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Speaker 1: On the beck Dol Cast, the questions asked if movies

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

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

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Speaker 1: and best start changing it with the Bedel Cast. Hi,

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Speaker 1: and welcome to the Bechtel Cast. My name is Caitlin Durante,

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Speaker 1: my name is Jamie laft Does. And we talk about

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Speaker 1: the portrayal of women in movies. Well that I think.

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Speaker 1: I hated that. Yeah, we shouldn't start over, we should

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Speaker 1: quit the podcast. And you know it stays it's greats

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Speaker 1: we have to live with our shame. Yeah, and that's true.

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Speaker 1: So we use the Bechdel test as a yard stick,

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Speaker 1: as a jumping off point. The Bechtel test is a

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Speaker 1: test that requires that there are two women in the

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Speaker 1: movie God, they have to have names, they have to

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Speaker 1: talk to each other. Hate it. They cannot talk about men?

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Speaker 1: Then what will they talk about else? There's nothing else?

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Speaker 1: I hate this test. Well, we're going to be exploring

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Speaker 1: another test in this episode. This is a this isn't

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Speaker 1: another movie. I feel like we've gotten this request before

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Speaker 1: and yesterday I okay, So we all watched this movie

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Speaker 1: together last night I'm just so excited because our guests,

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Speaker 1: I know, is someone you may have heard us talking

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Speaker 1: about before. You might have even heard his voice on

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Speaker 1: certain episodes because it's our producer, Aristotle, thank you for

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Speaker 1: being here. Wait, if you're sitting there, who's recording the episode?

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Speaker 1: It feels very strange sitting over here watching it happen.

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Speaker 1: It would be cool if we made one of our

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Speaker 1: past guests come back to sit there and not talk.

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Speaker 1: I feel like, actually Hampton is sitting and it would

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Speaker 1: be fun if it was Josh Fatum. Josh, you cannot

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Speaker 1: speak and you just had to sit there in your

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Speaker 1: horny depth. So Aristotle, you brought us Pacific Rim? Yes

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Speaker 1: I did. Why did you choose this movie? I love Gama,

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Speaker 1: and quite frankly, if any of his movies I would

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Speaker 1: have been happy to be the guest on. But Pacific

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Speaker 1: Rim has a special place in my heart because it's

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Speaker 1: the first movie I saw his as I was falling

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Speaker 1: in love with him as a person, because I had

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Speaker 1: heard his name and you knew he was I didn't

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Speaker 1: know much about him. He's a friend of the store,

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Speaker 1: and so I had seen him in here a few times,

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Speaker 1: and so I started to look him up more like

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Speaker 1: Pacific Rim was announced. I was like, oh, that sounds

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Speaker 1: super cool. I saw it. Learned about him. He loves monsters.

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Speaker 1: Everything he does is children and or monsters, usually both.

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Speaker 1: Always horny. He is our horny is living director. We'll

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Speaker 1: get into it. He's very horny fish. But alright, Mr Fish,

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Speaker 1: but himself. I'm a fan of the fish tide gap personally, Kaitlyn,

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Speaker 1: you were the first one to spot the spot the gap.

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Speaker 1: Mind the gap, mind the gap, as they as we say,

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Speaker 1: in horny fish culture. So as you mentioned a moment ago,

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Speaker 1: we all watched the movie together because Aristotle, you invited

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Speaker 1: this over to your lovely home. We met your dogs,

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Speaker 1: we saw all of your Pacific Rim toys, and we

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Speaker 1: did a couple check in. We recorded a few little snippets,

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Speaker 1: so right before we started the movie, we recorded a

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Speaker 1: little segment. So we're gonna periodically in this episode check

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Speaker 1: in with those. So I think this is a great

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Speaker 1: opportunity to check in with the first one week before

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Speaker 1: we started the movie. So enjoy that. Now. Well, here

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Speaker 1: we are at Aristotle's home. It's so cool here, it's

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Speaker 1: so cute. The main thing to note is that there

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Speaker 1: are multiple figurines, toys, what have you for Pacific Rim.

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Speaker 1: I think that the word multiple actually really doesn't give

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Speaker 1: you an accurate picture of how much there is. There's

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Speaker 1: multiple fits. There are people with more, for sure. There's

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Speaker 1: let's give other Pacific room collectors there do. But I

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Speaker 1: can see a moderate collector. I think I can see.

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Speaker 1: I can see like eight different things just within eyesight.

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Speaker 1: It appears as that there's three different Yeager robot machine

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Speaker 1: thing I thought you were talking about, like some weird

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Speaker 1: like Yeager meister. You're like, look at all of our

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Speaker 1: stole Yager pomps. It's like, no, that's okay. So to

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Speaker 1: put this on in the context, we are here to

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Speaker 1: Aristotle's house, we are about to watch Pacific Rim. Jamie

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Speaker 1: has not seen it. I have seen it a couple

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Speaker 1: of times, and this is apparently Aristotle's favorite movie. How

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Speaker 1: many times, quite a few. I think I saw once

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Speaker 1: in theaters and then bought it immediately when it came out,

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Speaker 1: And now it's one of those movies that I watch

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Speaker 1: every so often, or I'll just have it in the background.

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Speaker 1: Sometimes this is like a kind of rare, because it's

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Speaker 1: not rare that I haven't seen a movie. But it's

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Speaker 1: pretty rare that I both haven't seen a movie, have

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Speaker 1: no idea what it's about. I have never met anybody

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Speaker 1: who has seen it that we've spoken about, like, I

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Speaker 1: don't I don't know. It looks like a rope DVD

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Speaker 1: menu robot with a circlely light bob and a chainsaw hand.

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Speaker 1: There's tires involved, something about a helicopter. I don't know.

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Speaker 1: Aren't there people in this movie? Are there hot people?

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Speaker 1: And there are hot people? Are there hot people that

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Speaker 1: I would recognize in this movie? Yes, Charlie Hunt Him,

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Speaker 1: Charlie Day, Charlie Day, why weird? He fits surprisingly well? Oh?

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Speaker 1: Also Ron Perlman is in this movie? Oh interesting? Are

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Speaker 1: there any women? Barely adult movie? Mr? Fish Butt himself

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Speaker 1: the movie. I anno I did this as adult movie.

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Speaker 1: It does not stylistically look like an adult Torro movie

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Speaker 1: at all. Yes, and know and that it's Yeah, based

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Speaker 1: on the DVD, it's so heavily c G. I do

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Speaker 1: people like this movie? I think so. And the Macamoory test,

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Speaker 1: as we will be discussing, I'm sure derives from this Yeah,

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Speaker 1: dirves from this movie. The Macamore test anyway, And you

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Speaker 1: asked if there were people in it, and I don't.

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Speaker 1: I don't know this, like I don't know the minutes

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Speaker 1: Durassic Park style, but not unlike Durrassic Park. It's mostly

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Speaker 1: people talking. When you watch it. It's not that much

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Speaker 1: c g I happening that's appealing to But it's so big.

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Speaker 1: When it does happen, it's like, oh, ship, this feels

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Speaker 1: like it's going on forever. Well, I didn't know that.

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Speaker 1: I've seen fish but so many times. Yeah, I'm excited

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Speaker 1: for this. So we'll do a couple more of these

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Speaker 1: check ins. I think one halfway through the movie and

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Speaker 1: then one at the end of the movie, just to

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Speaker 1: get our you know, thoughts as the movies playing out.

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Speaker 1: So look forward to the court. We got hapcorn, but

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Speaker 1: there's some dogs here. Caitlyn brought a bottle of champagne

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Speaker 1: and like she's like Princess Die, Like she's just it's

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Speaker 1: gonna be a wild Pacific Rim night. What does Pacific

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Speaker 1: rim mean? Is that location or a person? It just

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Speaker 1: generally takes place. Well you'll find out is that a

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Speaker 1: man's full name. I want there to be a character

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Speaker 1: named Pacific Room, Mr rim Yeah, excuse me, name please

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Speaker 1: call me Pacific. You don't see it coming, Just like

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Speaker 1: you were like, whoa Jeelie is a character, Larry Geelie.

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Speaker 1: Every time you mentioned Julie, I have a stroke. So

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Speaker 1: we're about to watch the movie. Will check back in

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Speaker 1: later on and then just enjoy the rest of our episode. Wow,

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Speaker 1: what a fun clip. Wow, so cool. It feels like

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Speaker 1: it was twelve hours ago, because basically it was my

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Speaker 1: voice sounds like that's you're in there. You're in the

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Speaker 1: comfort of your own home. You're in here. There was

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Speaker 1: one point where you were like, I've got a Pacific

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Speaker 1: rim poster, and your your girlfriend, who's so wonderful. She

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Speaker 1: she was just like do you You're like, yeah, it's

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Speaker 1: in our room and and but then it turned out

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Speaker 1: I was behind the door frame. Did it close in

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Speaker 1: the darker? It never feels like I have that much

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Speaker 1: specific stuff. But once I put it all out, I

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Speaker 1: was like, oh, yeah, this is twenty separate object individually boxed.

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Speaker 1: That's also that's part of it. It tapped into a

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Speaker 1: lot of things that I knew I loved, but I

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Speaker 1: did like I it took time to realize like, oh,

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Speaker 1: this specific movie is tapping into like all these things

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Speaker 1: in my brain that are like, yes, cool, exactly. It

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Speaker 1: is a beautiful as with all fish butt joints, a

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Speaker 1: beautifully crafted tail. I enjoyed it. I did end up

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Speaker 1: watching certain parts of it a second time, and I

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Speaker 1: have had a lot of thoughts. So I think this

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Speaker 1: would be a very interesting discussion because this movie was

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Speaker 1: a little bit I didn't realize. I went back to

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Speaker 1: some of the original coverage of it because I think

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Speaker 1: that I tark about this last night too. But it

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Speaker 1: was like this movie, I was not even aware it

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Speaker 1: had ever come out. I don't know what it did

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Speaker 1: not do well him, It didn't do well, like it

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Speaker 1: did fine, but it wasn't until it came out in

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Speaker 1: China that like, it made a ton of money. All right,

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Speaker 1: we can do the sequel. So the sequel. We're releasing

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Speaker 1: this movie as the sequel, Pacific Rim Rising. Is that

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Speaker 1: what it's called Uprising? Originally Milestorm? But now upright? Should

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Speaker 1: I do the recap? Go for it? Okay, what is it?

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Speaker 1: What is this movie about? Well, Pacific rim So there's

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Speaker 1: a lot of sort of exposition at the top of

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Speaker 1: the movie where it takes place. I want to say, yeah,

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Speaker 1: they're not so distant not so distant future. I can't

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Speaker 1: refer it to be twenty. There's one point where like,

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Speaker 1: and I love when people do this in the movies

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Speaker 1: of like Not So Different Future, where someone's seventeen and

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Speaker 1: it's almost like a winking and not set in this movie, No,

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Speaker 1: they do. Yeah, they they say the year seen, but

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Speaker 1: it's said in a way of like like oh yeah,

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Speaker 1: I did that back in ever heard of it? And

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Speaker 1: it's like, okay, called down. I knew it was not

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Speaker 1: so distant future, but I didn't realize how soon it

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Speaker 1: was occurring until we watched it last night. Yeah, some

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Speaker 1: of it already happened. So there's an alien invasion aliens

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Speaker 1: called Kaiju. So there's a portal to a different dimension

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Speaker 1: by which they travel through to get to Earth and

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Speaker 1: then just basically invade the ship out of a bunch

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Speaker 1: of cities. They're big, they're scary, they hate large structures. Yes,

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Speaker 1: some of them sort of look like sharks. There's sea

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Speaker 1: creature like they're a bit fish manny there. Some of

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Speaker 1: them are of vaginas, some of them aren't. And I

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Speaker 1: will say there's plenty of opportunities in this movie where

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Speaker 1: people are submerged and it's like, where's the butt? Well,

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Speaker 1: I will say you do see robot butt because there's

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Speaker 1: a very specific scene that I thought was kind of

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Speaker 1: funny where you see Gypsy Danger walking down the street

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Speaker 1: and he's watching them past by and then bam, big

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Speaker 1: old root. But carol te tauris so horny? What's wrong

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Speaker 1: with them? Someone has to tranquilize him. He's too horny. No,

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Speaker 1: he's not. He's not horny enough. How does the male

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Speaker 1: gaze apply when it's fish robot? But he's cornered the

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Speaker 1: market on places where he's like, this is an area

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Speaker 1: of horny that can't be regulated. He figured it out. Yeah,

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Speaker 1: good for him. Most directors, most male directors, just have

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Speaker 1: to find an unregulated horny area to thrive within. Right. Okay,

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Speaker 1: So there's an alien invasion. They keep coming, so everyone's like,

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Speaker 1: we got to figure out a way to stop these

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Speaker 1: because you know, they use missiles and tanks and all

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Speaker 1: sorts of other artillery and it doesn't really work. So

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Speaker 1: then they end up they're like, what if we build

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Speaker 1: these giant robots called yagers and we get people to

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Speaker 1: pilot them. They fight the Kaju, and that's just how

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Speaker 1: we defeat them and it works for a while. And

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Speaker 1: a thing about the yeagers that they have to be

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Speaker 1: co piloted because they kind of like mindmeld with each other.

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Speaker 1: And then also the machine so for like people's like

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Speaker 1: neurons to get the robot to move around and punch

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Speaker 1: people very early and are viewing the science of this

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Speaker 1: movie is if it's like and I know that, and

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Speaker 1: a lot of it's just like, Okay, this is just

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Speaker 1: like it's more visually interesting to watch it this way,

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Speaker 1: but it's like you get the feeling that the people

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Speaker 1: inside the robots they could probably be offsite. I've got

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Speaker 1: to be in there, right, They could probably be in

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Speaker 1: a second location and be safe. Yes, that was what

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Speaker 1: I was thinking. The entire movie could also be like,

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Speaker 1: you know, like there's two guys in there. We have

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Speaker 1: to imagine a billion government dollars going into at least

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Speaker 1: twenty for each of two guys. Two guys one dies,

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Speaker 1: one falls asleep. Billion dollars gone government money? What in

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Speaker 1: this this someone apocalyptic future? You'd have to imagine that

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Speaker 1: WiFi still sucks. I mean, in two years, WiFi is

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Speaker 1: not going to be that much better, right, But there's

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Speaker 1: I was like, how is there not some sort of

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Speaker 1: like fail safe autopilot If one guy dies and one

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Speaker 1: guy falls asleep, people don't lose a billion dollars and

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Speaker 1: this large robot doesn't fall on whatever is in front

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Speaker 1: of it. Yeah, so that's a little questionable, but we

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Speaker 1: just as the audience, have to suspend our disbelief for

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Speaker 1: it if we're going to enjoy the movie. So we do. So.

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Speaker 1: The main character of the movie is this guy named

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Speaker 1: Rolie Beckett, and he's a co pilot with his brother.

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Speaker 1: There's this whole sort of they got matching jackets, they

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Speaker 1: got watching jackets. And the thing about that is that

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Speaker 1: co pilots have to be what's called drift compatible because

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Speaker 1: their mind melding with each other and with the robot.

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Speaker 1: So it has to like, I don't know, they have

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Speaker 1: to have like a compatibility for this to all work

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Speaker 1: because they're kind of fighting in unison. So and they

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Speaker 1: communicate in this kind of like leave it to Beavery,

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Speaker 1: super like upbeat kind of way where like the older

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Speaker 1: brothers like, don't get cocky kid. There lives a line

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Speaker 1: from Han solo. Yeah, they're communicating with whatever Houston basically,

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Speaker 1: and and they're like, you know, a man's gotta do

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Speaker 1: what a man's gotta do. I'm like, is this a

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Speaker 1: line from rug Rats Young and Naive? And yeah, it's yeah.

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Speaker 1: It's just like a bunch of dudes wearing jackets and

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Speaker 1: they're like, we like each other. We got robot, we

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Speaker 1: got jackets. They look like the same man, which is distracting.

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Speaker 1: Even then thankfully one of them dies because it's like, okay,

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Speaker 1: well this eliminates confusion. So one of these So the

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Speaker 1: brother dies, he's all upset, and then a few years

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Speaker 1: passed and he goes to work on this wall, which

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Speaker 1: is supposed to be the thing that's going to stop

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Speaker 1: the kaiju now except a dozen. So they're like, actually, right,

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Speaker 1: let's bring Brack Bratt. Let's bring bring back that's a

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Speaker 1: that's a good character him. We've got to remember that

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Speaker 1: Mr bing Brack. So they're like, hey, let's restart this

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Speaker 1: yeager initiative and let's get Raleigh Beckett back into the picture.

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Speaker 1: This is what Idris Elba's character does, whose name is

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Speaker 1: something Riker So Idris Elba is Striker Pentecost. He's hot.

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Speaker 1: He speaks in a vocal style. I will call i

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Speaker 1: ambic pan i ambic pentecost Fortune Cookie, where every line

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Speaker 1: of dialogue for this character is just sort of like

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Speaker 1: a vaguely motivated but like could really apply to any

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Speaker 1: situation kind of motivational or stern kind of nonsense, which

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Speaker 1: culminates in really one of the best movie monologues of

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Speaker 1: the past ten years. It's incredible. So he basically recruits

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Speaker 1: Raleigh to rejoin this initiative, but because his brother is dead,

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Speaker 1: he has to figure out someone else who he's drift

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Speaker 1: compatible with. Enter Maco Mori. She's sort of like Idris

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Speaker 1: Elba's assistant slash daughter prodigy, and she expresses a strong

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Speaker 1: desire to want to be a co pilot, but for

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Speaker 1: reasons that we don't understand at first, that's not an

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Speaker 1: option for her. So she has selected all these different

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Speaker 1: people to sort of audition to be a copa to

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Speaker 1: see if their drift compatible with Ralli. And then he's like, ooh,

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Speaker 1: then none of these people are good. How about you, Maco,

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Speaker 1: And she's like okay, So they like do the tests

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Speaker 1: and it turns out she is the most drift compatible

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Speaker 1: with him, and as Albo is all like, no, I

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Speaker 1: won't let this happen and they're like, well, it's happening anyway. Yeah,

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Speaker 1: but he can't say that yet because we've got another hour.

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Speaker 1: So basically make preparations for Ralli and Maco to co

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Speaker 1: pilot Gypsy Danger, Gypsy Danger. That's a great there's a

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Speaker 1: lot of like almost every name in this movie is

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Speaker 1: like pretty awesome. We also haven't even mentioned any of

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Speaker 1: the kid name those are my favorite. Oh I don't

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Speaker 1: never even feminist icon Crimson Typhoon. Well that was a yeager. Sorry,

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Speaker 1: I'm gonna go up. Are there any women in this

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Speaker 1: movie anyways? Hardly so more Kaiju were coming. You know,

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Speaker 1: they can tell when they're about to show up because

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Speaker 1: there's this guy named Tendo who's sort of in the

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Speaker 1: control room. And then there's some other co pilots. There's

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Speaker 1: an Australian father son duo who are both adult blonde

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Speaker 1: men who look exactly like which is Ali, which is

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Speaker 1: personally every adult blonde male is enacting out terror on me.

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Speaker 1: Adult blonde males just they just seem not to put

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Speaker 1: you in a box, but also you are the most

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Speaker 1: privileged of them are adult men with blonde eyelashes. You're

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Speaker 1: just like, what's going on here. Something's very there's something

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Speaker 1: very alien. E hey speaking, don't cut that out bringing

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Speaker 1: it back. I won't Rally and Maco try to like

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Speaker 1: basically be in Gypsy Dane, her and Maco. Since she's

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Speaker 1: only ever done like what are they called simulations and

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Speaker 1: never actually have driven one, she kind of sucks it

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Speaker 1: up the first time. A small footnote that's an important

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Speaker 1: one is that Raleigh sucks it up. He focks up first,

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Speaker 1: and that's why she gets lost in it. Oh, I

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Speaker 1: didn't catch that. He Um flashes back to his brother

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Speaker 1: and it's like, all right, all right, I got to

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Speaker 1: sunder control. But that's what leads her to them. But

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Speaker 1: that allows us to learn some backstory about her, which

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Speaker 1: is that, Um, the reason she's so desperately wants to

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Speaker 1: be a co pilot is because she was like nearly

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Speaker 1: killed by a kaiju. And I think we can probably

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Speaker 1: assume that they killed her whole family and like her

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Speaker 1: whole community basically on an attack when she was a child.

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Speaker 1: And the person who comes and saves her and kills

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Speaker 1: the kaiju that's about to kill her is his character,

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Speaker 1: so that's he like finds her when she's a small girl,

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Speaker 1: and kind of takes her if Marco mary passes to

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Speaker 1: Marco Marys. But what because the twist is Idris Elba

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Speaker 1: but whatever. Despite that, so we we learned that about

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Speaker 1: her back story, and then some things happened where oh crap,

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Speaker 1: we definitely need Raley and Maco to get into the

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Speaker 1: ager and fight the bad guys who are coming. And

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Speaker 1: then meanwhile, Charlie Day is in the movie and he's

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Speaker 1: he's drifting with I enjoyed Charlie Day in this movie.

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Speaker 1: It's always we were talking about this too, where it's

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Speaker 1: like in every movie he's in, it's like did he

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Speaker 1: like luck out or is he actually good at something? Unclear?

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Speaker 1: He's fun to watch, He's fun to watch. Agree with that.

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Speaker 1: So the ultimate plan is for them to basically drop

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Speaker 1: a nuclear bomb on the portal thing that's allowing the

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Speaker 1: Kaiju to enter our world, and then it happens, and

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Speaker 1: then they blow it all up and they kill all

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Speaker 1: the Kaiju and then we win. Hooray. Also, Marko Moury

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Speaker 1: is literally launched out of the climactic scene, which was

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Speaker 1: not lost on me. I know that that is like

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Speaker 1: in the Sex of the story, it's that she you know,

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Speaker 1: he was making a sacrifice to protect her and was

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Speaker 1: putting his life on the line, and that has narrative importance.

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Speaker 1: But she was literally launched out of the scene without

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Speaker 1: her concetts. So because she's you're out there, like, oh,

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Speaker 1: it looks like something about it important to happen in

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Speaker 1: this movie with barely any women. Let's just let's just

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Speaker 1: get her out of here, get her out of here,

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Speaker 1: and then say we're doing her favor. Yeah, that is

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Speaker 1: a very frustrating moment to see. So her like oxygen

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Speaker 1: levels are becoming critical, and I think she presses out,

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Speaker 1: so he launches her out there by saving her. So

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Speaker 1: a man having to save a woman, and like you said,

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Speaker 1: it makes her what could have been her contributing to

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Speaker 1: the outcome of the story into the big climactic moment.

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Speaker 1: She is then robbed that opportunity. It's what we've seen

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Speaker 1: in Twilight, where Beliswan just passes out during the climate.

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Speaker 1: I think she's not forced to watch. We don't even

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Speaker 1: have to say, we don't even have to It's like, no,

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Speaker 1: we don't have to look at her. So that is

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Speaker 1: certainly frustrating. However, there's a lot to discuss in terms

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Speaker 1: of Mako Morey's character. And Okay, so let's start with

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Speaker 1: describing what the Mako Morey test is, yes, and where

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Speaker 1: it came from. So, the Mako Morey test requires that

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Speaker 1: a movie has at least one female character that's the

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Speaker 1: first condition, who has her own narrative. Arc number two

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Speaker 1: that is not supporting a man's story. So those three conditions.

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Speaker 1: This came to be from a Tumbler conversation, as I

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Speaker 1: understand it, where a user was talking about Pacific Rim saying, Oh,

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Speaker 1: I wanted to like this, but it didn't pass the

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Speaker 1: Bachtel test and yes, yeah, so one yeah. One user

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Speaker 1: was kind of dismissing the movie because it didn't pass

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Speaker 1: the Backtel test, refusing to acknowledge that the Backtel test

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Speaker 1: is not the end all be all and that a

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Speaker 1: movie can still have strong female characters and not pass

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Speaker 1: the Backtel test. So I user responded, Um, so this

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Speaker 1: is user spider Zan feminist Icon said it's really easy

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Speaker 1: to throw away a film because of that test being

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Speaker 1: the Betel test, which is flawed and used incorrectly in

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Speaker 1: a lot of ways. If you're a white woman and

383
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Speaker 1: can easily find other films with white women who look

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Speaker 1: like you and represent you, but as an East Asian woman.

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Speaker 1: Someone like Maco, a well written Japanese woman who was

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Speaker 1: informed by her culture without being solely defined by it,

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Speaker 1: without being a racial stereotype, and gets to carry the

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Speaker 1: film and have character development almost never comes along in

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Speaker 1: the mainstream Western media, And honestly, someone like her will

390
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Speaker 1: probably not appear again for a very long time. So

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Speaker 1: this user is saying, like, who cares if the movie

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Speaker 1: didn't pass the Backetel test, we still get great representation

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Speaker 1: of this character in Mako Mori, right. I think then

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Speaker 1: someone proposed the Mako Mori test and then said, okay, well,

395
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Speaker 1: let's apply this different tests, not the Bachtel test. But

396
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Speaker 1: a movie can pass the Maco Mori test if it

397
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Speaker 1: has one female character who gets her own narrative arc

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Speaker 1: that is not supporting a man's story. So and and uh,

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Speaker 1: non white female protagonist to foot in a big summer

400
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Speaker 1: movie is a big deal. And like is it is

401
00:23:05,119 --> 00:23:08,280
Speaker 1: great that a non white female protagonist is getting so

402
00:23:08,480 --> 00:23:13,480
Speaker 1: much care and treatment and narrative importance and the fact

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Speaker 1: that her backstory has to do with what's going on

404
00:23:17,880 --> 00:23:20,520
Speaker 1: in the movie too, and like learning by learning about

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Speaker 1: her we're also moving the plot forward. Was really cool

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Speaker 1: and wasn't just like that was just like good writings,

407
00:23:29,400 --> 00:23:37,200
Speaker 1: only there were another female. Well it's surprising and not

408
00:23:37,640 --> 00:23:40,960
Speaker 1: like surprising, and that we have this great character. That's

409
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Speaker 1: good representation because this is also a little bias on me.

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Speaker 1: Why I love Gammo is that he is a Mexican director,

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Speaker 1: and so you know, and I knew that was like,

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Speaker 1: oh ship, a well liked Mexican is doing cool shit

413
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Speaker 1: awesome and he gets it, but why did he cast

414
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Speaker 1: three white guys as the leases is? It's odd? And

415
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Speaker 1: then his career is he kind of has leaned that

416
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Speaker 1: way more in his later movies, which just like it's

417
00:24:12,920 --> 00:24:14,840
Speaker 1: all cool, but you know he used to make movies

418
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Speaker 1: in Spanish with all Mexican actors, right, yeah, well, like

419
00:24:19,160 --> 00:24:21,920
Speaker 1: what about a fish maybe? I mean, if he's maybe

420
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Speaker 1: trying to appeal more to the mainstream, then he's like

421
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Speaker 1: got to get some blonde white guys in there, ypt

422
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Speaker 1: but three identical blond they're supposed to be from different generations.

423
00:24:32,800 --> 00:24:36,200
Speaker 1: You'd have no idea they have to. It's so funny

424
00:24:36,200 --> 00:24:39,560
Speaker 1: because they're the acting in this movie. And this is

425
00:24:39,600 --> 00:24:41,760
Speaker 1: another thing that seems like a little bit off brand

426
00:24:41,880 --> 00:24:45,760
Speaker 1: for del Toro's like he tends to cast actors who

427
00:24:45,920 --> 00:24:49,800
Speaker 1: have chemistry kind of a bay. But no, I don't know.

428
00:24:49,960 --> 00:24:52,760
Speaker 1: For me, zero people in this movie appear to have

429
00:24:52,880 --> 00:24:55,040
Speaker 1: ever met or wanted to make eye contact with each

430
00:24:55,080 --> 00:24:57,720
Speaker 1: other in the fucking least like everyone. I felt like

431
00:24:57,840 --> 00:25:00,919
Speaker 1: every actor, It's not like anyone with doing a terrible

432
00:25:01,040 --> 00:25:03,480
Speaker 1: job to the point where it's distracting, but it was

433
00:25:03,520 --> 00:25:06,000
Speaker 1: just like every actor was in their own bubble and

434
00:25:06,119 --> 00:25:09,080
Speaker 1: they were not moving outside Like Idris Elba I feel

435
00:25:09,080 --> 00:25:10,680
Speaker 1: like might as well have just been in a bubble

436
00:25:10,760 --> 00:25:12,840
Speaker 1: this whole movie, just moving around like he's not really

437
00:25:12,920 --> 00:25:18,800
Speaker 1: making He's delivering lines flawlessly, is he hot? We're all

438
00:25:18,920 --> 00:25:21,080
Speaker 1: horning for each help, But it's just there is like

439
00:25:21,160 --> 00:25:24,359
Speaker 1: a weird, uncanny quality of how the characters in this movie.

440
00:25:25,080 --> 00:25:26,359
Speaker 1: And I don't know if it's supposed to be a

441
00:25:26,400 --> 00:25:28,639
Speaker 1: stylistic thing, it didn't quite work for me. But just

442
00:25:28,760 --> 00:25:32,560
Speaker 1: like the way that people communicate in this world feels

443
00:25:32,800 --> 00:25:36,679
Speaker 1: very even when it's supposed to be personal, feels impersonal.

444
00:25:37,040 --> 00:25:39,399
Speaker 1: It was two seventeen, what do you expect it was?

445
00:25:40,800 --> 00:25:43,040
Speaker 1: We're not going to be able to make eye contact anymore,

446
00:25:43,119 --> 00:25:45,879
Speaker 1: everyone will just be shouting fortune cookie lines at each other.

447
00:25:46,600 --> 00:25:49,399
Speaker 1: I don't know. Hey, um, I think now seems like

448
00:25:49,440 --> 00:25:52,840
Speaker 1: a good time to check into our middle part of

449
00:25:52,920 --> 00:25:56,159
Speaker 1: the movie segment that we recorded while we were watching it.

450
00:25:56,560 --> 00:26:00,720
Speaker 1: One glass of champagne deep, all right and enjoy that.

451
00:26:06,760 --> 00:26:08,719
Speaker 1: We're in the middle of the Pacific rim. Yeah we are.

452
00:26:08,840 --> 00:26:11,320
Speaker 1: I'm learning a lot of things. Yes, Actually, I'm like

453
00:26:11,440 --> 00:26:14,880
Speaker 1: kind of really into this movie. Midpoint check. I think

454
00:26:14,960 --> 00:26:18,760
Speaker 1: I've seen three women I noted in the Shattered Dome

455
00:26:18,800 --> 00:26:20,840
Speaker 1: when they're walking through. There's quite a few women in

456
00:26:20,880 --> 00:26:24,159
Speaker 1: the background, are there? Okay at an account, but there were.

457
00:26:24,320 --> 00:26:26,120
Speaker 1: It's it looked like there was, because you could see

458
00:26:26,160 --> 00:26:28,960
Speaker 1: a lot of like ponytails and hairs and buns. Is

459
00:26:29,040 --> 00:26:33,800
Speaker 1: that is that a women in stem environment? Or wait, okay,

460
00:26:34,000 --> 00:26:36,119
Speaker 1: is that when they're like they're walking through. He's like,

461
00:26:36,320 --> 00:26:44,200
Speaker 1: that's gypsy danger? That the potentially right, like potentially mechanics

462
00:26:44,400 --> 00:26:49,480
Speaker 1: or engineers maybe for a movie with I I say,

463
00:26:49,560 --> 00:26:52,720
Speaker 1: so far, stundingly few women. At least most of the

464
00:26:52,800 --> 00:26:56,600
Speaker 1: ones we are seeing are probably women and stuff. So

465
00:26:56,800 --> 00:26:59,320
Speaker 1: that's good. Yeah, they're your extras or women and stuff,

466
00:26:59,640 --> 00:27:04,440
Speaker 1: all right, del Toro. All right, we've encountered Marco moriy

467
00:27:04,920 --> 00:27:08,480
Speaker 1: We just finished the part where she gets like a

468
00:27:08,600 --> 00:27:14,160
Speaker 1: really cool backstory moment that I feel like, even when

469
00:27:14,440 --> 00:27:16,720
Speaker 1: female characters are given backstories, I feel like it's so

470
00:27:17,000 --> 00:27:20,480
Speaker 1: rarely connected directly back to the plot as much as

471
00:27:20,560 --> 00:27:22,480
Speaker 1: hers was in a way that was like, well that's

472
00:27:22,520 --> 00:27:25,520
Speaker 1: so cool, Like not only does she have a backstory,

473
00:27:25,640 --> 00:27:29,600
Speaker 1: but it's like relevant to what's happening right now. I

474
00:27:29,680 --> 00:27:32,119
Speaker 1: feel like there's like there's a more tasteful way to

475
00:27:32,160 --> 00:27:34,760
Speaker 1: put this trope. But like if a movie is very

476
00:27:34,920 --> 00:27:39,240
Speaker 1: lazily trying to like characterize a woman in TV two

477
00:27:39,480 --> 00:27:41,160
Speaker 1: where it's just like there's a point in the movie

478
00:27:41,200 --> 00:27:43,560
Speaker 1: where like a woman raises her hand she's like just

479
00:27:43,720 --> 00:27:46,760
Speaker 1: so you know, I was raped, and they're like, okay, cool,

480
00:27:46,800 --> 00:27:48,720
Speaker 1: now we know one thing about her and let's just

481
00:27:48,840 --> 00:27:51,960
Speaker 1: keep going with the movie and like using abuses just

482
00:27:52,160 --> 00:27:55,720
Speaker 1: like a device to be like see if she's existed

483
00:27:55,800 --> 00:27:59,800
Speaker 1: prior to being in this movie. Well, it's weird because

484
00:27:59,840 --> 00:28:01,960
Speaker 1: this sad truth of that is a lot of women

485
00:28:02,480 --> 00:28:05,840
Speaker 1: have been assaulted. However, it's not the only aspect to

486
00:28:06,200 --> 00:28:09,840
Speaker 1: a woman's personality. Yeah, thats experience that's more of the

487
00:28:09,880 --> 00:28:11,719
Speaker 1: point I was speaking to. And then the only other

488
00:28:11,800 --> 00:28:14,000
Speaker 1: thing we know about her other than she's gonna kiss

489
00:28:14,119 --> 00:28:18,720
Speaker 1: the fucking guy at the end, is this, you know, Okay.

490
00:28:19,000 --> 00:28:21,120
Speaker 1: I feel like each el Us character in this movie

491
00:28:21,240 --> 00:28:23,560
Speaker 1: is like a character we've for sure seen before of

492
00:28:23,720 --> 00:28:27,800
Speaker 1: just like vague authority figure who has a heart but

493
00:28:28,440 --> 00:28:31,040
Speaker 1: sort of not. Oh man, I can't wait till we

494
00:28:31,080 --> 00:28:34,600
Speaker 1: get to the part where he delivers his Bill Pullman

495
00:28:34,880 --> 00:28:39,360
Speaker 1: an Independence Day like speech. The last line of his

496
00:28:39,400 --> 00:28:41,280
Speaker 1: speech is the funniest thing I've ever heard in my

497
00:28:41,480 --> 00:28:46,400
Speaker 1: entire life. I can't wait for you to hear it, Jamie. Okay, Well, uh,

498
00:28:47,080 --> 00:28:49,600
Speaker 1: we'll be checking back in at the end of the movie.

499
00:28:49,960 --> 00:28:58,960
Speaker 1: Oh yeah, we'll talk to you then and we're back good.

500
00:29:00,400 --> 00:29:03,240
Speaker 1: Another thing we've hinted at is that with such a

501
00:29:03,360 --> 00:29:07,320
Speaker 1: huge cast of main characters, only one of them as

502
00:29:07,320 --> 00:29:10,520
Speaker 1: a woman. So we've got the ones we've mentioned with

503
00:29:10,760 --> 00:29:14,200
Speaker 1: in Raleigh Beckett, We've got atrislas character. We've got the

504
00:29:14,280 --> 00:29:17,400
Speaker 1: two co pilots who are the Australian father son duo

505
00:29:19,040 --> 00:29:23,040
Speaker 1: right there, thirty five and thirty seven respectively, and yet

506
00:29:23,080 --> 00:29:26,800
Speaker 1: there's somehow father and son we've got Tendo, who is

507
00:29:27,000 --> 00:29:30,560
Speaker 1: sort of like the guy who's in control room and

508
00:29:32,440 --> 00:29:36,040
Speaker 1: Mexican actor, so I like as I I never I

509
00:29:36,080 --> 00:29:40,160
Speaker 1: didn't recognize him. I love Clifton colle Jr. That's right,

510
00:29:40,240 --> 00:29:44,880
Speaker 1: he's your Melina. Maybe Alpha Milena could have been replace

511
00:29:45,120 --> 00:29:49,320
Speaker 1: like one of the blonde men without from Blace, replace

512
00:29:49,400 --> 00:29:51,760
Speaker 1: any of those characters with a woman, like there's no reason.

513
00:29:51,800 --> 00:29:54,280
Speaker 1: I mean, like several of the characters you do see

514
00:29:54,320 --> 00:29:56,920
Speaker 1: like glimpses of women who are like helping to build

515
00:29:57,240 --> 00:30:00,160
Speaker 1: the yeagers. We don't even meet Maco until twenty three

516
00:30:00,200 --> 00:30:01,800
Speaker 1: minutes into the movie, and I would say it's probably

517
00:30:01,800 --> 00:30:03,880
Speaker 1: around minute forty five that she says more than a

518
00:30:03,960 --> 00:30:07,520
Speaker 1: few words or a few yeah. My point is that

519
00:30:07,680 --> 00:30:10,360
Speaker 1: there are so few women in the movie, so many

520
00:30:10,400 --> 00:30:13,000
Speaker 1: opportunities for some of the characters to be women, like

521
00:30:13,080 --> 00:30:16,480
Speaker 1: you've got the two science pals who are Charlie Day

522
00:30:16,600 --> 00:30:19,320
Speaker 1: and then Dr Gottlieb, and I mean forget about like

523
00:30:19,800 --> 00:30:23,080
Speaker 1: gender equality, which, as I always say, forget about gender quality.

524
00:30:23,960 --> 00:30:27,040
Speaker 1: It would make this movie less confusing to watch if

525
00:30:27,120 --> 00:30:31,320
Speaker 1: there were more women and diversity, because it is hard

526
00:30:31,400 --> 00:30:35,520
Speaker 1: to tell the blonde man apart. Genuinely, I also think

527
00:30:35,640 --> 00:30:39,280
Speaker 1: that Tendo and Gotlieb sort of look alike. Like, wait,

528
00:30:39,560 --> 00:30:40,880
Speaker 1: it took me a while to figure out that there

529
00:30:40,880 --> 00:30:43,239
Speaker 1: were two different people I could tell I knew who

530
00:30:43,320 --> 00:30:46,400
Speaker 1: Adris Alba was, I knew who Marco Moria was, and

531
00:30:46,520 --> 00:30:50,760
Speaker 1: I knew who Charlie Day was. Everyone else no idea

532
00:30:51,080 --> 00:30:54,440
Speaker 1: in main characters, yes, but watching the backgrounds and all

533
00:30:54,440 --> 00:30:56,840
Speaker 1: the scenes where they're in the shattered dome and walking around,

534
00:30:56,960 --> 00:30:59,840
Speaker 1: or anytime there's big crowds, there is a very diverse

535
00:31:00,200 --> 00:31:03,120
Speaker 1: cast a background people where you see lots of mostly

536
00:31:03,240 --> 00:31:05,760
Speaker 1: Asian people, which makes sense because they are in Hong Kong.

537
00:31:06,640 --> 00:31:09,760
Speaker 1: Lots of women back there walking around, women walking together

538
00:31:09,840 --> 00:31:12,680
Speaker 1: and talking to each other in the background women. And

539
00:31:12,760 --> 00:31:15,520
Speaker 1: then that's where not like you really see that this

540
00:31:15,720 --> 00:31:18,560
Speaker 1: is a world issue because there's lots of different people

541
00:31:18,640 --> 00:31:23,600
Speaker 1: in the background. I thought like the movie just doesn't

542
00:31:23,640 --> 00:31:27,000
Speaker 1: consider them more important enough to be included in the story, right,

543
00:31:27,920 --> 00:31:31,360
Speaker 1: which is pretty true for most movies. But let's isolate

544
00:31:31,520 --> 00:31:34,600
Speaker 1: Maco Mari as a character and talk about her. So

545
00:31:35,360 --> 00:31:37,680
Speaker 1: one of the main things I want to point out

546
00:31:37,760 --> 00:31:41,240
Speaker 1: about her is that one we know exactly what she wants,

547
00:31:41,480 --> 00:31:43,280
Speaker 1: which is great. A lot of times if there's a

548
00:31:43,320 --> 00:31:46,480
Speaker 1: female character, she doesn't want something for herself, or she's

549
00:31:46,600 --> 00:31:51,080
Speaker 1: just there to support the male protagonists. But she says specifically,

550
00:31:51,560 --> 00:31:53,960
Speaker 1: I want more than anything to be a pilot of

551
00:31:54,040 --> 00:31:57,680
Speaker 1: a yeager, and we also know why, so we she's

552
00:31:57,880 --> 00:32:00,640
Speaker 1: got the desire and she's got the motivation. We find

553
00:32:00,680 --> 00:32:02,480
Speaker 1: out that she wants to do this because she wants

554
00:32:02,520 --> 00:32:05,240
Speaker 1: to seek revenge on the Kaiju, and we learned this

555
00:32:05,360 --> 00:32:08,600
Speaker 1: from her sort of like memory flashback thing. But also

556
00:32:09,040 --> 00:32:10,960
Speaker 1: I think Iatris Elba has a line where he's just like,

557
00:32:11,480 --> 00:32:15,400
Speaker 1: you know, revenge is not it's not good, and which

558
00:32:15,520 --> 00:32:20,920
Speaker 1: brings us to yes, you know that famous saying. So

559
00:32:21,120 --> 00:32:24,320
Speaker 1: she keeps me like, I want to be a co pilot,

560
00:32:24,760 --> 00:32:30,920
Speaker 1: and her daddy, Idris Elba, is like, no, because your

561
00:32:31,400 --> 00:32:37,479
Speaker 1: emotions are going to compromise your ability to do that. However,

562
00:32:37,640 --> 00:32:40,760
Speaker 1: so I sort of can understand where he's coming from.

563
00:32:40,800 --> 00:32:43,520
Speaker 1: But I think that might be a bad excuse because

564
00:32:43,960 --> 00:32:45,800
Speaker 1: you know a lot of people are like, oh, women,

565
00:32:45,840 --> 00:32:48,800
Speaker 1: they be too emotional. They can't lead a country and

566
00:32:48,840 --> 00:32:51,440
Speaker 1: they can't do stuff because if their emotions. Thinking about

567
00:32:51,480 --> 00:32:54,280
Speaker 1: that line now, because when that line is spoken, you

568
00:32:54,400 --> 00:32:57,520
Speaker 1: don't know what their relationship is. So I think what's

569
00:32:57,760 --> 00:33:01,520
Speaker 1: he's saying like emotion because her backstory, not because she's

570
00:33:01,560 --> 00:33:05,680
Speaker 1: a woman, but you don't know that. And so even

571
00:33:05,760 --> 00:33:09,160
Speaker 1: if that is true, even if she's just like desperate

572
00:33:09,200 --> 00:33:12,960
Speaker 1: for revenge, and that might conceivably, you know, sort of

573
00:33:13,200 --> 00:33:15,960
Speaker 1: cloud her ability to be an effective co pilot, I

574
00:33:16,040 --> 00:33:19,440
Speaker 1: can see that happening. But no one bothers to point

575
00:33:19,480 --> 00:33:24,000
Speaker 1: out that Raleigh also is probably like rife with emotion

576
00:33:24,080 --> 00:33:26,920
Speaker 1: about this because his brother died while he was connected

577
00:33:26,960 --> 00:33:28,880
Speaker 1: to him, and he even says like, I can't do

578
00:33:29,040 --> 00:33:32,160
Speaker 1: this again my brother we were still connected, so he

579
00:33:32,280 --> 00:33:35,600
Speaker 1: has so many emotions also connected to this idea of

580
00:33:35,680 --> 00:33:38,200
Speaker 1: being a co pilot of a yeager, but no one's like,

581
00:33:38,280 --> 00:33:42,280
Speaker 1: well he although counterpoint Marco does say you make a

582
00:33:42,320 --> 00:33:44,800
Speaker 1: lot of rash decisions, like I don't think you're the

583
00:33:44,920 --> 00:33:48,520
Speaker 1: right person for this mission, except that that doesn't matter

584
00:33:48,600 --> 00:33:51,120
Speaker 1: because that's the only thing that's said or done to

585
00:33:51,360 --> 00:33:53,760
Speaker 1: maybe stop him, and then he keeps going on with it,

586
00:33:54,360 --> 00:33:57,280
Speaker 1: so at least she acknowledges it. But no one like

587
00:33:57,600 --> 00:34:00,400
Speaker 1: Arise Elba isn't coming in to be like, well, you're

588
00:34:00,520 --> 00:34:03,480
Speaker 1: too emotional rally because of your brother, Like no, he

589
00:34:03,680 --> 00:34:06,400
Speaker 1: seeks him out without reason, seeks him out, but he

590
00:34:06,480 --> 00:34:09,759
Speaker 1: also is he's desperate because he like he says, like, oh,

591
00:34:10,000 --> 00:34:12,839
Speaker 1: Dijoradi trial the other pilots, and I was like, we did,

592
00:34:12,960 --> 00:34:15,920
Speaker 1: They're all dead. You're the last one. You are our

593
00:34:16,120 --> 00:34:18,759
Speaker 1: last resort. That's true. And it's like and I do

594
00:34:18,960 --> 00:34:21,560
Speaker 1: understand from the paternal aspect of like you don't want

595
00:34:21,600 --> 00:34:25,440
Speaker 1: to send basically your child out into what seems like

596
00:34:25,600 --> 00:34:30,480
Speaker 1: mortal danger. That makes sense, but that to me brings

597
00:34:30,520 --> 00:34:33,920
Speaker 1: out the whole like daddy thing with this movie that

598
00:34:34,160 --> 00:34:37,200
Speaker 1: bugs me in regards to Marco Moore's test because she

599
00:34:37,400 --> 00:34:39,680
Speaker 1: is the only female character we have. I think she's

600
00:34:39,680 --> 00:34:42,919
Speaker 1: a really strong character obviously, and we're given this really

601
00:34:42,960 --> 00:34:46,759
Speaker 1: satisfying backstory, but that we see the first half of

602
00:34:46,800 --> 00:34:49,799
Speaker 1: her backstory, the first whatever percentage, and we don't see

603
00:34:49,840 --> 00:34:54,400
Speaker 1: Idris elba connection to it. We see and for me, honestly,

604
00:34:54,760 --> 00:34:57,320
Speaker 1: that would have been enough, Like you could have stopped

605
00:34:57,440 --> 00:34:59,600
Speaker 1: there and had it been like I mean, the motive,

606
00:34:59,640 --> 00:35:03,840
Speaker 1: there's more than enough motivation. But then she's introduced with

607
00:35:04,000 --> 00:35:06,520
Speaker 1: this new father figure and in no way I'm like,

608
00:35:06,640 --> 00:35:10,200
Speaker 1: does Marco Mori's story even pass her own tests, because yes,

609
00:35:10,320 --> 00:35:13,160
Speaker 1: that that does not tie her to the protagonist of

610
00:35:13,239 --> 00:35:16,440
Speaker 1: the movie, but it does directly connect her to another

611
00:35:16,640 --> 00:35:19,640
Speaker 1: major male figure in the movie. And so it's not

612
00:35:19,920 --> 00:35:22,680
Speaker 1: totally her story. It has to do with her relationship

613
00:35:22,760 --> 00:35:25,640
Speaker 1: to her father, now, you know, I mean that relationship

614
00:35:25,680 --> 00:35:29,840
Speaker 1: has explored a little bit and reference because spoiler alert,

615
00:35:30,080 --> 00:35:34,000
Speaker 1: Eater Selva's character dies right before Marco Mori's launched out

616
00:35:34,040 --> 00:35:37,560
Speaker 1: of the movie. Uh, And so I don't know, it's

617
00:35:37,560 --> 00:35:41,680
Speaker 1: like there's a version of that relationship being clarified and

618
00:35:41,760 --> 00:35:45,520
Speaker 1: introduced that maybe could be I and I I know

619
00:35:45,719 --> 00:35:48,080
Speaker 1: that you guys might disagree. I just don't think that

620
00:35:48,160 --> 00:35:50,840
Speaker 1: that was like necessary, and that felt like in what

621
00:35:51,080 --> 00:35:54,160
Speaker 1: was otherwise a pretty satisfying, powerful story, kind of like

622
00:35:54,600 --> 00:35:56,400
Speaker 1: the one of like, how are we going to get

623
00:35:56,440 --> 00:35:58,680
Speaker 1: her back into Like all the guys like, I didn't

624
00:35:58,680 --> 00:36:02,200
Speaker 1: think that that was a necessary thing to do. I do,

625
00:36:02,600 --> 00:36:04,919
Speaker 1: like I agree that it would have been totally fine

626
00:36:05,000 --> 00:36:07,560
Speaker 1: if she was just like vengeance, no daddy, I just

627
00:36:07,640 --> 00:36:10,480
Speaker 1: wanted to fight Kaiju. But I wouldn't say that her

628
00:36:10,560 --> 00:36:14,200
Speaker 1: back story doesn't pass the Maco moriches. It just links

629
00:36:14,239 --> 00:36:17,360
Speaker 1: and intertwines her backstory with I just help us backstory

630
00:36:17,960 --> 00:36:20,719
Speaker 1: and as supportive. It's just more of like, here's where

631
00:36:20,760 --> 00:36:23,080
Speaker 1: all of these things fit together, and this is why

632
00:36:23,160 --> 00:36:26,560
Speaker 1: they work this way. But also her hunger for vengeance

633
00:36:26,840 --> 00:36:30,439
Speaker 1: does actually save them in one of the moments later

634
00:36:30,600 --> 00:36:33,279
Speaker 1: when they're being carried off by Otachi. I forgot what

635
00:36:33,400 --> 00:36:35,200
Speaker 1: Rally's line is, but it's something to look like, what

636
00:36:35,280 --> 00:36:37,279
Speaker 1: do we do now? It's like there's still one more thing,

637
00:36:37,680 --> 00:36:41,040
Speaker 1: and she remembers the chainsword and then she's like before

638
00:36:41,120 --> 00:36:43,000
Speaker 1: she they use it like this is for my family

639
00:36:43,120 --> 00:36:48,000
Speaker 1: and Slicestachi And so if anything that you know, hunger

640
00:36:48,120 --> 00:36:52,319
Speaker 1: for Vengeance was a great yeah right, yeah, yeah, yeah,

641
00:36:52,680 --> 00:36:54,840
Speaker 1: so yeah. I like that she has a clear, strong,

642
00:36:54,920 --> 00:36:58,760
Speaker 1: specific desire that we often don't see women having in movies,

643
00:36:59,080 --> 00:37:03,440
Speaker 1: especially when they're not the protagonist, and that desire is

644
00:37:03,520 --> 00:37:06,960
Speaker 1: clearly motivated by something that's actually relevant to the story,

645
00:37:07,560 --> 00:37:10,400
Speaker 1: something that that I didn't like as much or that

646
00:37:10,520 --> 00:37:13,800
Speaker 1: I felt she was sort of robbed of. Is so

647
00:37:14,120 --> 00:37:18,560
Speaker 1: whenever Raleigh is sort of doing the drift compatibility test

648
00:37:18,719 --> 00:37:22,399
Speaker 1: with the other candidates and Maco and I'm gonna never

649
00:37:22,480 --> 00:37:26,479
Speaker 1: remember each Selbo's character's name. Mr pentecost. It doesn't feel

650
00:37:26,560 --> 00:37:29,640
Speaker 1: right to You can think of it as close to

651
00:37:29,760 --> 00:37:36,000
Speaker 1: Paddington striding. Okay, I'm just gonna call him Paddington. So

652
00:37:36,080 --> 00:37:40,400
Speaker 1: Paddington and Maco are sort of overseeing these um compatibility tests.

653
00:37:41,080 --> 00:37:43,960
Speaker 1: No one seems like quite the right fit, and Raleigh's like, okay,

654
00:37:44,000 --> 00:37:46,719
Speaker 1: well how about her, let's give let's change this up

655
00:37:46,719 --> 00:37:49,000
Speaker 1: and give her a try, And then it works out that,

656
00:37:49,239 --> 00:37:52,360
Speaker 1: oh wow, they are the most compatible. But what rubs

657
00:37:52,400 --> 00:37:55,240
Speaker 1: me the wrong way about that is that her taking

658
00:37:55,320 --> 00:37:58,680
Speaker 1: the drift compatibility tests with him only happens because Raleigh

659
00:37:58,719 --> 00:38:02,120
Speaker 1: suggests it, and then her becoming the co pilot only

660
00:38:02,160 --> 00:38:05,680
Speaker 1: happens because he insists on it. So she has the capability,

661
00:38:05,760 --> 00:38:08,480
Speaker 1: but she doesn't necessarily have the agency to do things

662
00:38:08,520 --> 00:38:11,080
Speaker 1: for herself. And maybe that's not like a huge deal

663
00:38:11,239 --> 00:38:14,000
Speaker 1: to me, but I think it's worth noting that her

664
00:38:14,080 --> 00:38:16,759
Speaker 1: agency is a little bit. She's robbed of agency in

665
00:38:16,880 --> 00:38:19,680
Speaker 1: that scene. In Situation in particular, I think that's almost

666
00:38:19,680 --> 00:38:22,800
Speaker 1: another world problem too, though, where it's like this world,

667
00:38:23,280 --> 00:38:26,359
Speaker 1: even though there appeared to be women in it, does

668
00:38:26,440 --> 00:38:30,080
Speaker 1: not listen to women very much, because Marco More is

669
00:38:30,120 --> 00:38:34,520
Speaker 1: our only female character and usually when she says stuff,

670
00:38:34,560 --> 00:38:37,400
Speaker 1: even when she says it emphatically, people don't listen to her,

671
00:38:38,239 --> 00:38:40,880
Speaker 1: even when it is character motivated that you know, Agri's

672
00:38:40,880 --> 00:38:43,479
Speaker 1: elbow wouldn't want to give her what she wants right away,

673
00:38:43,520 --> 00:38:47,040
Speaker 1: but it's like he's dismissive of her. For the most part,

674
00:38:47,360 --> 00:38:50,680
Speaker 1: Raleigh treats her with respect and treats her skill set

675
00:38:50,760 --> 00:38:53,160
Speaker 1: with respect, but he doesn't always listen to her on

676
00:38:53,280 --> 00:38:56,959
Speaker 1: the first try either, And you're totally right, and where

677
00:38:57,080 --> 00:38:59,480
Speaker 1: even when she's displaying agency, and I think we see

678
00:38:59,520 --> 00:39:02,040
Speaker 1: this in female characters all the time, where sometimes we

679
00:39:02,080 --> 00:39:05,400
Speaker 1: see a female character display agency and advocate for themselves,

680
00:39:05,600 --> 00:39:09,120
Speaker 1: but it's almost an empty gesture because no one listens. Well,

681
00:39:09,280 --> 00:39:12,319
Speaker 1: I think that brings up another point, which is something

682
00:39:12,400 --> 00:39:15,400
Speaker 1: that I like about this movie, where even though she

683
00:39:15,480 --> 00:39:18,560
Speaker 1: hasn't given much agency in that scene where she's only

684
00:39:18,640 --> 00:39:21,080
Speaker 1: doing these things because other people are suggesting that she

685
00:39:21,200 --> 00:39:23,920
Speaker 1: do them, and she's not necessarily super advocating for herself

686
00:39:24,000 --> 00:39:27,640
Speaker 1: in that moment, but she does not have to do

687
00:39:28,200 --> 00:39:32,800
Speaker 1: extra work to prove herself to the main male character,

688
00:39:33,480 --> 00:39:37,040
Speaker 1: Raleigh immediately recognizes how capable she is, and he immediately

689
00:39:37,120 --> 00:39:40,719
Speaker 1: respects it because oftentimes in movies, you'll see a woman

690
00:39:40,800 --> 00:39:43,960
Speaker 1: being strong and capable, but the men around her dismiss

691
00:39:44,000 --> 00:39:47,040
Speaker 1: her until she kicks, Yeah, until she does the kick moment,

692
00:39:47,120 --> 00:39:49,719
Speaker 1: usually dismiss her only because she's a woman, and they

693
00:39:49,840 --> 00:39:52,400
Speaker 1: just like have these assumptions, oh, that she can't do this.

694
00:39:52,960 --> 00:39:55,280
Speaker 1: She's a woman, We're not going to pay any attention

695
00:39:55,320 --> 00:39:57,719
Speaker 1: to her, We're not gonna listen to her. And then

696
00:39:57,800 --> 00:40:01,319
Speaker 1: she goes hi, yeah yeah, and they're like, whoa, oh,

697
00:40:01,480 --> 00:40:04,239
Speaker 1: you can do a thing. But in this movie, which

698
00:40:04,280 --> 00:40:07,040
Speaker 1: I really like it frame this way, is that she

699
00:40:07,239 --> 00:40:09,600
Speaker 1: doesn't have to. Like, even though this is maybe not

700
00:40:09,800 --> 00:40:13,520
Speaker 1: necessarily reflective of real life where women often do have

701
00:40:13,640 --> 00:40:17,960
Speaker 1: to work harder to prove themselves, but Raleigh immediately recognizes

702
00:40:18,000 --> 00:40:21,759
Speaker 1: and respects her abilities and capabilities. Porn um, it's porn.

703
00:40:22,520 --> 00:40:25,560
Speaker 1: So yeah, it was just I really liked that aspect

704
00:40:25,640 --> 00:40:28,200
Speaker 1: of the story. Yeah, I totally agree. I also say

705
00:40:28,239 --> 00:40:31,640
Speaker 1: they're at at Every time we keep saying the Marco

706
00:40:31,719 --> 00:40:35,000
Speaker 1: Morey test, I keep thinking the Maca more tests, which

707
00:40:35,040 --> 00:40:38,719
Speaker 1: is a test that is hopefully never passed. What would

708
00:40:38,719 --> 00:40:40,960
Speaker 1: that even be scientia, I don't know. Let's see what

709
00:40:41,000 --> 00:40:44,719
Speaker 1: happens I assume we'll get to this, but Marco is

710
00:40:44,800 --> 00:40:48,000
Speaker 1: not the only female character. She's only female main characters,

711
00:40:48,560 --> 00:40:51,840
Speaker 1: but there is another, so tell us about her, Aristotle.

712
00:40:52,200 --> 00:40:54,840
Speaker 1: We do hear her name when they're walking through the

713
00:40:54,880 --> 00:40:59,280
Speaker 1: shadowed Dome and Pentecosta is showing Raleigh all the yagers

714
00:40:59,280 --> 00:41:03,760
Speaker 1: that they still have and he introduces cherno Alpha fan favorite,

715
00:41:03,960 --> 00:41:10,919
Speaker 1: my favorite and is piloted by Sasha and Alexis Katanowski

716
00:41:11,400 --> 00:41:14,920
Speaker 1: husband and wife team, and just by looking at them,

717
00:41:14,960 --> 00:41:19,799
Speaker 1: they're already everyone's favorite character. That's the thing that it's like, why, Yeah,

718
00:41:19,880 --> 00:41:22,239
Speaker 1: the first shot of them is so cool. They're like

719
00:41:22,400 --> 00:41:25,920
Speaker 1: who are these people? And you don't really get to

720
00:41:26,040 --> 00:41:30,000
Speaker 1: find out. I mean there is like later, so would

721
00:41:30,040 --> 00:41:35,520
Speaker 1: she be Sasha or Alexis? She's Sasha? Like I was like, yeah,

722
00:41:35,880 --> 00:41:38,399
Speaker 1: they both have similar names, and when you first see them,

723
00:41:38,640 --> 00:41:41,000
Speaker 1: he is significantly taller and bigger than she is, but

724
00:41:41,080 --> 00:41:44,200
Speaker 1: they are walking as equals. They are both equally strong

725
00:41:44,400 --> 00:41:47,520
Speaker 1: and when they're and when they're operating together, it seems

726
00:41:47,520 --> 00:41:51,160
Speaker 1: like she's the leader, which I agree and that when

727
00:41:51,160 --> 00:41:53,719
Speaker 1: I when I saw this was like, they're they're sucking

728
00:41:53,760 --> 00:41:56,760
Speaker 1: Boba Fett Captain Pasma where you see this badass character

729
00:41:56,880 --> 00:41:59,880
Speaker 1: that you want to love, but you never get the

730
00:42:00,080 --> 00:42:04,920
Speaker 1: like satisfaction of seeing them be truly badass until so

731
00:42:04,960 --> 00:42:06,560
Speaker 1: I saw this movie in theaters. I loved it. A

732
00:42:06,640 --> 00:42:09,880
Speaker 1: lot of people gave it ship, Give me Ship. And

733
00:42:09,960 --> 00:42:14,160
Speaker 1: then Germo del Toro retweeted this person who wrote on

734
00:42:14,239 --> 00:42:16,239
Speaker 1: their blog, and this is where I got a lot

735
00:42:16,320 --> 00:42:18,720
Speaker 1: of my ideas and fed deeper into my love for Gammo.

736
00:42:18,880 --> 00:42:20,759
Speaker 1: If you want to look it up, it's Storming the

737
00:42:20,880 --> 00:42:24,200
Speaker 1: Ivory Tower, the visual Intelligence of Pacific Rim and it's

738
00:42:24,239 --> 00:42:26,520
Speaker 1: this guy who wrote a blog post about how he

739
00:42:26,600 --> 00:42:29,680
Speaker 1: and his girlfriend saw it. And she has a learning

740
00:42:29,719 --> 00:42:34,520
Speaker 1: disability where she can't understand like non literal language, but

741
00:42:34,640 --> 00:42:38,800
Speaker 1: she interprets visual language very clearly, and so she walked

742
00:42:38,800 --> 00:42:41,279
Speaker 1: out with all these great examples of the Karnowski's of

743
00:42:41,800 --> 00:42:43,759
Speaker 1: them walking around, and then when you see them later

744
00:42:43,840 --> 00:42:46,600
Speaker 1: in the mess hall, you see her like beckoning to

745
00:42:46,760 --> 00:42:48,680
Speaker 1: him with her finger, and then when he sits down,

746
00:42:48,800 --> 00:42:51,399
Speaker 1: she puts her arms around him and she's like very

747
00:42:51,480 --> 00:42:55,080
Speaker 1: protective of him, and it's all in Gammo's very intentional

748
00:42:55,239 --> 00:43:01,000
Speaker 1: visual language. Horneus tractor working Horneus tractor Working. I hadn't

749
00:43:01,040 --> 00:43:03,600
Speaker 1: noticed that in terms of like the visual cues they

750
00:43:03,640 --> 00:43:07,680
Speaker 1: give off, but like, why not give them something to do?

751
00:43:08,440 --> 00:43:11,160
Speaker 1: Why not let us get to know? I mean, we

752
00:43:11,280 --> 00:43:13,120
Speaker 1: can see that they love each other and that they're

753
00:43:13,120 --> 00:43:17,200
Speaker 1: good at their job, particularly Sasha because we hear her talk.

754
00:43:17,680 --> 00:43:21,839
Speaker 1: But if you you know, like miss her name, then

755
00:43:22,320 --> 00:43:27,360
Speaker 1: it's only really said once, maybe twice. They didn't They

756
00:43:27,440 --> 00:43:31,200
Speaker 1: refer to them as the Kotronowski's beginning again, right, I

757
00:43:31,280 --> 00:43:33,520
Speaker 1: don't know, I mean, especially because it's like, oh man,

758
00:43:33,880 --> 00:43:38,360
Speaker 1: they look so cool and it's such a clear opportunity

759
00:43:38,480 --> 00:43:42,759
Speaker 1: to have another female character, but it's just like it's

760
00:43:42,760 --> 00:43:46,200
Speaker 1: almost like a flagrantly missed opportunity, you know. Well, I

761
00:43:46,239 --> 00:43:50,239
Speaker 1: mean she gets so little screen time, and even while

762
00:43:50,360 --> 00:43:52,839
Speaker 1: she is on screen, she's doing really cool, kick ass things,

763
00:43:53,480 --> 00:43:57,279
Speaker 1: but she on screen for maybe a total of three

764
00:43:57,360 --> 00:43:59,680
Speaker 1: minutes if you just add it all together. And the mean,

765
00:43:59,760 --> 00:44:03,359
Speaker 1: why we have to watch a very damp Charlie Day

766
00:44:03,640 --> 00:44:06,600
Speaker 1: wander through Hong Kong for forty five minutes And it's

767
00:44:06,680 --> 00:44:09,719
Speaker 1: just like there did's balance it out right? And then

768
00:44:09,840 --> 00:44:14,680
Speaker 1: so like there's the other copilot pair, which is the Hansen's,

769
00:44:14,920 --> 00:44:23,200
Speaker 1: the Hansen Hanson the bad Hanson. Hanson is yeah Taylor

770
00:44:23,600 --> 00:44:27,000
Speaker 1: Zack and I think, oh I would have gotten that.

771
00:44:27,320 --> 00:44:30,680
Speaker 1: It's a good name. So we see a lot of

772
00:44:31,239 --> 00:44:35,239
Speaker 1: those two characters, the Hansen's. We explore their relationship that

773
00:44:35,280 --> 00:44:38,080
Speaker 1: we don't care about and everything. Yeah, well so we

774
00:44:38,160 --> 00:44:40,399
Speaker 1: care about them, I don't know. I mean, well, they're

775
00:44:40,640 --> 00:44:44,040
Speaker 1: so they're poised as these like sort of like hypermacho

776
00:44:44,560 --> 00:44:52,319
Speaker 1: like extra alfa, very um like talking and commercial. Well,

777
00:44:52,440 --> 00:44:55,160
Speaker 1: so the thing about them is that they don't like

778
00:44:55,880 --> 00:44:58,960
Speaker 1: Charlie Humes character. They don't like Rally the Sun does.

779
00:44:59,080 --> 00:45:02,680
Speaker 1: Chuck doesn't. Okay, Perk is like he's really the problem

780
00:45:02,800 --> 00:45:05,080
Speaker 1: is Chuck because he feels he's such a like a

781
00:45:05,160 --> 00:45:07,960
Speaker 1: hot shot badass that he's better than everyone but Herk

782
00:45:08,160 --> 00:45:11,600
Speaker 1: and Ralie get in a fist fight. Uh, that's Chuck

783
00:45:11,640 --> 00:45:13,040
Speaker 1: that gets in the fist fight. Wait, which is the

784
00:45:13,120 --> 00:45:15,440
Speaker 1: Sun is the dad? Chuck is the son? And which one?

785
00:45:15,560 --> 00:45:22,400
Speaker 1: So Chuck does not like? Yeah, dads are old dads?

786
00:45:22,640 --> 00:45:25,719
Speaker 1: Did no one get the note dads are not young

787
00:45:25,920 --> 00:45:30,440
Speaker 1: when they have adult sons. It doesn't happen. It doesn't

788
00:45:30,560 --> 00:45:32,960
Speaker 1: make sense. I know, I thought they were brothers for

789
00:45:33,120 --> 00:45:35,040
Speaker 1: the longest time, and then every sort I was like, no,

790
00:45:35,120 --> 00:45:37,680
Speaker 1: those are that's a father and son. But anyway, so

791
00:45:39,520 --> 00:45:42,920
Speaker 1: Chuck is the one who does not like Raleigh, right, yeah, okay,

792
00:45:43,239 --> 00:45:45,239
Speaker 1: so they yeah, they have a fight, and there's this

793
00:45:45,360 --> 00:45:48,200
Speaker 1: whole like, oh, I'm more masculine than you know, I'm

794
00:45:48,239 --> 00:45:51,719
Speaker 1: more masculine than you. Oh, get your girlfriend down here,

795
00:45:51,760 --> 00:45:53,279
Speaker 1: Like there's this whole exchange they have. Then they have

796
00:45:53,360 --> 00:45:55,279
Speaker 1: a fist fight about it. So it's just like, to me,

797
00:45:55,520 --> 00:45:57,280
Speaker 1: it's like, fine, if that happens in the movie, whatever,

798
00:45:57,400 --> 00:46:01,040
Speaker 1: But why does does that storyline get so much screen time?

799
00:46:01,640 --> 00:46:06,200
Speaker 1: But the husband wife Sasha whatever their last name is,

800
00:46:06,400 --> 00:46:10,160
Speaker 1: who are more visually interesting strictly based on the fact

801
00:46:10,200 --> 00:46:15,479
Speaker 1: that they're not the same exact fucking person. I also

802
00:46:15,600 --> 00:46:18,080
Speaker 1: made note of that fist fight in the hallway, and

803
00:46:18,120 --> 00:46:20,560
Speaker 1: I feel like I'm just I'm just putting all my

804
00:46:20,640 --> 00:46:22,879
Speaker 1: thoughts of Gamma on the scene. But it could also

805
00:46:22,960 --> 00:46:26,680
Speaker 1: just be a bad scene. But the fight happens because

806
00:46:27,080 --> 00:46:31,120
Speaker 1: Chuck refers to them as bitches, which is like you

807
00:46:31,239 --> 00:46:34,480
Speaker 1: see Maco and Raleigh both being like very restrained and

808
00:46:34,600 --> 00:46:36,719
Speaker 1: wanting to obviously yell at him and fight him. And

809
00:46:36,760 --> 00:46:39,399
Speaker 1: then it wasn't until that that Raleigh loses his ship

810
00:46:39,560 --> 00:46:41,799
Speaker 1: and starts fighting him, so I thought, like, well, he's

811
00:46:41,880 --> 00:46:44,960
Speaker 1: kind of defending her honor, but he also could have

812
00:46:45,080 --> 00:46:47,480
Speaker 1: just been okay with it. But it also shows that

813
00:46:47,680 --> 00:46:50,360
Speaker 1: she's very tough skinned and that she'd like she was like,

814
00:46:50,400 --> 00:46:52,480
Speaker 1: I don't care what you say, right, And it was

815
00:46:52,480 --> 00:46:55,160
Speaker 1: probably dealt with like shitty dude saying horrible things for

816
00:46:55,160 --> 00:46:57,480
Speaker 1: her whole life, and she's like, Oh, it's just another

817
00:46:57,560 --> 00:47:00,759
Speaker 1: day for me. I mean, yeah, the real world is

818
00:47:00,800 --> 00:47:06,200
Speaker 1: any indications. Probably Another thing I really like about Marco though,

819
00:47:06,480 --> 00:47:10,480
Speaker 1: is that the movie establishes that the narrative could not

820
00:47:10,640 --> 00:47:14,000
Speaker 1: happen without her, Like she is the most drift compatible

821
00:47:14,160 --> 00:47:18,040
Speaker 1: with Raleigh, so the story just simply cannot play out

822
00:47:18,280 --> 00:47:19,840
Speaker 1: without her, or not play out in the way that

823
00:47:19,920 --> 00:47:22,400
Speaker 1: it does. So I like that she's poised as a

824
00:47:22,520 --> 00:47:26,560
Speaker 1: very crucial character. I wish we just I mean, she

825
00:47:26,719 --> 00:47:28,799
Speaker 1: even still isn't on screen all that much because there's

826
00:47:28,880 --> 00:47:31,280
Speaker 1: so many other sort of moving parts to the story.

827
00:47:31,960 --> 00:47:34,080
Speaker 1: Not a whole lot of time is dedicated to her

828
00:47:34,239 --> 00:47:36,400
Speaker 1: or her story. I'd be interested in how much screen

829
00:47:36,440 --> 00:47:38,480
Speaker 1: and she actually has. And then there is at some

830
00:47:38,719 --> 00:47:41,400
Speaker 1: point in the movie and she comes back, she's in,

831
00:47:41,760 --> 00:47:44,200
Speaker 1: she's in the final scene. There's a weird nozzle that

832
00:47:44,360 --> 00:47:46,360
Speaker 1: you and I spar over that we don't need to

833
00:47:46,360 --> 00:47:48,800
Speaker 1: spar over again because it was stressing at me. But

834
00:47:48,920 --> 00:47:54,040
Speaker 1: there is there is a point where, once she is

835
00:47:54,520 --> 00:47:57,279
Speaker 1: it's determined that she is the most Drift compatible. We

836
00:47:57,480 --> 00:48:01,799
Speaker 1: learned the backstory, we get the Alba reveal. She disappears

837
00:48:01,920 --> 00:48:05,520
Speaker 1: for chunks of this movie, even when she's physically there,

838
00:48:05,680 --> 00:48:08,000
Speaker 1: and that is something that bugs me and something that

839
00:48:08,000 --> 00:48:10,759
Speaker 1: I was pleasantly surprised with. But the Sasha character, it's like,

840
00:48:11,040 --> 00:48:16,800
Speaker 1: when she is inside of Yeager, she's fully present and

841
00:48:16,920 --> 00:48:18,920
Speaker 1: she's calling the shots and she's doing all this stuff.

842
00:48:19,040 --> 00:48:22,760
Speaker 1: And I understand from a character standpoint, obviously Maco wouldn't

843
00:48:22,800 --> 00:48:25,480
Speaker 1: be immediately in charge because it's like the first time

844
00:48:25,520 --> 00:48:29,040
Speaker 1: she's doing it. But she's really pretty much silent when

845
00:48:29,160 --> 00:48:33,200
Speaker 1: she's working with h I don't know why I was

846
00:48:33,280 --> 00:48:37,200
Speaker 1: about to call him Phoenix, Well that's the name of

847
00:48:37,239 --> 00:48:43,439
Speaker 1: a city. And when she's working with Raleigh, um, she's

848
00:48:43,480 --> 00:48:45,840
Speaker 1: doing I mean, she's doing her job, she's doing it competently,

849
00:48:46,680 --> 00:48:50,200
Speaker 1: but she's not speaking, like they're not verbally communicating during

850
00:48:50,280 --> 00:48:52,600
Speaker 1: that and I and I was just like, because their

851
00:48:52,680 --> 00:48:55,040
Speaker 1: minds are so melded, they do the Vulcan mind meld

852
00:48:55,120 --> 00:48:58,480
Speaker 1: and they don't. You can't. You can't have both ways though,

853
00:48:58,520 --> 00:49:03,320
Speaker 1: because he's speaking, is speaking out loud, and she's not there. Again,

854
00:49:03,520 --> 00:49:05,840
Speaker 1: I'm referring back to Guammo because I am of the

855
00:49:05,920 --> 00:49:09,080
Speaker 1: religion of Garammo. He was very with the exception of

856
00:49:09,160 --> 00:49:12,840
Speaker 1: like the minor characters. He has noted that Maco and

857
00:49:13,000 --> 00:49:15,480
Speaker 1: Raleigh have the least amount of lines in the movie

858
00:49:15,680 --> 00:49:18,520
Speaker 1: opposed to everyone else, because he wanted them to fill

859
00:49:18,560 --> 00:49:21,440
Speaker 1: the world. But he intended for Maco to be like

860
00:49:22,080 --> 00:49:25,080
Speaker 1: very silent, but when she does speak, it has a

861
00:49:25,239 --> 00:49:28,040
Speaker 1: point and she's thought about it and she knows what

862
00:49:28,200 --> 00:49:30,360
Speaker 1: she wants, whereas Raleigh is a little more just like

863
00:49:30,560 --> 00:49:33,240
Speaker 1: I'm just gonna say whatever. I think that's a totally

864
00:49:33,400 --> 00:49:37,560
Speaker 1: legit character decision, but it only works in a world

865
00:49:37,640 --> 00:49:41,200
Speaker 1: that's populated with other women as well, other types of women,

866
00:49:41,400 --> 00:49:44,480
Speaker 1: because if your only female character is like strong and silent,

867
00:49:44,840 --> 00:49:49,239
Speaker 1: then we don't hear women talk. Well. I did some

868
00:49:49,520 --> 00:49:55,359
Speaker 1: IMD being for specific rim Uprising, and it appears as

869
00:49:55,400 --> 00:49:58,279
Speaker 1: though there are way many more characters that are like

870
00:49:58,440 --> 00:50:02,200
Speaker 1: top build who are women nice? Then the first specific

871
00:50:02,320 --> 00:50:04,200
Speaker 1: room movie seems to have. It's also it's hard to

872
00:50:04,239 --> 00:50:06,200
Speaker 1: say until you see the movie and actually see what

873
00:50:06,320 --> 00:50:08,920
Speaker 1: sort of representation is on screen of who these female

874
00:50:09,000 --> 00:50:11,760
Speaker 1: characters are and do they have lines? Do they have agency?

875
00:50:13,200 --> 00:50:15,040
Speaker 1: This one passes the bacteal test because it seems like

876
00:50:15,080 --> 00:50:19,360
Speaker 1: they took some ship the first time around. Yeah, excited,

877
00:50:19,520 --> 00:50:23,080
Speaker 1: but also nervously excited because it's not Gamo and from

878
00:50:23,080 --> 00:50:26,880
Speaker 1: the trailers it looks a little more transformery. Well, that

879
00:50:26,960 --> 00:50:29,120
Speaker 1: was another thing about this movie where it does like

880
00:50:29,400 --> 00:50:32,279
Speaker 1: if you just see the poster, it looks transformery, and

881
00:50:32,320 --> 00:50:34,000
Speaker 1: then I was like, oh no, there's this story here.

882
00:50:34,160 --> 00:50:37,360
Speaker 1: There's stuff going on, stories more visually interesting that the

883
00:50:37,440 --> 00:50:40,320
Speaker 1: production design and like the coloration and stuff in this

884
00:50:40,440 --> 00:50:43,920
Speaker 1: movie is really cool. I think he I this morning

885
00:50:43,960 --> 00:50:46,520
Speaker 1: and I tried watching it again but with the commentary,

886
00:50:46,719 --> 00:50:49,759
Speaker 1: and he talked about how they spent a year just

887
00:50:50,080 --> 00:50:53,560
Speaker 1: designing the things in the world, like so every little

888
00:50:53,600 --> 00:50:56,719
Speaker 1: detail of like there's ladders here because people would need

889
00:50:56,800 --> 00:50:58,640
Speaker 1: those ladders to climb to this to get in there.

890
00:50:59,200 --> 00:51:02,759
Speaker 1: There's patches that like he was very specific about what

891
00:51:02,920 --> 00:51:07,560
Speaker 1: he wanted through. He gives all of his characters bio

892
00:51:07,800 --> 00:51:13,680
Speaker 1: for every movie. He does color codes everything, like Caitlyn

893
00:51:13,760 --> 00:51:17,520
Speaker 1: Died Love color coding. One last thing that I wanted

894
00:51:17,560 --> 00:51:21,480
Speaker 1: to say about Pacific Rim is in a very early scene,

895
00:51:21,800 --> 00:51:24,920
Speaker 1: there is a boat, a fishing boat that needs saved

896
00:51:25,000 --> 00:51:27,600
Speaker 1: and not and a yeager comes in and scoops it

897
00:51:27,719 --> 00:51:30,160
Speaker 1: up and all the people in it. There's only like

898
00:51:30,239 --> 00:51:31,880
Speaker 1: ten people in the fishing boat, but they all live

899
00:51:31,960 --> 00:51:36,239
Speaker 1: and they save the day. I'm just wondering how Titanic

900
00:51:36,440 --> 00:51:39,200
Speaker 1: could have done differently if it wasn't Tiger to save

901
00:51:39,600 --> 00:51:41,960
Speaker 1: Titanic and scoop it out of the oceans. Well, I

902
00:51:42,000 --> 00:51:44,640
Speaker 1: think we should open open a discussion about that for

903
00:51:44,719 --> 00:51:49,600
Speaker 1: the next I mean, yes, it was the wrong ocean

904
00:51:49,680 --> 00:51:52,280
Speaker 1: because Titanic be as we all know, cross the Atlantic

905
00:51:52,640 --> 00:51:57,040
Speaker 1: and this is about the Pacific Rim. But there is

906
00:51:57,080 --> 00:52:00,320
Speaker 1: an iceberg in that same scene, is there? Yeah, because

907
00:52:00,360 --> 00:52:03,560
Speaker 1: that's a knife head pushes Gypsy Danger up against the ice,

908
00:52:04,400 --> 00:52:07,960
Speaker 1: sticks his face into his heart. Oh my god. That

909
00:52:08,239 --> 00:52:14,040
Speaker 1: fishing boat almost Titanic, almost Titanic's verb n I wanted

910
00:52:14,080 --> 00:52:15,920
Speaker 1: to We talked about it a lot last night. But

911
00:52:16,440 --> 00:52:21,839
Speaker 1: there are some Vagina monsters and not as agreed justus

912
00:52:21,960 --> 00:52:25,399
Speaker 1: as other vagina monsters we've seen, And as someone who

913
00:52:25,680 --> 00:52:31,239
Speaker 1: granted does not know a ton about vaginas, vaginas or monsters,

914
00:52:32,840 --> 00:52:36,560
Speaker 1: it just seems like the easiest monster decision to make. See,

915
00:52:36,719 --> 00:52:39,040
Speaker 1: I don't it's a it's a hack monster. I don't

916
00:52:39,200 --> 00:52:42,719
Speaker 1: think of vagina. Dentle agree, but I don't know. I

917
00:52:42,760 --> 00:52:44,440
Speaker 1: don't know if I would classify the monsters in this

918
00:52:44,520 --> 00:52:46,680
Speaker 1: movie is vagina monsters. It's not all of them, but

919
00:52:46,760 --> 00:52:50,600
Speaker 1: some of them you're referring to in the flashback scene,

920
00:52:51,400 --> 00:52:55,359
Speaker 1: which is a crab themed kaiju, and so I looked

921
00:52:55,440 --> 00:52:58,080
Speaker 1: up crab mouths and it is very that's that's just

922
00:52:58,400 --> 00:53:02,920
Speaker 1: that's crab it is. It is pretty. Yeah, so it's crabs.

923
00:53:02,960 --> 00:53:05,960
Speaker 1: To blame crabs with their vagina, you know, it's even

924
00:53:06,000 --> 00:53:10,879
Speaker 1: more vagina like than crab faces are. I can't think

925
00:53:10,920 --> 00:53:15,400
Speaker 1: of anything, certainly not vaginas themselves, muscles, m U s

926
00:53:15,600 --> 00:53:17,799
Speaker 1: s e o, oh my god. Those are just little

927
00:53:17,880 --> 00:53:21,360
Speaker 1: vaginas in a show eaten And that's like one of

928
00:53:21,400 --> 00:53:24,560
Speaker 1: those gross things that they tell teenage boys like, you know,

929
00:53:24,640 --> 00:53:27,640
Speaker 1: it'll really turn on girl on there's that's what they

930
00:53:27,680 --> 00:53:30,840
Speaker 1: do in New England anyways, because I had in high school.

931
00:53:30,840 --> 00:53:33,160
Speaker 1: They told him there was a point who took me

932
00:53:33,239 --> 00:53:36,520
Speaker 1: out on a date to legal seafoods and got us

933
00:53:36,600 --> 00:53:40,719
Speaker 1: a plateful of muscles with his dad's money because he

934
00:53:40,800 --> 00:53:43,439
Speaker 1: wanted to see me eat a bunch of little vaginas

935
00:53:45,239 --> 00:53:48,520
Speaker 1: real quick. They also do refer to Gypsy Danger as

936
00:53:48,600 --> 00:53:53,000
Speaker 1: she Oh, Gypsy Danger is a lady, and then so

937
00:53:53,239 --> 00:53:58,319
Speaker 1: is Otachi because Oachi is pregnant. We didn't talk about

938
00:53:58,320 --> 00:54:03,120
Speaker 1: the pregnancy twist. We got to hear Charlie Day, which

939
00:54:03,200 --> 00:54:06,280
Speaker 1: I find interesting because I mean, these are alien life forms.

940
00:54:06,320 --> 00:54:09,640
Speaker 1: We do not really understand all about the intricacies of

941
00:54:09,719 --> 00:54:13,960
Speaker 1: their life. But they seem like reptilian slash fish like

942
00:54:14,200 --> 00:54:19,520
Speaker 1: slash crustacean type of animals. But they still give birth

943
00:54:19,640 --> 00:54:23,120
Speaker 1: to young they don't lay eggs. That's interesting, but it's

944
00:54:23,320 --> 00:54:25,960
Speaker 1: it's a very odd choice that I can see, like, Okay,

945
00:54:26,000 --> 00:54:28,520
Speaker 1: that's why you needed it for the story. But they're

946
00:54:28,560 --> 00:54:31,440
Speaker 1: supposed to be clones, so you would have had to

947
00:54:31,520 --> 00:54:36,320
Speaker 1: have cloned the baby into it, right, unless they're on

948
00:54:36,440 --> 00:54:38,560
Speaker 1: the other side of the riff. It was confused. Yeah,

949
00:54:38,680 --> 00:54:41,520
Speaker 1: some more confusing science. I'm pregnant with my own clone

950
00:54:41,600 --> 00:54:44,640
Speaker 1: right now. So it's actually check well, I would love

951
00:54:44,719 --> 00:54:49,720
Speaker 1: to see that movie, let's write it, okay, and feminist

952
00:54:49,800 --> 00:54:54,080
Speaker 1: nicon Hannibal Chow. Oh my god, yea Ron Yeah, Ron

953
00:54:54,120 --> 00:54:57,520
Speaker 1: Perlman literally a queer icono this movie. It's fucking crazy,

954
00:54:57,840 --> 00:55:00,040
Speaker 1: and I know that I've historically been very down in

955
00:55:00,120 --> 00:55:03,120
Speaker 1: steampunk imagery. He's wearing steampunk gongles. I don't care. I

956
00:55:03,200 --> 00:55:06,000
Speaker 1: love it. I love it. Let him wear him. I honestly,

957
00:55:06,080 --> 00:55:09,759
Speaker 1: I was so like visually stunned by Ron Perlman that

958
00:55:10,040 --> 00:55:13,680
Speaker 1: I'm not totally sure what his character was or what

959
00:55:13,880 --> 00:55:15,759
Speaker 1: burying it had on the plot, if any. He's just

960
00:55:15,920 --> 00:55:18,880
Speaker 1: a mobster essentially in Hong Kong. Yeah, he has he

961
00:55:19,000 --> 00:55:24,120
Speaker 1: has like access to black market kaiju part yes, trying

962
00:55:24,120 --> 00:55:25,560
Speaker 1: to get the brains so that he can drift with

963
00:55:25,640 --> 00:55:29,680
Speaker 1: the kaiju. So weird, Like Charlie Day and Ron Perlman

964
00:55:30,000 --> 00:55:33,880
Speaker 1: are in Pacific. It's just like, yeah, sure, I don't know.

965
00:55:34,320 --> 00:55:37,560
Speaker 1: Those are also several characters that could have been women.

966
00:55:38,000 --> 00:55:41,279
Speaker 1: I was thinking that Parker Posey and a Josie in

967
00:55:41,280 --> 00:55:44,240
Speaker 1: the Pussycat style, like those two characters kind of reminded

968
00:55:44,320 --> 00:55:46,279
Speaker 1: me of each other in a weird way of just

969
00:55:46,400 --> 00:55:49,840
Speaker 1: like they're both very visually flashy. I think the Parker

970
00:55:49,880 --> 00:55:52,920
Speaker 1: Posey could have easily done Ron Perlman's part. I love Pan.

971
00:55:53,360 --> 00:55:56,239
Speaker 1: I get that he's in this movie because Gamo puts

972
00:55:56,280 --> 00:55:58,759
Speaker 1: him in almost all of his movies. But I do

973
00:55:59,320 --> 00:56:03,000
Speaker 1: find its range that this white guy becomes the head

974
00:56:03,239 --> 00:56:07,000
Speaker 1: of this like mafia in Hong Kong. Yeah, good point. Yeah,

975
00:56:07,640 --> 00:56:10,480
Speaker 1: and there there's like there's another white guy in that

976
00:56:10,640 --> 00:56:14,400
Speaker 1: same mob too. But it's like, I almost forgot to

977
00:56:14,480 --> 00:56:19,960
Speaker 1: mention that among his like mobster pals is a woman

978
00:56:20,080 --> 00:56:22,560
Speaker 1: who has a shaved head. She is the baldest woman.

979
00:56:22,760 --> 00:56:24,520
Speaker 1: She's not in charge. So I'm sorry to say that

980
00:56:24,560 --> 00:56:27,720
Speaker 1: the loftist test does not apply. No, no, no, okay,

981
00:56:27,840 --> 00:56:32,000
Speaker 1: let's rephrase. This movie fails the loftist. Yes, it's not

982
00:56:32,120 --> 00:56:36,880
Speaker 1: that the test isn't correct. This movie fail sales. Yes, okay, sorry, sorry,

983
00:56:38,239 --> 00:56:41,640
Speaker 1: But yeah, that's only one of a few other women

984
00:56:41,719 --> 00:56:45,200
Speaker 1: you even see on screen who like in a close

985
00:56:45,320 --> 00:56:47,279
Speaker 1: up sort of thing and not like an extra in

986
00:56:47,320 --> 00:56:51,359
Speaker 1: the background. There's also one more when pentecost is talking

987
00:56:51,440 --> 00:56:54,400
Speaker 1: to the people, the politicians the beginning about the like

988
00:56:54,520 --> 00:56:57,759
Speaker 1: the Yaga program and how it's failing. There is there's

989
00:56:57,760 --> 00:57:02,640
Speaker 1: a woman. She does not say anything, but she's there,

990
00:57:03,360 --> 00:57:07,760
Speaker 1: so I guess, good job, Pacific Rim. Yeah. Oh okay.

991
00:57:08,000 --> 00:57:10,719
Speaker 1: One last thing I wanted to mention is that as

992
00:57:10,760 --> 00:57:16,520
Speaker 1: I interpreted it, there is not a romantic storyline. We

993
00:57:17,440 --> 00:57:20,160
Speaker 1: we did. We covered this in the third Chicken that

994
00:57:20,240 --> 00:57:23,720
Speaker 1: We'll do. So Jamie and I had a discussion after

995
00:57:23,800 --> 00:57:27,800
Speaker 1: watching the movie about the possibility of this having a

996
00:57:27,920 --> 00:57:34,240
Speaker 1: romantic storyline or not. So let's check in with that now. Well,

997
00:57:34,720 --> 00:57:37,480
Speaker 1: we just finished watching a Pacific Rim, Yes pack ram

998
00:57:37,560 --> 00:57:40,560
Speaker 1: as I like to call it. I think that it

999
00:57:40,760 --> 00:57:44,440
Speaker 1: was funny and this movie, I think is maybe the

1000
00:57:44,560 --> 00:57:48,360
Speaker 1: first we've ever watched that goes for horny depth and fails.

1001
00:57:49,280 --> 00:57:51,920
Speaker 1: Oh because of the lack of chemistry between the two leads.

1002
00:57:53,440 --> 00:57:56,520
Speaker 1: They're given no lack of opportunity to appear attracted to

1003
00:57:56,680 --> 00:57:59,520
Speaker 1: each other, but we'll never quiet hack it. I think, Well,

1004
00:57:59,600 --> 00:58:01,040
Speaker 1: does that have something to do with the fact that

1005
00:58:01,120 --> 00:58:04,120
Speaker 1: there's not a romantic relationships set up between them? But

1006
00:58:04,160 --> 00:58:08,680
Speaker 1: even then they don't seem to have like a platonic chemistry.

1007
00:58:10,040 --> 00:58:13,040
Speaker 1: That's true, I mean, I just my vibe was that

1008
00:58:13,280 --> 00:58:15,320
Speaker 1: you were supposed to be feeling like even though it

1009
00:58:15,400 --> 00:58:18,200
Speaker 1: wasn't as explicitly set up as most movies would have

1010
00:58:18,280 --> 00:58:21,440
Speaker 1: it be, where it's just like basically the female characters

1011
00:58:21,640 --> 00:58:24,160
Speaker 1: like and you're going to fund me? Like I feel

1012
00:58:24,160 --> 00:58:26,680
Speaker 1: like we were supposed to think like, oh, yeah, they're

1013
00:58:26,720 --> 00:58:29,720
Speaker 1: into each other. I disagree. I never I think that

1014
00:58:29,800 --> 00:58:32,560
Speaker 1: that might because they were doing a bad job. Well,

1015
00:58:33,560 --> 00:58:36,240
Speaker 1: there maybe scenes between the two of them, like there

1016
00:58:36,320 --> 00:58:38,800
Speaker 1: was that scene where he's like you look good, or

1017
00:58:38,840 --> 00:58:41,200
Speaker 1: like they were they were little. There were always little

1018
00:58:41,280 --> 00:58:44,240
Speaker 1: moments that didn't quite connect between those two characters. So

1019
00:58:44,320 --> 00:58:46,400
Speaker 1: at the end when they're like nuzzling each other, it's

1020
00:58:46,480 --> 00:58:50,200
Speaker 1: like have you met before? Like it's just weird. I

1021
00:58:50,240 --> 00:58:52,200
Speaker 1: don't know. I just I it struck me. And it

1022
00:58:52,280 --> 00:58:56,240
Speaker 1: maybe it was because like their lack of chemistry between

1023
00:58:56,280 --> 00:58:58,080
Speaker 1: the actors, but I don't know, I just it struck

1024
00:58:58,160 --> 00:59:02,000
Speaker 1: me as like their colleague. They're not setting up a

1025
00:59:02,120 --> 00:59:06,880
Speaker 1: romantic relationship between them, like they're just like if they're

1026
00:59:06,960 --> 00:59:09,520
Speaker 1: nuzzling in the closing shot of the movie, I would argue,

1027
00:59:09,960 --> 00:59:14,400
Speaker 1: so they're gonna like like if any two characters nuzzling,

1028
00:59:15,000 --> 00:59:18,440
Speaker 1: Jamie we have had nuzzling had her own nuzzling. If

1029
00:59:18,440 --> 00:59:20,520
Speaker 1: you're closing on had her ow nuzzling, they're supposed to

1030
00:59:20,720 --> 00:59:22,720
Speaker 1: be into each other. But then they would have got

1031
00:59:22,800 --> 00:59:25,760
Speaker 1: a good movie, would have the movie would have made

1032
00:59:25,800 --> 00:59:28,440
Speaker 1: them kiss. Then if it was like a here's no

1033
00:59:28,640 --> 00:59:30,960
Speaker 1: I think that that is like a trend right now,

1034
00:59:31,080 --> 00:59:33,880
Speaker 1: and we're like whatever, it might even be a forward

1035
00:59:33,960 --> 00:59:37,360
Speaker 1: thinking trend, but the trend right now and it happens

1036
00:59:37,360 --> 00:59:40,040
Speaker 1: to Guardians of the Galaxy to where it's like, here

1037
00:59:40,040 --> 00:59:42,800
Speaker 1: are these two characters who are very into each other,

1038
00:59:43,040 --> 00:59:44,920
Speaker 1: and the movie is pushing together a lot, but we're

1039
00:59:45,040 --> 00:59:47,880
Speaker 1: not going to have them kiss yet. We're not. There's

1040
00:59:47,880 --> 00:59:51,080
Speaker 1: a lot of but as the audience, that's what that

1041
00:59:51,240 --> 00:59:55,120
Speaker 1: we as the audience feel that like sex, Yeah, because

1042
00:59:55,120 --> 00:59:57,120
Speaker 1: they're doing a good job. I don't know I would.

1043
00:59:57,360 --> 00:59:59,760
Speaker 1: I would argue I'm going to come to the defense

1044
01:00:00,080 --> 01:00:02,160
Speaker 1: of Pacific Room and say that the movie was not

1045
01:00:02,320 --> 01:00:05,160
Speaker 1: trying to establish a romantic connection between them and that

1046
01:00:05,320 --> 01:00:08,160
Speaker 1: instead end on I had her ownuzzle. Are you kidding me?

1047
01:00:09,520 --> 01:00:16,480
Speaker 1: There had her own with our Horny is living director.

1048
01:00:16,840 --> 01:00:20,840
Speaker 1: But okay, so here's this. Here's what I think is

1049
01:00:20,960 --> 01:00:26,240
Speaker 1: that because they've mind melded, it brings them closer together. Okay,

1050
01:00:26,280 --> 01:00:30,160
Speaker 1: then why don't they look like friends. Look, I don't

1051
01:00:30,440 --> 01:00:34,320
Speaker 1: believe their friends get intimate moments eating when they were

1052
01:00:34,560 --> 01:00:39,400
Speaker 1: being dissed by everyone. Man friends. I don't know why

1053
01:00:39,400 --> 01:00:42,160
Speaker 1: I'm so stuck on this, but it's just like if

1054
01:00:42,240 --> 01:00:44,640
Speaker 1: the most they remember that scene where they ate together,

1055
01:00:45,200 --> 01:00:47,680
Speaker 1: they didn't seem to dislike each other in that scene. Like,

1056
01:00:48,160 --> 01:00:51,680
Speaker 1: there's just I just think that they are two main people.

1057
01:00:52,240 --> 01:00:55,480
Speaker 1: I mean, Michael Moorey. I enjoy her as a character.

1058
01:00:56,080 --> 01:00:58,600
Speaker 1: I think she's disserviced in some ways, but I like

1059
01:00:58,720 --> 01:01:00,560
Speaker 1: the actress and I think she doesn't good job. But

1060
01:01:00,680 --> 01:01:03,960
Speaker 1: just like with this particular like fart of an actor,

1061
01:01:04,440 --> 01:01:06,200
Speaker 1: there's just he just gives you nothing to work with.

1062
01:01:06,320 --> 01:01:10,480
Speaker 1: It's like, yeah, this guy's got teeth. Sort of, I'm gonna,

1063
01:01:11,560 --> 01:01:14,760
Speaker 1: I'm gonna, I'm gonna. I'm gonna argue that we're so

1064
01:01:15,320 --> 01:01:19,120
Speaker 1: conditioned to seeing a female and male lead in a

1065
01:01:19,280 --> 01:01:24,320
Speaker 1: romantic situation or like building to a romantic connection that

1066
01:01:24,480 --> 01:01:26,880
Speaker 1: because we, I would argue, do not see that in

1067
01:01:27,000 --> 01:01:29,080
Speaker 1: this movie. The movie is not trying to establish that.

1068
01:01:29,480 --> 01:01:31,840
Speaker 1: That's maybe why it feels weird, maybe why we don't

1069
01:01:32,120 --> 01:01:35,480
Speaker 1: feel as other's chemistry. I would say that I'll meet

1070
01:01:35,520 --> 01:01:39,240
Speaker 1: you there's they're just establishing a friendship their colleagues. They've

1071
01:01:39,720 --> 01:01:43,280
Speaker 1: mind melded and that brings them closer together. So maybe

1072
01:01:43,320 --> 01:01:46,480
Speaker 1: that's why it feels like maybe there could be a

1073
01:01:46,600 --> 01:01:48,840
Speaker 1: romantic in the middle. I'll meet you in the middle

1074
01:01:48,880 --> 01:01:50,920
Speaker 1: and say that maybe the movie is trying to have

1075
01:01:51,040 --> 01:01:53,680
Speaker 1: it both ways a little bit. We can also see

1076
01:01:54,080 --> 01:01:56,760
Speaker 1: in Pacific Room too, where we may find out what

1077
01:01:56,880 --> 01:01:58,960
Speaker 1: happened with that, you know what I mean? That's true

1078
01:01:59,480 --> 01:02:02,400
Speaker 1: that movie. They could have a baby. They could have

1079
01:02:02,480 --> 01:02:04,840
Speaker 1: just begotten really mad and never talked to each other again.

1080
01:02:04,920 --> 01:02:10,000
Speaker 1: And the famous words of Charlie Day, it's pregnant. I

1081
01:02:10,160 --> 01:02:15,000
Speaker 1: think Rallie Beckett is a bad character who's boring and

1082
01:02:15,120 --> 01:02:17,760
Speaker 1: I think written out of the future. I think he's gay.

1083
01:02:18,160 --> 01:02:21,560
Speaker 1: I think that he and his gay partner adopt a baby,

1084
01:02:22,200 --> 01:02:27,840
Speaker 1: and Maco, because she's friends with him, helps babysit the baby.

1085
01:02:28,200 --> 01:02:30,040
Speaker 1: But if there is a baby, that those are the

1086
01:02:30,080 --> 01:02:32,880
Speaker 1: only circumstances. Yeah, I have to think more about the

1087
01:02:33,080 --> 01:02:35,600
Speaker 1: character moments in this movie, which is a cool looked movie.

1088
01:02:35,760 --> 01:02:38,920
Speaker 1: I have fun watch it well, I ever watched again.

1089
01:02:39,080 --> 01:02:45,439
Speaker 1: No live from Aristol's house. Yeah, I've had a great

1090
01:02:45,480 --> 01:02:49,640
Speaker 1: time here tonight. We drank some champagne. We watched a

1091
01:02:49,800 --> 01:02:52,320
Speaker 1: long movie. It is I'm going to guess around one

1092
01:02:52,400 --> 01:02:55,919
Speaker 1: thirty am. I think it's two for sure. Oh my god,

1093
01:02:55,960 --> 01:02:59,520
Speaker 1: it's to eighteen and then we'll all reconvene soon to

1094
01:03:00,240 --> 01:03:09,080
Speaker 1: have the full episode. I can't wait, baby, and we're back.

1095
01:03:09,720 --> 01:03:12,240
Speaker 1: It's an interesting movie for for you. It was like,

1096
01:03:12,880 --> 01:03:14,560
Speaker 1: this is not this is never the kind of movie

1097
01:03:14,600 --> 01:03:18,240
Speaker 1: that I would gravitate towards anyways, But I end there's

1098
01:03:18,240 --> 01:03:19,520
Speaker 1: a lot of parts that I enjoyed it. I just

1099
01:03:19,880 --> 01:03:24,760
Speaker 1: the sheer lack of women was hard. Well, as we

1100
01:03:24,800 --> 01:03:27,600
Speaker 1: already hinted at, the movie does not pass the Bechdel test.

1101
01:03:27,680 --> 01:03:31,480
Speaker 1: There's not even an opportunity, no opportunities, no scenes with

1102
01:03:31,560 --> 01:03:35,320
Speaker 1: women even close to each other, let alone interacting. All right,

1103
01:03:35,400 --> 01:03:38,520
Speaker 1: let's write the movie on our nipple scale five nipples

1104
01:03:38,520 --> 01:03:40,680
Speaker 1: based on its portrayal of women. I think I'm going

1105
01:03:40,720 --> 01:03:44,320
Speaker 1: to give it a three because you do see a

1106
01:03:44,440 --> 01:03:48,360
Speaker 1: strong female character in Mako Mori, although not as much

1107
01:03:48,400 --> 01:03:52,120
Speaker 1: agency as I would like some agency, especially later on

1108
01:03:52,320 --> 01:03:55,720
Speaker 1: once she becomes one of the co pilots. You see

1109
01:03:55,760 --> 01:03:59,280
Speaker 1: her have a strong desire. Her desire is motivated. She's

1110
01:03:59,400 --> 01:04:03,040
Speaker 1: highly keep double and the people around her acknowledge that.

1111
01:04:03,560 --> 01:04:06,080
Speaker 1: And the reason that like her father figure, Atris Elba

1112
01:04:06,480 --> 01:04:09,640
Speaker 1: doesn't want her to be involved in this copilot program

1113
01:04:09,800 --> 01:04:12,000
Speaker 1: is not because she's not capable. It's because he's basically

1114
01:04:12,080 --> 01:04:15,080
Speaker 1: just sort of protecting her and not wanting to send

1115
01:04:15,120 --> 01:04:18,760
Speaker 1: her to almost certain death. However, there are scenes where

1116
01:04:18,840 --> 01:04:22,160
Speaker 1: she could have had more agency that she doesn't because

1117
01:04:22,280 --> 01:04:25,600
Speaker 1: basically choices are made for her. There the scene where

1118
01:04:25,680 --> 01:04:28,920
Speaker 1: she does not get to contribute to the climactic moment

1119
01:04:29,120 --> 01:04:31,920
Speaker 1: in the movie. I think it's great that it's a

1120
01:04:31,960 --> 01:04:35,720
Speaker 1: woman of color as the main female character, but because

1121
01:04:35,720 --> 01:04:38,800
Speaker 1: there's so few other women in the movie, the only

1122
01:04:39,000 --> 01:04:43,000
Speaker 1: other one of any sort of prominence is Sasha Kardinovski,

1123
01:04:43,280 --> 01:04:47,520
Speaker 1: who coin You'll you missed her name. Opportunities that could

1124
01:04:47,520 --> 01:04:49,840
Speaker 1: have been capitalized on for other female characters were just

1125
01:04:50,080 --> 01:04:54,160
Speaker 1: totally missed. But I think because Marko Moray is a good,

1126
01:04:54,360 --> 01:04:57,120
Speaker 1: strong character that has inspired this test that we can

1127
01:04:57,280 --> 01:05:00,040
Speaker 1: apply to other movies, because I think it might to

1128
01:05:00,160 --> 01:05:02,920
Speaker 1: even be a more relevant test to the things we

1129
01:05:03,000 --> 01:05:06,680
Speaker 1: tend to talk about on this podcast. Than the Bechtel test.

1130
01:05:07,560 --> 01:05:10,600
Speaker 1: I like that this movie has inspired this test that

1131
01:05:10,720 --> 01:05:14,480
Speaker 1: I think is very applicable to our discussions. Very much agree. So, yeah,

1132
01:05:14,520 --> 01:05:19,440
Speaker 1: three nipples. I will give one of them to Maco.

1133
01:05:19,840 --> 01:05:21,520
Speaker 1: I'm going to give one to Sasha, and I'm going

1134
01:05:21,560 --> 01:05:25,760
Speaker 1: to give my third nipple to the little the dog Max,

1135
01:05:26,080 --> 01:05:32,640
Speaker 1: who belongs to Hanson brother number one. Yeah, three nipples.

1136
01:05:33,040 --> 01:05:35,280
Speaker 1: I want to go one and a half, but I'm

1137
01:05:35,280 --> 01:05:37,800
Speaker 1: gonna go to. Okay, I'm going to go to because

1138
01:05:37,840 --> 01:05:40,720
Speaker 1: I do agree that it is net positive for the

1139
01:05:40,760 --> 01:05:43,800
Speaker 1: world that we get this test out of that comes

1140
01:05:43,840 --> 01:05:45,640
Speaker 1: out of this movie. But I do think that this

1141
01:05:45,760 --> 01:05:49,880
Speaker 1: movie is also a reminder for me that the Bechtel

1142
01:05:49,920 --> 01:05:54,360
Speaker 1: test is very important, because this movie so glaringly fails,

1143
01:05:54,520 --> 01:05:57,720
Speaker 1: and I think we have a less good movie as

1144
01:05:57,760 --> 01:06:00,400
Speaker 1: a result of it failing the Bechtel test and not

1145
01:06:00,560 --> 01:06:04,000
Speaker 1: introducing more women into the narrative. I like Marco a

1146
01:06:04,080 --> 01:06:06,200
Speaker 1: lot for all the reasons to say. I wish that

1147
01:06:06,400 --> 01:06:10,240
Speaker 1: she was given more screen time because I feel like

1148
01:06:10,320 --> 01:06:13,120
Speaker 1: she gets just about as much screen time as any

1149
01:06:13,240 --> 01:06:15,840
Speaker 1: I mean, although I could be mistaking two men for

1150
01:06:15,920 --> 01:06:18,280
Speaker 1: the same man and lumping them, I honestly don't know,

1151
01:06:18,880 --> 01:06:25,520
Speaker 1: get rid of those guys, replace them with people like yeah, exactly.

1152
01:06:26,160 --> 01:06:30,520
Speaker 1: It's really not that hard, and it truly logistically makes

1153
01:06:30,600 --> 01:06:34,200
Speaker 1: this movie easier to watch because it's so confused. Like

1154
01:06:34,240 --> 01:06:37,240
Speaker 1: watching this movie, Yeah, I liked, I like the movie.

1155
01:06:37,400 --> 01:06:41,200
Speaker 1: I just it's just so frustrating seeing like when we

1156
01:06:41,320 --> 01:06:43,400
Speaker 1: have to have these discussions of like where we're really

1157
01:06:43,480 --> 01:06:45,600
Speaker 1: grasping at straws of like, well, we saw a woman,

1158
01:06:46,160 --> 01:06:49,640
Speaker 1: a she was there, she and it's important that we

1159
01:06:49,840 --> 01:06:52,919
Speaker 1: acknowledge it. But it's you just get Maco, and that's

1160
01:06:53,120 --> 01:06:56,640
Speaker 1: very that's very summer movie all over, of like a

1161
01:06:56,760 --> 01:06:59,640
Speaker 1: five million men and then one woman who kicks Granted,

1162
01:06:59,800 --> 01:07:03,320
Speaker 1: as far as a woman who kicks goes, Marco's fucking awesome.

1163
01:07:03,920 --> 01:07:06,400
Speaker 1: And we have a backstory that we do we wouldn't

1164
01:07:06,440 --> 01:07:09,440
Speaker 1: normally have with the woman who kicks Trope, but I

1165
01:07:09,720 --> 01:07:13,560
Speaker 1: think she still sort of falls into that in some regards,

1166
01:07:14,320 --> 01:07:17,760
Speaker 1: especially when she's sidelined for her climactic scene, which is like,

1167
01:07:19,240 --> 01:07:21,840
Speaker 1: so you go too, I'm gonna give one to Maco

1168
01:07:22,160 --> 01:07:26,720
Speaker 1: and give one to Ron his little steampunk goggle nipple.

1169
01:07:28,360 --> 01:07:31,400
Speaker 1: I too, will give it three because I mean, I

1170
01:07:31,440 --> 01:07:33,920
Speaker 1: wish it could have done better, but I do like

1171
01:07:34,120 --> 01:07:37,040
Speaker 1: that a lot of attention and focus was given on Marco.

1172
01:07:37,600 --> 01:07:40,720
Speaker 1: I wish we also got more attention on Sasha that

1173
01:07:40,880 --> 01:07:45,000
Speaker 1: we do get that great yell from her. She gives orders,

1174
01:07:45,040 --> 01:07:47,520
Speaker 1: but in their final moment you see them drowning and

1175
01:07:47,640 --> 01:07:50,440
Speaker 1: she's yelling out. But it's not like a scared or

1176
01:07:50,840 --> 01:07:54,160
Speaker 1: painful kind of thing. She's like fucking pissed. It's a

1177
01:07:54,320 --> 01:07:59,200
Speaker 1: whale of fury that I could so identify with. And

1178
01:07:59,360 --> 01:08:03,480
Speaker 1: so three nipples and give one to Atachi, the flying Kaiju.

1179
01:08:04,320 --> 01:08:08,120
Speaker 1: One to leather back like spread. That was a great

1180
01:08:08,600 --> 01:08:12,840
Speaker 1: cool moment, another to leather back the big grilla ligand

1181
01:08:12,880 --> 01:08:17,559
Speaker 1: one and then went to baby Atachi, who died almost

1182
01:08:17,920 --> 01:08:23,080
Speaker 1: like minutes after being out of the womb. Uh cool.

1183
01:08:23,320 --> 01:08:27,919
Speaker 1: So Aristotle, thank you, our wonderful friend, our dear producer,

1184
01:08:28,439 --> 01:08:31,280
Speaker 1: Thank you for having he thanks for being here a

1185
01:08:31,320 --> 01:08:36,439
Speaker 1: long time coming. I know, Oh no, I totally understand.

1186
01:08:37,120 --> 01:08:39,760
Speaker 1: I get it. Um, We've been so glad to have you.

1187
01:08:39,960 --> 01:08:41,360
Speaker 1: Let us know if you ever want to come back

1188
01:08:41,400 --> 01:08:44,120
Speaker 1: on and talk about a different movie or just hop

1189
01:08:44,200 --> 01:08:47,759
Speaker 1: on the freaking mic whenever that not with the chains

1190
01:08:48,160 --> 01:08:52,040
Speaker 1: that we do always tell you up yeah, but and

1191
01:08:52,160 --> 01:08:54,600
Speaker 1: since we watched fifty Shades, we've gotten really good at it.

1192
01:08:56,280 --> 01:09:00,240
Speaker 1: But any Garamma movie, I am happy. All right, We've

1193
01:09:00,280 --> 01:09:02,800
Speaker 1: got to do a Shape for Water episode. Where can

1194
01:09:03,120 --> 01:09:06,240
Speaker 1: people follow you online? Is there anything you would like

1195
01:09:06,280 --> 01:09:09,240
Speaker 1: to plug I do? You can follow me at al

1196
01:09:09,280 --> 01:09:13,360
Speaker 1: these tacos on everything A R I S Tacos, Twitter,

1197
01:09:13,439 --> 01:09:16,840
Speaker 1: and Instagram. You can all follow Protein Press, which is

1198
01:09:16,920 --> 01:09:19,760
Speaker 1: the zine press I do with my friend Chris Saldania.

1199
01:09:20,720 --> 01:09:23,120
Speaker 1: Shout out to Chris, who has a Pacific Grim tattoo,

1200
01:09:23,800 --> 01:09:27,280
Speaker 1: and uh, we're supposed to get matching ones, but it's

1201
01:09:27,360 --> 01:09:30,600
Speaker 1: kind of a I don't know subject, no, Like I

1202
01:09:31,040 --> 01:09:32,800
Speaker 1: just don't have money for tattoos, and there's a lot

1203
01:09:32,840 --> 01:09:35,400
Speaker 1: of other tattoos. I wanna put a pigher on that list,

1204
01:09:35,920 --> 01:09:39,720
Speaker 1: So sorry Chris. But protein Press you can find all

1205
01:09:39,760 --> 01:09:42,240
Speaker 1: our cool zines, which god damn it, I forgot. I

1206
01:09:42,320 --> 01:09:44,519
Speaker 1: was going to bring them today to give you all.

1207
01:09:44,960 --> 01:09:48,400
Speaker 1: That's okay, why you well, yeah, check out protein Press,

1208
01:09:48,479 --> 01:09:51,439
Speaker 1: check out our wonderful producer Aristotle on all the social

1209
01:09:51,479 --> 01:09:53,720
Speaker 1: media platforms. You can also do that for us. You

1210
01:09:53,760 --> 01:09:57,600
Speaker 1: can check us out back Toelcast on Twitter, Facebook, Instagram,

1211
01:09:58,000 --> 01:10:00,599
Speaker 1: go to our Patreon and subscribe to that. It's five

1212
01:10:00,640 --> 01:10:03,200
Speaker 1: dollars a month and you get too freaking bonus episodes.

1213
01:10:05,040 --> 01:10:07,719
Speaker 1: Just the one last final thing I want to say

1214
01:10:08,000 --> 01:10:14,280
Speaker 1: is today we are canceling The Apocalypse. Best line in

1215
01:10:14,320 --> 01:10:19,080
Speaker 1: the movie ever. Thank you, Thank you, King Adris. Bye.