl, but she's 681 00:39:07,400 --> 00:39:11,400 Speaker 1: a more complex final girl. So if you're interested, I 682 00:39:11,560 --> 00:39:15,120 Speaker 1: believe all of those are on Netflix and UM as 683 00:39:15,160 --> 00:39:19,520 Speaker 1: advertisers and studios realize the buying power of us ladies. 684 00:39:20,000 --> 00:39:25,560 Speaker 1: UM the shift towards a more complex storytelling, especially involving women, 685 00:39:25,840 --> 00:39:30,480 Speaker 1: has started to take place. So that's that's good. That 686 00:39:30,719 --> 00:39:32,680 Speaker 1: that makes me feel better as a horror movie fan. 687 00:39:33,360 --> 00:39:37,120 Speaker 1: I'm excited for that content to be made. I just 688 00:39:37,280 --> 00:39:40,200 Speaker 1: realized something as a girl with brown hair, if we 689 00:39:40,280 --> 00:39:42,600 Speaker 1: were in a horror movie, you might be a final girl. 690 00:39:44,080 --> 00:39:47,319 Speaker 1: Just saying oh no, I mean yes, I mean you're 691 00:39:47,320 --> 00:39:50,960 Speaker 1: gonna live. I'll definitely die. You're gonna live. We'll make 692 00:39:51,040 --> 00:39:54,440 Speaker 1: us menty horror movie and we'll we'll flip the tropes 693 00:39:54,520 --> 00:39:58,000 Speaker 1: all upside down. Bridget everyone lives, everyone lives. It's like 694 00:39:58,040 --> 00:40:00,239 Speaker 1: Buffy will all be the final Girl. I like it. 695 00:40:00,320 --> 00:40:02,719 Speaker 1: I love it. That's a great feminist message to end on. 696 00:40:03,000 --> 00:40:06,000 Speaker 1: It is so sminty listeners, have you seen this final 697 00:40:06,040 --> 00:40:08,279 Speaker 1: girl troupe playing out in movies that you like? What's 698 00:40:08,280 --> 00:40:10,560 Speaker 1: your favorite example of a final girl? Let us know. 699 00:40:10,920 --> 00:40:13,320 Speaker 1: You can find us on Twitter at mom Stuff Podcast, 700 00:40:13,680 --> 00:40:15,880 Speaker 1: on Instagram at stuff Mom Never Told You, and we 701 00:40:15,920 --> 00:40:18,240 Speaker 1: love getting your emails at mom Stuff at how stuff 702 00:40:18,239 --> 00:40:18,960 Speaker 1: works dot com