1 00:00:05,160 --> 00:00:07,440 Speaker 1: Hey, this is Annie and Samantha I want my stuff. 2 00:00:07,440 --> 00:00:19,840 Speaker 1: I'll never told you Abduction by Her Radio and it 3 00:00:19,960 --> 00:00:27,560 Speaker 1: is summer blockbuster movie season. Yes, yes, and I've been 4 00:00:27,720 --> 00:00:31,560 Speaker 1: thinking about this one because I'm so sad you had 5 00:00:31,680 --> 00:00:37,200 Speaker 1: COVID when I recorded this, so I did it by myself. 6 00:00:37,280 --> 00:00:39,360 Speaker 1: So I think we need to do a revisit. Okay, 7 00:00:39,440 --> 00:00:42,000 Speaker 1: but it was the episode that I did about women 8 00:00:42,840 --> 00:00:46,840 Speaker 1: in survival horror movies like Jurassic Park. I did Deep 9 00:00:46,880 --> 00:00:52,040 Speaker 1: Lucy and just kind of the sexism involved. Yeah, picking 10 00:00:52,040 --> 00:00:54,840 Speaker 1: that apart, So I think we should do we should 11 00:00:54,920 --> 00:00:59,920 Speaker 1: have a comeback, yes, but in the meantime, please and 12 00:01:00,080 --> 00:01:08,760 Speaker 1: enjoy this classic episode. Hey, this is Annie, and welcome 13 00:01:08,800 --> 00:01:21,240 Speaker 1: to stuff on ever told your production of iHeartRadio? And yes, 14 00:01:21,680 --> 00:01:25,400 Speaker 1: unfortunately I am still by myself. Don't worry. Samantha will 15 00:01:25,480 --> 00:01:30,760 Speaker 1: be back. But right now, due to scheduling and illness, 16 00:01:31,319 --> 00:01:33,880 Speaker 1: you just get me, which means I feel like I 17 00:01:33,920 --> 00:01:37,680 Speaker 1: can run rampant, which is fitting for the topic we're 18 00:01:37,680 --> 00:01:42,759 Speaker 1: talking about today. I originally mentioned this a few episodes back, 19 00:01:42,800 --> 00:01:47,000 Speaker 1: where I wanted to talk about this idea of who 20 00:01:48,240 --> 00:01:53,480 Speaker 1: deserves to die, and it was based on I've had 21 00:01:53,480 --> 00:01:54,720 Speaker 1: that I mean, I've had this in the back of 22 00:01:54,760 --> 00:01:56,920 Speaker 1: my head for a while, but it was based on 23 00:01:56,960 --> 00:02:00,520 Speaker 1: a recent headline i'd seen about the very bad movie 24 00:02:01,320 --> 00:02:05,440 Speaker 1: Deep Blue Se that I still enjoy but is quite bad, 25 00:02:05,920 --> 00:02:08,280 Speaker 1: and the original ending for it, and we'll talk about 26 00:02:08,320 --> 00:02:11,760 Speaker 1: that more at the end. When I was researching this, 27 00:02:12,639 --> 00:02:15,920 Speaker 1: perhaps it won't surprise you, but not too many people 28 00:02:16,040 --> 00:02:21,200 Speaker 1: are writing about the feminism of Deep Blue Sea. But 29 00:02:21,800 --> 00:02:24,240 Speaker 1: I did find some other examples and it kind of 30 00:02:24,360 --> 00:02:29,560 Speaker 1: became a bit a bit bigger than deserves to die, 31 00:02:29,639 --> 00:02:33,440 Speaker 1: almost more like deserves redemption, And that's a whole other 32 00:02:33,480 --> 00:02:37,399 Speaker 1: trope of the you get redeemed and then you die, 33 00:02:37,480 --> 00:02:40,440 Speaker 1: but you don't do anything to fix all of the 34 00:02:40,480 --> 00:02:42,680 Speaker 1: harm that you did. Star Wars is pretty bad about 35 00:02:42,680 --> 00:02:47,000 Speaker 1: that one. But I wanted to talk about this, and 36 00:02:47,040 --> 00:02:49,560 Speaker 1: I have been on a bit of a disaster movie. 37 00:02:50,160 --> 00:02:52,560 Speaker 1: I've been watching a lot of them, binging a lot 38 00:02:52,600 --> 00:02:57,000 Speaker 1: of them. They were big parts of my childhood. That 39 00:02:57,080 --> 00:03:05,239 Speaker 1: being said, we have discussed horror movie tropes that would 40 00:03:05,280 --> 00:03:08,600 Speaker 1: fall under I would say the sort of and heavy 41 00:03:08,680 --> 00:03:12,200 Speaker 1: quotes deserves to die, like, who is the audience like, oh, yeah, 42 00:03:12,680 --> 00:03:17,040 Speaker 1: they deserve to go? In horror movies, as often the 43 00:03:17,120 --> 00:03:23,120 Speaker 1: slutty woman, the best friend of the final girl, or 44 00:03:23,240 --> 00:03:25,800 Speaker 1: the person of color, all of which is pretty problematic, 45 00:03:26,240 --> 00:03:28,240 Speaker 1: but that's not really what we're talking about today. We 46 00:03:28,320 --> 00:03:30,920 Speaker 1: have talked about that in several episodes, so if you 47 00:03:30,919 --> 00:03:34,800 Speaker 1: want to go check those out, you can. I wanted 48 00:03:34,840 --> 00:03:43,440 Speaker 1: to talk about more specifically in the disaster film Arena, 49 00:03:44,400 --> 00:03:47,560 Speaker 1: which because I'm by myself today, this one's gonna be 50 00:03:47,600 --> 00:03:51,560 Speaker 1: a bit shorter and also not as researched as we 51 00:03:51,600 --> 00:03:53,640 Speaker 1: would normally do. I would love to come back to 52 00:03:53,680 --> 00:03:57,240 Speaker 1: it and get Samantha's thoughts on this, but I do 53 00:03:57,320 --> 00:04:00,640 Speaker 1: have a lot of thoughts about it, and I have two, 54 00:04:01,120 --> 00:04:05,160 Speaker 1: maybe three main examples of what I'm talking about, one 55 00:04:05,200 --> 00:04:07,920 Speaker 1: of them being Deep Lucy, which we will get we'll 56 00:04:07,920 --> 00:04:11,720 Speaker 1: come back to, don't don't you worry. But one of 57 00:04:11,760 --> 00:04:15,320 Speaker 1: the big ones I always think of is from Jurassic World. 58 00:04:15,400 --> 00:04:17,920 Speaker 1: And I know I've brought this up before. I am 59 00:04:17,920 --> 00:04:21,520 Speaker 1: gonna have some criticisms of how women are portrayed in 60 00:04:21,520 --> 00:04:24,839 Speaker 1: that movie. If you like that movie, like I enjoyed 61 00:04:24,880 --> 00:04:29,279 Speaker 1: it well enough. But yeah, just just to say, I 62 00:04:29,279 --> 00:04:32,039 Speaker 1: did have a really funny, rousing conversation with me and 63 00:04:32,080 --> 00:04:36,839 Speaker 1: a bunch of friends about they're critiques of the movie, 64 00:04:36,839 --> 00:04:39,080 Speaker 1: and especially how much of the dinosaurs are going for 65 00:04:39,240 --> 00:04:43,479 Speaker 1: like cost wise. They tell me that was nowhere near enough, 66 00:04:43,520 --> 00:04:48,440 Speaker 1: and I trust them. But yeah, when I saw that movie, 67 00:04:48,520 --> 00:04:51,120 Speaker 1: because I've said I was a huge fan of Draassic 68 00:04:51,200 --> 00:04:55,680 Speaker 1: Park and still am the first one. And then we 69 00:04:55,800 --> 00:04:59,240 Speaker 1: have an episode coming out about doctor Ellie Sadler and 70 00:04:59,279 --> 00:05:01,840 Speaker 1: I have a really funny update about those cards I 71 00:05:01,920 --> 00:05:06,200 Speaker 1: was bragging about. But when I saw this movie, it 72 00:05:06,360 --> 00:05:09,359 Speaker 1: was I think I had been working on the show, 73 00:05:09,480 --> 00:05:12,640 Speaker 1: and I would have I was a feminist for sure, 74 00:05:13,800 --> 00:05:16,880 Speaker 1: but immediately I was like, I don't. I feel like 75 00:05:16,920 --> 00:05:19,880 Speaker 1: these are some tropes that are pretty sexists that are 76 00:05:19,920 --> 00:05:23,440 Speaker 1: happening here. But one of the big things that really 77 00:05:23,480 --> 00:05:25,400 Speaker 1: when I was watching, I was like, this is unnecessary, 78 00:05:25,400 --> 00:05:29,320 Speaker 1: and I really don't like it is when I'm assuming 79 00:05:29,360 --> 00:05:31,720 Speaker 1: I don't have to break down the pot for all 80 00:05:31,760 --> 00:05:36,040 Speaker 1: of you. But yeah, it's a park, the dinosaurs, the 81 00:05:36,040 --> 00:05:41,279 Speaker 1: dinosaurs genetically altered, and then they escape and recavoc and 82 00:05:41,320 --> 00:05:45,200 Speaker 1: there's just not a lot of good infrastructure to get 83 00:05:45,240 --> 00:05:51,080 Speaker 1: people out. But it focuses largely on Claire played by 84 00:05:51,080 --> 00:05:53,400 Speaker 1: Bryce Dallas Howard, who we're talking about in a second 85 00:05:54,360 --> 00:05:57,440 Speaker 1: who is running the park, and then Owen who's played 86 00:05:57,440 --> 00:06:03,440 Speaker 1: by Chris Pratt, who is like a dinosaur whisper, dinosaur trainer, 87 00:06:04,640 --> 00:06:08,800 Speaker 1: and the fact that Claire has looked down on because 88 00:06:08,839 --> 00:06:13,600 Speaker 1: she's a businesswoman that doesn't want kids. Again, more on 89 00:06:13,600 --> 00:06:18,920 Speaker 1: that in a second. But things go wrong dinosaurs get out. 90 00:06:19,160 --> 00:06:25,440 Speaker 1: This character named Zara, who is the assistant of Claire, 91 00:06:26,160 --> 00:06:31,480 Speaker 1: is tasked with watching Claire's nephews when they visit, and 92 00:06:32,839 --> 00:06:36,479 Speaker 1: it was sort of an unexpected visit Claire's sisters getting 93 00:06:36,480 --> 00:06:39,599 Speaker 1: a divorce and it's just like not good timing, but 94 00:06:39,680 --> 00:06:42,000 Speaker 1: Claire agreed to do it and then was really busy 95 00:06:42,200 --> 00:06:47,560 Speaker 1: and then pass them off to Zara, who is played 96 00:06:47,760 --> 00:06:55,320 Speaker 1: by Katie McGrath. And Katie McGrath's character is definitely in 97 00:06:56,000 --> 00:06:59,720 Speaker 1: the same vein that Claire's character is seen as like 98 00:07:00,000 --> 00:07:03,520 Speaker 1: I'm a good person because she's always on her phone, 99 00:07:03,560 --> 00:07:07,520 Speaker 1: she's always busy, she's not really paying attention to these kids, 100 00:07:07,560 --> 00:07:13,320 Speaker 1: which again were passed off on to her, and eventually 101 00:07:13,360 --> 00:07:16,840 Speaker 1: the kids like give her the slip and escape and 102 00:07:17,680 --> 00:07:23,400 Speaker 1: there is a scene where once the dinosaurs break out, 103 00:07:24,400 --> 00:07:29,160 Speaker 1: she is brutally killed for like a long time. And 104 00:07:29,200 --> 00:07:30,840 Speaker 1: when I was watching the movie, I was like, oh 105 00:07:30,840 --> 00:07:33,040 Speaker 1: my gosh, it's still going. Oh my gosh, it's still going. 106 00:07:34,080 --> 00:07:37,720 Speaker 1: I've read she's the first woman to die on screen 107 00:07:37,840 --> 00:07:39,840 Speaker 1: in Jurassic Park. I don't know if that's true, but 108 00:07:39,840 --> 00:07:43,040 Speaker 1: that's what I read. And it was such a long 109 00:07:43,240 --> 00:07:46,280 Speaker 1: drawn out death and it was kind of played as 110 00:07:46,360 --> 00:07:52,200 Speaker 1: like almost for laughs, or like, see, she she should 111 00:07:52,280 --> 00:07:55,080 Speaker 1: have done better at her job and taken better care 112 00:07:55,080 --> 00:07:57,160 Speaker 1: of these kids, and now she's going to get ripped up. 113 00:07:58,040 --> 00:08:06,800 Speaker 1: So she gets picked up by Pterodactyl's terroritive terror something 114 00:08:07,280 --> 00:08:10,040 Speaker 1: of the flying dinosaurs. It has dropped into the grasp 115 00:08:10,080 --> 00:08:14,840 Speaker 1: of another dinosaur, like the sea dinosaur, and then so 116 00:08:14,920 --> 00:08:18,680 Speaker 1: she's like thrown back and forth between them. The flying 117 00:08:18,720 --> 00:08:23,040 Speaker 1: dinosaurs is screaming, and then it is dropped into the 118 00:08:23,080 --> 00:08:30,800 Speaker 1: mouth of this sea dinosaur and it just feels odd. 119 00:08:31,040 --> 00:08:34,280 Speaker 1: It just feels very odd. And it was in the trailer, 120 00:08:34,320 --> 00:08:36,080 Speaker 1: and in fact, it was a big part of the trailer, 121 00:08:36,640 --> 00:08:41,079 Speaker 1: and one of the trailers was titled Jurassic World Trailer 122 00:08:41,360 --> 00:08:46,559 Speaker 1: to starring Katie McGrath. And she's not really in it, 123 00:08:46,640 --> 00:08:51,600 Speaker 1: like she's barely in it, but her death I guess 124 00:08:51,840 --> 00:08:57,120 Speaker 1: was supposed to be some kind of representation of oh, 125 00:08:58,440 --> 00:09:03,920 Speaker 1: how gory this could be, or and I believe Bryce 126 00:09:04,000 --> 00:09:09,400 Speaker 1: Dallas Howard says, oh, she gets tortured, and the director, 127 00:09:09,600 --> 00:09:13,120 Speaker 1: Colin Chevro says that it's quote one of the all 128 00:09:13,200 --> 00:09:20,040 Speaker 1: time dinosaur deaths in a movie. Wow. Yes, but it 129 00:09:20,160 --> 00:09:24,839 Speaker 1: just felt unnecessary. It didn't feel a lot of people 130 00:09:24,840 --> 00:09:29,280 Speaker 1: have compared it to the lawyer from the first one, 131 00:09:29,520 --> 00:09:33,920 Speaker 1: the blood sucking Lawyer, but his death, even his death, 132 00:09:34,040 --> 00:09:37,040 Speaker 1: while it was sort of like drawn out, it wasn't 133 00:09:37,120 --> 00:09:40,880 Speaker 1: drawn out like that one. But two he had been 134 00:09:40,960 --> 00:09:46,720 Speaker 1: shown to be not great, Like he abandoned the children, 135 00:09:47,679 --> 00:09:51,000 Speaker 1: he didn't care about the morality of any anything to 136 00:09:51,080 --> 00:09:54,680 Speaker 1: do with the park. He was very much like, I'm 137 00:09:54,720 --> 00:09:58,160 Speaker 1: just gonna protect myself. He wasn't sympathetic at all. And 138 00:09:59,320 --> 00:10:06,080 Speaker 1: the difference is her death sine is much longer. But 139 00:10:06,200 --> 00:10:11,840 Speaker 1: also she does feel bad that these children ran away 140 00:10:11,920 --> 00:10:16,040 Speaker 1: from her when she's doing her work, and she expresses that, 141 00:10:16,600 --> 00:10:19,520 Speaker 1: but that's not seen as sympathetic. She is not painted 142 00:10:19,520 --> 00:10:22,760 Speaker 1: as sympathetic. She's painted as someone we're supposed to kind 143 00:10:22,760 --> 00:10:26,640 Speaker 1: of laugh at when she dies, and her sin is 144 00:10:27,960 --> 00:10:30,640 Speaker 1: she wasn't caring for these kids, who again were not 145 00:10:30,679 --> 00:10:33,000 Speaker 1: her kids. She was not planning to take care of 146 00:10:33,480 --> 00:10:38,200 Speaker 1: who ran away from her, and therefore she must be punished. 147 00:10:38,360 --> 00:10:42,080 Speaker 1: We will revel in her death as the audience. She 148 00:10:42,360 --> 00:10:46,760 Speaker 1: isn't like mean to them. I mean, she's not like 149 00:10:46,840 --> 00:10:49,240 Speaker 1: greatly developed. Again, she's not in the movie that long, 150 00:10:49,320 --> 00:10:57,679 Speaker 1: but she's not terrible. But still it's painted as if well, 151 00:10:57,760 --> 00:11:03,520 Speaker 1: she deserved this, She deserved this death. That being said, though, 152 00:11:03,800 --> 00:11:06,320 Speaker 1: I am not the only one who felt very jarred 153 00:11:06,320 --> 00:11:10,040 Speaker 1: and disturbed by this scene. There were a couple of 154 00:11:10,240 --> 00:11:16,840 Speaker 1: quotes correlated by culture war reporters from Reddit because there's 155 00:11:16,880 --> 00:11:20,520 Speaker 1: a whole thread dedicated to this scene. I guess here 156 00:11:20,600 --> 00:11:24,600 Speaker 1: a few. Yeah, it was pretty horrifying. The character didn't 157 00:11:24,600 --> 00:11:27,080 Speaker 1: even deserve it, so there was zero satisfaction. It just 158 00:11:27,160 --> 00:11:30,280 Speaker 1: left me feeling violated, which I suppose it was meant to. 159 00:11:31,160 --> 00:11:34,920 Speaker 1: Here's another Yeah, I guess it logically works, but cinematically 160 00:11:34,920 --> 00:11:38,760 Speaker 1: it was just cruel and unnecessary. I thought maybe I 161 00:11:38,840 --> 00:11:42,280 Speaker 1: was overacting to that scene. It made me so uncomfortable. 162 00:11:42,640 --> 00:11:46,200 Speaker 1: It was just so extended. Most deaths and Jurassic Park 163 00:11:46,320 --> 00:11:49,080 Speaker 1: series are quick. In adding to the thrill of the scene. 164 00:11:49,160 --> 00:11:52,120 Speaker 1: This just felt cruel. Glad to see I'm not alone 165 00:11:52,120 --> 00:11:55,640 Speaker 1: in this opinion. I asked my buddy, what the did 166 00:11:55,679 --> 00:11:59,120 Speaker 1: she do to deserve that death? And some people were 167 00:11:59,120 --> 00:12:05,920 Speaker 1: pointing out, like other dinosaurs, that's what's gonna happen. But 168 00:12:06,520 --> 00:12:09,080 Speaker 1: going back to that kind of like cinematically it doesn't 169 00:12:09,120 --> 00:12:14,160 Speaker 1: make sense comments of like, well, what message are we 170 00:12:14,280 --> 00:12:16,720 Speaker 1: to take from the fact that she's the one that 171 00:12:16,760 --> 00:12:20,600 Speaker 1: gets this, that she's sort of the inexpendable one, that 172 00:12:20,640 --> 00:12:25,000 Speaker 1: we're supposed to find some kind of joy or satisfaction 173 00:12:25,520 --> 00:12:28,800 Speaker 1: in her death, And it definitely made me uncomfortable. I 174 00:12:28,840 --> 00:12:31,600 Speaker 1: remember watching the scene and clearly it stuck with me 175 00:12:31,679 --> 00:12:39,440 Speaker 1: where I was like, uh, why are we supposed to 176 00:12:40,559 --> 00:12:43,000 Speaker 1: rejoice at her death? That's just what it felt like 177 00:12:43,040 --> 00:12:46,160 Speaker 1: to me. And I am somebody I can admit, like, 178 00:12:46,240 --> 00:12:49,679 Speaker 1: I'm not usually happy when someone dies, even if they 179 00:12:50,000 --> 00:12:52,840 Speaker 1: are not great. But it's just the way it was 180 00:12:52,880 --> 00:12:57,440 Speaker 1: so drawn out. And yeah, she really wasn't in the 181 00:12:57,559 --> 00:13:04,559 Speaker 1: movie that much to really warrant that. That being said, 182 00:13:05,240 --> 00:13:09,640 Speaker 1: I wasn't originally intending to do this, but through this 183 00:13:09,720 --> 00:13:12,320 Speaker 1: research I did find a lot of commentary about Claire 184 00:13:13,200 --> 00:13:16,160 Speaker 1: Rice Dallas Howard's character, who I also when I saw 185 00:13:16,200 --> 00:13:21,960 Speaker 1: this movie, I was like, wait, wait, because she is 186 00:13:22,080 --> 00:13:25,480 Speaker 1: such a trope. She is such like an ice queen. 187 00:13:26,720 --> 00:13:29,160 Speaker 1: She doesn't want kids, which is one of the big 188 00:13:29,240 --> 00:13:32,320 Speaker 1: points of the movie. And I think it's meant to 189 00:13:32,360 --> 00:13:35,040 Speaker 1: be a flip of Alan Grant, but it feels super 190 00:13:35,120 --> 00:13:38,640 Speaker 1: judgy where it didn't feel super judgy with Alan Grant. 191 00:13:38,840 --> 00:13:42,520 Speaker 1: It's like she's the lost sight of what matters like. 192 00:13:42,640 --> 00:13:47,000 Speaker 1: Not wanting to be a mother is inherently bad in 193 00:13:47,000 --> 00:13:51,920 Speaker 1: this movie. From the Mary Sue quote, from what we see, 194 00:13:51,960 --> 00:13:55,240 Speaker 1: this woman with an entire park to run, has multiple 195 00:13:55,280 --> 00:14:00,240 Speaker 1: responsibilities across multiple divisions and gets very little assistance, but 196 00:14:00,280 --> 00:14:02,800 Speaker 1: has still agreed to take these children as a favor 197 00:14:02,840 --> 00:14:05,480 Speaker 1: for her sister during a divorce. I would tend to 198 00:14:05,520 --> 00:14:07,800 Speaker 1: agree that if you commit to watching your sister's kids, 199 00:14:08,000 --> 00:14:10,520 Speaker 1: you should put the phone down. But it also seems 200 00:14:10,559 --> 00:14:12,839 Speaker 1: like the weekend was pushed on her rather than worked 201 00:14:12,840 --> 00:14:16,160 Speaker 1: out with her schedule, and frankly, Claire is dealing with 202 00:14:16,200 --> 00:14:21,240 Speaker 1: this forced obligation as best she can. Nonetheless, Claire is 203 00:14:21,240 --> 00:14:25,600 Speaker 1: presented very early on as a bad person of questionable 204 00:14:25,640 --> 00:14:29,000 Speaker 1: morality because she has asked her assistant to watch the 205 00:14:29,000 --> 00:14:32,040 Speaker 1: boys while she goes to work. I certainly didn't share 206 00:14:32,120 --> 00:14:35,600 Speaker 1: Chris Pratt's look of shock and disgust when she makes 207 00:14:35,640 --> 00:14:41,240 Speaker 1: the horrific reveal that she doesn't know her own nephew's ages. Yes, 208 00:14:41,640 --> 00:14:44,280 Speaker 1: I remember that too. I was looking around like, oh, no, 209 00:14:44,800 --> 00:14:48,760 Speaker 1: that that means I'm a terrible person, because it's very 210 00:14:48,760 --> 00:14:52,080 Speaker 1: clearly portrayed that way. That's the problem. It's like you 211 00:14:52,120 --> 00:14:57,360 Speaker 1: can have these storylines of, you know, someone who is 212 00:14:57,400 --> 00:15:01,720 Speaker 1: too focused on their work and meets someone who kind 213 00:15:01,760 --> 00:15:04,840 Speaker 1: of shows them like, oh what about this? But if 214 00:15:04,840 --> 00:15:09,080 Speaker 1: she wants to do her work, then yeah, it doesn't 215 00:15:09,120 --> 00:15:12,560 Speaker 1: mean she's a horrible person because she doesn't have kids 216 00:15:12,680 --> 00:15:15,640 Speaker 1: or doesn't know her nephew's ages. But it is I 217 00:15:15,680 --> 00:15:20,680 Speaker 1: remember that distinctly watching this, like, wow, she is they 218 00:15:20,800 --> 00:15:23,720 Speaker 1: really want me to think she's bad for this. And 219 00:15:23,880 --> 00:15:28,640 Speaker 1: also it's a problem of writing, which we'll talk about 220 00:15:28,680 --> 00:15:31,400 Speaker 1: a bit more. But she was just such a trope. 221 00:15:31,440 --> 00:15:35,120 Speaker 1: She would she was such a superficial especially well I 222 00:15:35,160 --> 00:15:37,400 Speaker 1: don't want to say that, but in this one, which 223 00:15:37,400 --> 00:15:40,680 Speaker 1: is the one we're focusing on, she was very like 224 00:15:40,760 --> 00:15:44,320 Speaker 1: the ice cream that was her even in her costuming 225 00:15:45,640 --> 00:15:47,880 Speaker 1: that was what she was A quote from the Mary 226 00:15:47,920 --> 00:15:52,080 Speaker 1: Sue continues. Beyond that, Claire not having children and clariing 227 00:15:52,120 --> 00:15:55,480 Speaker 1: she doesn't want children also isn't some sort of fatal 228 00:15:55,520 --> 00:15:59,360 Speaker 1: personality flaw. But Jurassic World clearly sees it this way. 229 00:15:59,640 --> 00:16:03,080 Speaker 1: Believe the natural progression of women has them evolving into mothers, 230 00:16:03,360 --> 00:16:06,600 Speaker 1: and those who don't have that desire are somehow deficient 231 00:16:06,760 --> 00:16:12,520 Speaker 1: of humanity. Despite claims to the contrary, Motherhood does not 232 00:16:12,680 --> 00:16:15,760 Speaker 1: equal inherent goodness, and not wanting to be a mother 233 00:16:15,880 --> 00:16:19,720 Speaker 1: does not equal an inherent black thereof for women. What 234 00:16:19,800 --> 00:16:22,600 Speaker 1: about the many women who are unable to have children 235 00:16:23,000 --> 00:16:25,960 Speaker 1: most importantly to the film, And this is where Jurassic 236 00:16:25,960 --> 00:16:29,200 Speaker 1: World is really offensive. Women who choose to put their 237 00:16:29,240 --> 00:16:32,480 Speaker 1: careers first and or foremost are not doing it as 238 00:16:32,520 --> 00:16:36,600 Speaker 1: a coping mechanism for what is really lacking in their lives. 239 00:16:38,200 --> 00:16:41,200 Speaker 1: I'm sure some are as are many men, but many 240 00:16:41,200 --> 00:16:43,520 Speaker 1: have a passion for their work, which they want to 241 00:16:43,560 --> 00:16:46,560 Speaker 1: put front and center, and that doesn't make them less 242 00:16:46,600 --> 00:16:49,160 Speaker 1: of a woman or less a part of the world 243 00:16:49,280 --> 00:16:53,520 Speaker 1: around her. While Ellie and Grant were discussing where their 244 00:16:53,560 --> 00:16:55,840 Speaker 1: children would be part of their future as an option. 245 00:16:56,240 --> 00:16:59,160 Speaker 1: Claire is being told she wants kids, that there is 246 00:16:59,200 --> 00:17:02,040 Speaker 1: something wrong with her for not feeling that way herself. 247 00:17:02,440 --> 00:17:06,639 Speaker 1: Claire's own sister tells her one day she'll settle down, 248 00:17:07,000 --> 00:17:09,720 Speaker 1: as if the life she has built is temporary, which 249 00:17:09,840 --> 00:17:12,560 Speaker 1: might be the clearest piece of evidence that this movie 250 00:17:12,640 --> 00:17:17,000 Speaker 1: was written by foe men. Yeah. Yeah, I mean, it's 251 00:17:17,040 --> 00:17:21,960 Speaker 1: just the the pressure throughout that she must want kids. 252 00:17:21,960 --> 00:17:25,280 Speaker 1: There's a several shots where she's looking at kids with 253 00:17:25,359 --> 00:17:28,879 Speaker 1: sort of a veiled belonging, which is a fine plot point, 254 00:17:28,920 --> 00:17:33,080 Speaker 1: but if you're if you're going to do it where 255 00:17:33,680 --> 00:17:39,399 Speaker 1: in this like moral grounds of like she's bad because 256 00:17:39,440 --> 00:17:41,920 Speaker 1: she doesn't want that or might not want that. That's 257 00:17:41,960 --> 00:17:46,159 Speaker 1: not good. That's that's the issue. And it is very, 258 00:17:46,320 --> 00:17:52,439 Speaker 1: very very heavy handed. And how it paints that she 259 00:17:52,720 --> 00:17:58,240 Speaker 1: is just missing, she is lacking something, she's just not 260 00:17:58,760 --> 00:18:02,400 Speaker 1: complete and doesn't know it. That's one of the most 261 00:18:02,440 --> 00:18:04,520 Speaker 1: galling parts of it, I think, and I've heard that 262 00:18:04,680 --> 00:18:07,159 Speaker 1: as a single person too, of like oh, you just 263 00:18:07,160 --> 00:18:10,240 Speaker 1: don't realize, so you just don't know, and it's annoying 264 00:18:10,480 --> 00:18:17,280 Speaker 1: and incorrect. Here's another quote from The Mary Sue as 265 00:18:17,440 --> 00:18:20,280 Speaker 1: Marlow Stern wrote, in his rather accurate review for The 266 00:18:20,400 --> 00:18:23,600 Speaker 1: Daily Beast, the only character development we get in this 267 00:18:23,760 --> 00:18:27,840 Speaker 1: movie is quote a woman's evolution from an icy, cold, 268 00:18:28,000 --> 00:18:32,520 Speaker 1: selfish corporate shill into a considerate wife and mother, as 269 00:18:32,560 --> 00:18:35,160 Speaker 1: if to say, don't worry, guys, that shrill both lady 270 00:18:35,240 --> 00:18:37,440 Speaker 1: really just wants to find a sexist guy that will 271 00:18:37,480 --> 00:18:41,679 Speaker 1: teach her how to behave and awaken that biological clock. Sure, 272 00:18:41,800 --> 00:18:45,120 Speaker 1: her life's work is destroyed in Hundredstead, but she got 273 00:18:45,119 --> 00:18:47,480 Speaker 1: a man who can give her that baby all women 274 00:18:47,560 --> 00:18:53,199 Speaker 1: really want. Yeah, it is. When I was researching this, 275 00:18:53,280 --> 00:18:56,639 Speaker 1: which again wasn't what I really intended when I started 276 00:18:56,760 --> 00:19:00,000 Speaker 1: this episode, but I did find a lot of article 277 00:19:00,320 --> 00:19:09,399 Speaker 1: about that, in particular of in disaster movies, painting women 278 00:19:09,960 --> 00:19:14,919 Speaker 1: as they are this the cold business woman or the 279 00:19:15,080 --> 00:19:19,320 Speaker 1: kind woman who wants a baby, which when I was 280 00:19:19,320 --> 00:19:21,760 Speaker 1: thinking about it was like, yeah, I can think of 281 00:19:21,800 --> 00:19:25,160 Speaker 1: a lot of examples of that. And then I found 282 00:19:25,160 --> 00:19:27,680 Speaker 1: a lot of articles about all the dinosaurs are female 283 00:19:28,800 --> 00:19:31,680 Speaker 1: and men are the only ones who can tame them. 284 00:19:31,880 --> 00:19:46,639 Speaker 1: I think that's a separate episode, but that's interesting. And 285 00:19:46,680 --> 00:19:51,560 Speaker 1: then here is a quote from Media Owen, who's Chris 286 00:19:51,560 --> 00:19:55,000 Speaker 1: Pratt's character knows no wrong. When a fly is buzzing 287 00:19:55,040 --> 00:19:57,680 Speaker 1: around Claire, Owen can slap it right out of the air. 288 00:19:58,000 --> 00:20:01,399 Speaker 1: While Claire gets nervous. Even being in a helicopter, Owen 289 00:20:01,480 --> 00:20:06,240 Speaker 1: rides a motorcycle neck and neck with velociraptors. Nothing scares Owen, 290 00:20:06,640 --> 00:20:09,560 Speaker 1: not even violent man eating dinosaurs, because he is a 291 00:20:09,600 --> 00:20:13,199 Speaker 1: manly man. There's certainly nothing wrong with Claire's fear in 292 00:20:13,240 --> 00:20:16,160 Speaker 1: the face of a potential death via dinosaur, but her 293 00:20:16,160 --> 00:20:18,440 Speaker 1: fear is not used to create a sense of realism 294 00:20:18,840 --> 00:20:21,320 Speaker 1: or to pull the audience in. It's used to show 295 00:20:21,359 --> 00:20:25,400 Speaker 1: how heroic Owen is. Throughout the film, Claire is mostly 296 00:20:25,520 --> 00:20:30,080 Speaker 1: Owen's foil, and damn he looks good by comparison. In 297 00:20:30,160 --> 00:20:32,520 Speaker 1: one moment of the film, Owen is in need of 298 00:20:32,560 --> 00:20:36,240 Speaker 1: rescuing from a pterodactyl. Claire saves him by shooting said 299 00:20:36,240 --> 00:20:40,040 Speaker 1: flying reptile. We cheer because Claire reversed the roles and 300 00:20:40,119 --> 00:20:43,760 Speaker 1: saved him. However, this empowering moment is short lived, and 301 00:20:43,800 --> 00:20:47,959 Speaker 1: I mean very short lived. After being saved, Owen rises 302 00:20:47,960 --> 00:20:50,680 Speaker 1: to his feet and immediately kisses Claire as she's preparing 303 00:20:50,720 --> 00:20:54,080 Speaker 1: to say something. This move allows him to both assert 304 00:20:54,240 --> 00:20:58,480 Speaker 1: and regain power and control. Claire is reduced to a 305 00:20:58,480 --> 00:21:02,040 Speaker 1: blushing and embarrassed girl. With the seconds, Owen takes back 306 00:21:02,040 --> 00:21:04,920 Speaker 1: his gun and retakes his role as the alpha of 307 00:21:05,040 --> 00:21:12,280 Speaker 1: the group. So I thought that was interesting because in 308 00:21:12,320 --> 00:21:15,800 Speaker 1: this very same article they point out that again, this 309 00:21:15,880 --> 00:21:20,320 Speaker 1: can be done well, like it can be done where 310 00:21:20,359 --> 00:21:25,439 Speaker 1: you have, in one way or another kind of the 311 00:21:25,440 --> 00:21:27,399 Speaker 1: the woman who's never been in the jungle and the 312 00:21:27,440 --> 00:21:30,000 Speaker 1: guy who knows everything about the jungle. But the key 313 00:21:30,119 --> 00:21:35,840 Speaker 1: to it is that they're learning from each other, and 314 00:21:35,880 --> 00:21:40,000 Speaker 1: you're not necessarily making one more the butt of the 315 00:21:40,119 --> 00:21:44,639 Speaker 1: joke than the other. She's clear and this is consistently 316 00:21:44,720 --> 00:21:50,040 Speaker 1: the butt of the joke. We're supposed to mock her like, oh, 317 00:21:50,240 --> 00:21:54,679 Speaker 1: she's never gotten dirty before, all of these kinds of things. 318 00:21:55,640 --> 00:21:58,920 Speaker 1: And again that can be funny like that, that can be. 319 00:21:58,960 --> 00:22:02,800 Speaker 1: But if it's done and sort of this very superficial 320 00:22:02,880 --> 00:22:07,879 Speaker 1: sexist way and meant to make the male character look 321 00:22:08,320 --> 00:22:13,160 Speaker 1: way better, then that's that's the problem. As I thought 322 00:22:13,160 --> 00:22:16,159 Speaker 1: this was interesting, I hadn't really thought about this, but 323 00:22:16,240 --> 00:22:20,199 Speaker 1: I found this quote from Refinery twenty nine. The original 324 00:22:20,280 --> 00:22:23,280 Speaker 1: Jurassic Park stands out among action films largely because its 325 00:22:23,320 --> 00:22:28,359 Speaker 1: protagonists weren't regular action heroes. They were scientists, cool ones, sure, 326 00:22:28,400 --> 00:22:30,000 Speaker 1: but not the kind of people you would expect to 327 00:22:30,000 --> 00:22:33,400 Speaker 1: be running around to juggle fighting off massive and dangerous creatures. 328 00:22:33,880 --> 00:22:36,320 Speaker 1: And what's more, they didn't so much solve the problem 329 00:22:36,320 --> 00:22:39,760 Speaker 1: with violence as they deduced a creative solution and implemented it. 330 00:22:39,960 --> 00:22:43,159 Speaker 1: Jeff Goldbloom may have reached peak Internet icon status in 331 00:22:43,200 --> 00:22:45,639 Speaker 1: twenty eighteen, but can you imagine him holding up an 332 00:22:45,680 --> 00:22:49,159 Speaker 1: action franchise a la Bruce Willis Sam Neil has kind 333 00:22:49,200 --> 00:22:53,480 Speaker 1: of a rugged appeal, but he's not rambo. He's not macho. 334 00:22:53,880 --> 00:22:56,679 Speaker 1: If anything, he's a nerd who's just so excited to 335 00:22:56,720 --> 00:22:59,880 Speaker 1: be around his long lost monsters, and he and Ali 336 00:23:00,080 --> 00:23:05,280 Speaker 1: were equal and professional partners above anything else. Now fast 337 00:23:05,359 --> 00:23:08,000 Speaker 1: forward to Jurassic World, and our hero looks very different, 338 00:23:08,520 --> 00:23:12,080 Speaker 1: like one hundred pounds of muscle different. Owen Grady is 339 00:23:12,119 --> 00:23:15,320 Speaker 1: a former marine turned dinosaur trainer who, as we see 340 00:23:15,320 --> 00:23:18,200 Speaker 1: in the beginning of Fallen Kingdom, enjoys building himself log 341 00:23:18,280 --> 00:23:20,800 Speaker 1: cabins and living out of his car. He's the kind 342 00:23:20,800 --> 00:23:23,040 Speaker 1: of hero who needs a love interest in order to 343 00:23:23,080 --> 00:23:26,000 Speaker 1: shine to redeem him as a hulky man with a 344 00:23:26,000 --> 00:23:28,800 Speaker 1: heart of gold. Every shot of him is meant to 345 00:23:28,840 --> 00:23:31,680 Speaker 1: emphasize how good he looks in his very fitted pants. 346 00:23:31,960 --> 00:23:34,840 Speaker 1: We're supposed to admire his muscular arms, his ability to 347 00:23:34,920 --> 00:23:39,639 Speaker 1: ride motorcycles alongside raptors, his rough stubble, not his intellect. 348 00:23:41,040 --> 00:23:45,560 Speaker 1: I think that's a good point, because a lot of 349 00:23:45,600 --> 00:23:47,399 Speaker 1: the things that have really resonated with me when I 350 00:23:47,440 --> 00:23:49,919 Speaker 1: look back, it's not the like I do love a 351 00:23:49,920 --> 00:23:52,000 Speaker 1: superhero movie. Don't get me wrong, you all know that, 352 00:23:52,040 --> 00:23:55,800 Speaker 1: but when it comes to this, I do like when 353 00:23:55,800 --> 00:24:01,879 Speaker 1: it's not your super bulky, traditional stereotypical man who is 354 00:24:01,880 --> 00:24:06,280 Speaker 1: the hero. I like when it's scientists who are thrown 355 00:24:06,280 --> 00:24:10,120 Speaker 1: in this situation or whatever it is. And it did 356 00:24:10,240 --> 00:24:18,919 Speaker 1: kind of flip it where he's definitely the hero, she 357 00:24:19,119 --> 00:24:22,240 Speaker 1: is the villain. And when you talk about, like we 358 00:24:23,880 --> 00:24:29,400 Speaker 1: briefly discussed John Hammond in the original Jurassic Park, who 359 00:24:29,520 --> 00:24:33,840 Speaker 1: we sympathize with, who is humanized, there has been some 360 00:24:33,880 --> 00:24:36,359 Speaker 1: conversation about whether or not he should have been, but 361 00:24:36,440 --> 00:24:41,160 Speaker 1: he was. And Claire, who's sort of assuming that role 362 00:24:41,160 --> 00:24:44,679 Speaker 1: in this one, is very much not very much not 363 00:24:46,359 --> 00:24:52,200 Speaker 1: and is not doesn't have a satisfying, redemptive arc. I 364 00:24:52,240 --> 00:24:56,080 Speaker 1: would say she does do in the in the sequels, 365 00:24:57,040 --> 00:25:00,680 Speaker 1: she does do some things, but it's it does feel 366 00:25:02,160 --> 00:25:04,439 Speaker 1: this could go back to the writing, but it just 367 00:25:04,480 --> 00:25:07,120 Speaker 1: feels like, well, why did you do that? Then? If 368 00:25:07,200 --> 00:25:11,680 Speaker 1: now we're having to solve this, that's a whole different thing. 369 00:25:11,680 --> 00:25:14,439 Speaker 1: That's a whole different podcasts. But yeah, just the different 370 00:25:14,480 --> 00:25:18,200 Speaker 1: treatments we got in the first of the Jurassic World 371 00:25:18,240 --> 00:25:21,879 Speaker 1: series versus the first of the Jurassic Park series of 372 00:25:22,359 --> 00:25:26,080 Speaker 1: John Hammond versus Claire is quite different. But yes, this 373 00:25:26,119 --> 00:25:34,000 Speaker 1: brings us too Deep Blue Sea, which I really did 374 00:25:34,040 --> 00:25:36,760 Speaker 1: not think I was going to find anything written about this, 375 00:25:36,920 --> 00:25:42,600 Speaker 1: but I did listeners. So, as I discussed recently in 376 00:25:42,640 --> 00:25:47,639 Speaker 1: a recent classic, I got this headline show up in 377 00:25:47,680 --> 00:25:53,040 Speaker 1: my feed that there was a petition for the original 378 00:25:53,160 --> 00:25:56,080 Speaker 1: ending of Deep Blue Sea to come out. If you 379 00:25:56,200 --> 00:25:59,399 Speaker 1: haven't seen it, yeah, it's not very good, but I 380 00:25:59,520 --> 00:26:08,919 Speaker 1: enjoy it. It's about a woman named Susan who is 381 00:26:09,240 --> 00:26:15,479 Speaker 1: trying to cure Alzheimer's and for some movie science reason, 382 00:26:15,880 --> 00:26:19,159 Speaker 1: that means experimenting on sharks and their brains in particular, 383 00:26:20,520 --> 00:26:26,680 Speaker 1: and of course it goes wrong and ultimately it culminates 384 00:26:27,160 --> 00:26:30,119 Speaker 1: in a lot of people dying in their team and 385 00:26:30,160 --> 00:26:33,520 Speaker 1: then her sacrificing herself and dying. And I always thought 386 00:26:33,520 --> 00:26:36,119 Speaker 1: the ending was sort of off. I was always like, huh, 387 00:26:36,200 --> 00:26:39,679 Speaker 1: I feels a little out of left field. It turns 388 00:26:39,720 --> 00:26:42,760 Speaker 1: out I was onto something, because in the original ending, 389 00:26:42,840 --> 00:26:45,960 Speaker 1: she survives, she has to kill the shark herself, and 390 00:26:46,040 --> 00:26:49,560 Speaker 1: she does, and it's much more of a redemptive like 391 00:26:49,600 --> 00:26:52,600 Speaker 1: I realized my mistake, I will take care of it, 392 00:26:53,600 --> 00:26:58,960 Speaker 1: as opposed to her dying in this way, which was 393 00:26:59,000 --> 00:27:05,240 Speaker 1: pretty graphic, and she doesn't have like I feel, going 394 00:27:05,280 --> 00:27:06,680 Speaker 1: back to what I said at the top, when I'm 395 00:27:06,720 --> 00:27:10,040 Speaker 1: talking about like you get redemption and then you die, 396 00:27:10,160 --> 00:27:13,600 Speaker 1: it's not that because I feel like with the men 397 00:27:13,720 --> 00:27:15,440 Speaker 1: I'm thinking of when I think of that had a 398 00:27:15,680 --> 00:27:20,680 Speaker 1: long time to get that redemption, like three movies at least, 399 00:27:21,800 --> 00:27:24,760 Speaker 1: she did not have that. So it was she just 400 00:27:24,840 --> 00:27:31,000 Speaker 1: kind of died and very unceremoniously. No one seemed to care. Uh. 401 00:27:31,359 --> 00:27:34,840 Speaker 1: But the director said the reason they changed the ending 402 00:27:34,920 --> 00:27:37,480 Speaker 1: was because the audience was like, no, that has to die, 403 00:27:38,160 --> 00:27:42,760 Speaker 1: and that's the inspiration of this whole episode. So I 404 00:27:42,880 --> 00:27:46,560 Speaker 1: do have some quotes about this here is one from 405 00:27:46,640 --> 00:27:51,159 Speaker 1: girl type. In the film, doctor Susan McAllister, played by 406 00:27:51,240 --> 00:27:55,240 Speaker 1: white British actress Saffron Burrows, develops a cure for Alzheimer's 407 00:27:55,240 --> 00:27:58,040 Speaker 1: disease using the chemicals in the brains of genetically altered 408 00:27:58,040 --> 00:28:01,840 Speaker 1: giant sharks. Burrows position fashion model looks and seems the 409 00:28:01,840 --> 00:28:05,800 Speaker 1: obvious candidate for romantic subplot with Carter Blake played by 410 00:28:05,800 --> 00:28:09,240 Speaker 1: white actor Thomas Jane, the shark wrangler with the cowboy 411 00:28:09,240 --> 00:28:12,840 Speaker 1: attitude and boyish good looks. However, she turns down his 412 00:28:12,920 --> 00:28:16,160 Speaker 1: friendly offer to share beer, saying primly, it's all worked 413 00:28:16,200 --> 00:28:20,760 Speaker 1: for me Carter. Susan's sexual reluctance has been established, and 414 00:28:20,800 --> 00:28:23,840 Speaker 1: the film goes on to characterize her as frigid, cold 415 00:28:23,960 --> 00:28:28,040 Speaker 1: and calculating. Welcome to my parlor, she says coldly when 416 00:28:28,080 --> 00:28:31,760 Speaker 1: everyone enters her laboratory. Susan is a black widow, a 417 00:28:31,800 --> 00:28:34,720 Speaker 1: spider woman close to being villainized simply because she is 418 00:28:34,760 --> 00:28:38,480 Speaker 1: an ambitious scientist and isn't attracted to the leading man. 419 00:28:40,400 --> 00:28:42,960 Speaker 1: And this essay was really interesting because it broke down 420 00:28:43,000 --> 00:28:46,000 Speaker 1: a lot of a lot of the pieces of this movie. 421 00:28:46,240 --> 00:28:49,480 Speaker 1: But one of the other things was the other woman 422 00:28:50,000 --> 00:28:53,080 Speaker 1: who's in this group, because the main group just had 423 00:28:53,080 --> 00:29:00,760 Speaker 1: two women, Janis and Janice. Of course blame Susan. So 424 00:29:00,800 --> 00:29:04,800 Speaker 1: here's a quote, you stupid, She cries at Susan, setting 425 00:29:04,840 --> 00:29:08,640 Speaker 1: up their oppositional relationships within the film. These two characters 426 00:29:08,680 --> 00:29:14,080 Speaker 1: represent a dichotomy of femininity, powerful unfeeling an over emotional 427 00:29:14,200 --> 00:29:16,800 Speaker 1: weak victim, which is something we see a lot. I 428 00:29:16,840 --> 00:29:20,680 Speaker 1: often think of alien when I think of this psychotomy. 429 00:29:20,720 --> 00:29:23,000 Speaker 1: But it also goes back to what I was saying earlier, 430 00:29:23,040 --> 00:29:27,040 Speaker 1: that that seems to be maybe not quite the same. 431 00:29:27,560 --> 00:29:35,120 Speaker 1: But your business woman ice cream and your loving mother, like, 432 00:29:35,160 --> 00:29:38,800 Speaker 1: those are your two options? Which one? So the quote 433 00:29:38,800 --> 00:29:42,320 Speaker 1: goes on. The next to go is Janice, who by 434 00:29:42,400 --> 00:29:45,280 Speaker 1: this time is a total basket case. She falls off 435 00:29:45,280 --> 00:29:48,560 Speaker 1: a ladder and into the water, thinks to weak arm muscles, 436 00:29:48,640 --> 00:29:51,800 Speaker 1: and splashes around, screaming for Carter to save her. She 437 00:29:51,920 --> 00:29:54,240 Speaker 1: is suddenly jerked under the water by a shark, and 438 00:29:54,280 --> 00:29:57,240 Speaker 1: the rest of the gang momentarily mourns her loss. Then 439 00:29:57,280 --> 00:30:01,160 Speaker 1: she rises up again, arms outstretched in a weirdly graceful 440 00:30:01,240 --> 00:30:04,680 Speaker 1: pose like a synchronized swimmer. Her legs are wrapped in 441 00:30:04,720 --> 00:30:08,520 Speaker 1: an equally posed way around the shark's vertical snout, but 442 00:30:08,600 --> 00:30:12,040 Speaker 1: its jaws are locked over her crotch. Janie screams and 443 00:30:12,080 --> 00:30:15,560 Speaker 1: bleeds in gouts, but stays carefully positioned like a ballet 444 00:30:15,640 --> 00:30:20,600 Speaker 1: dancer as the shark attacks her between the legs. Amazingly, 445 00:30:21,040 --> 00:30:23,200 Speaker 1: the shot of her emerging from the water like this 446 00:30:23,440 --> 00:30:26,120 Speaker 1: is shown twice, but once from the side so we 447 00:30:26,160 --> 00:30:28,600 Speaker 1: can see where she has been bitten, and again from 448 00:30:28,640 --> 00:30:31,880 Speaker 1: above so we can see her anguished face, slow mow 449 00:30:31,960 --> 00:30:35,360 Speaker 1: bobbing breasts, and the shark's teeth locked over her pelvic area. 450 00:30:36,040 --> 00:30:39,640 Speaker 1: Needless to say, I was astounded and disturbed by this image. 451 00:30:39,920 --> 00:30:43,640 Speaker 1: Not only are the women's helplessness, weakness, and hysteria treated 452 00:30:43,680 --> 00:30:47,280 Speaker 1: as normal feminine characteristics, but she dies as a prettily 453 00:30:47,400 --> 00:30:52,160 Speaker 1: posed sex object. The shark gruesomely attacks her vagina, her 454 00:30:52,200 --> 00:30:55,600 Speaker 1: biological difference from men, and the film glories in the 455 00:30:55,720 --> 00:30:59,720 Speaker 1: image with elaborate camera work, slow motion, and repeated shots. 456 00:31:00,440 --> 00:31:03,880 Speaker 1: In a later scene, the gang explores janisis quarters looking 457 00:31:03,880 --> 00:31:07,080 Speaker 1: for batteries for their flashlight. Jan was a healthy girl. 458 00:31:07,200 --> 00:31:09,920 Speaker 1: Something in here has to run on batteries, says secondary 459 00:31:09,920 --> 00:31:13,320 Speaker 1: white male Scoggins, The goofy member of the gang where 460 00:31:13,320 --> 00:31:18,400 Speaker 1: would a girl keep her vibrator noise thing? I was 461 00:31:18,480 --> 00:31:22,160 Speaker 1: outraged that even in death, Janie got reduced to a 462 00:31:22,200 --> 00:31:27,480 Speaker 1: dirty joke, reduced to nothing but her vagina, yep, yep. 463 00:31:28,400 --> 00:31:31,880 Speaker 1: And I did want to come one day when Samantha's better, 464 00:31:31,920 --> 00:31:34,080 Speaker 1: I'd want to come back to this of the history 465 00:31:34,120 --> 00:31:40,320 Speaker 1: of in disaster movies, movies, and horror movies in general, 466 00:31:40,440 --> 00:31:46,360 Speaker 1: of women getting consumed by monsters while naked or somehow 467 00:31:46,520 --> 00:31:51,040 Speaker 1: skimply clad or are sexy or something like that, and 468 00:31:51,120 --> 00:31:55,600 Speaker 1: what that says. But in the meantime, the quote continues, 469 00:31:56,200 --> 00:31:59,640 Speaker 1: Susan is also degraded sexually. She gets trapped by a 470 00:31:59,680 --> 00:32:02,280 Speaker 1: shark and has to electrocute it with a nearby clump 471 00:32:02,280 --> 00:32:05,160 Speaker 1: of wires. She strips to her underwear and stands on 472 00:32:05,200 --> 00:32:09,200 Speaker 1: her wetsuit to insulate herself from the electrical charge. Shivering 473 00:32:09,240 --> 00:32:11,640 Speaker 1: and pissed off, she cowers in her tiny white bra 474 00:32:11,840 --> 00:32:16,320 Speaker 1: and panties as a flailing shark flames and sparks go everywhere. 475 00:32:17,080 --> 00:32:19,560 Speaker 1: The scene may be an homage to Sigourney Weaver's strip 476 00:32:19,640 --> 00:32:21,920 Speaker 1: teas at the end of Alien, but in this case 477 00:32:22,000 --> 00:32:25,800 Speaker 1: I was especially angered. Susan is forced to strip to survive. 478 00:32:26,120 --> 00:32:28,479 Speaker 1: It says if the movie is punishing her for her 479 00:32:28,520 --> 00:32:32,280 Speaker 1: earlier denial of Carter and gloating while she suffers wet 480 00:32:32,560 --> 00:32:38,840 Speaker 1: and miserable, and that I will admit, as much as 481 00:32:38,840 --> 00:32:43,320 Speaker 1: I have had my questions of this movie, which I 482 00:32:43,320 --> 00:32:48,840 Speaker 1: don't know how to feel about, I always thought, you know, oh, 483 00:32:48,600 --> 00:32:50,800 Speaker 1: they feel like they have to put in this scene, 484 00:32:51,480 --> 00:32:54,800 Speaker 1: very degraded scene of the woman stripping down, but that 485 00:32:54,920 --> 00:32:59,480 Speaker 1: is a good point that she turned down and it 486 00:32:59,560 --> 00:33:04,920 Speaker 1: is off from your hot Action hero guy and now 487 00:33:05,680 --> 00:33:21,719 Speaker 1: here she is almost says punishment and then going to 488 00:33:22,040 --> 00:33:26,800 Speaker 1: the ending. So at this point we've got three survivors 489 00:33:27,000 --> 00:33:31,520 Speaker 1: from the main group. We've got ll cool j the 490 00:33:31,600 --> 00:33:36,080 Speaker 1: Action hero guy and Susan, and the shark is trying 491 00:33:36,080 --> 00:33:38,000 Speaker 1: to get free, and they're like, we cannot let this 492 00:33:38,120 --> 00:33:42,880 Speaker 1: shark free, and Action Hero Guy jumps in the water, 493 00:33:43,680 --> 00:33:46,520 Speaker 1: but the shark is coming for him. He jumps in 494 00:33:46,560 --> 00:33:48,800 Speaker 1: the water to like, I don't know stuff the shark, 495 00:33:50,760 --> 00:33:57,080 Speaker 1: and Susan decides she is going to draw the shark's attention, 496 00:33:58,000 --> 00:34:01,600 Speaker 1: so she cuts her hand and says come to mama 497 00:34:02,240 --> 00:34:05,959 Speaker 1: and jumps in the water. And here is our final 498 00:34:06,040 --> 00:34:10,200 Speaker 1: quote about that the shark approaches her, regards her blankly 499 00:34:10,280 --> 00:34:12,279 Speaker 1: for a long moment, and then gobbles her up in 500 00:34:12,320 --> 00:34:16,319 Speaker 1: three very separate floody bites. The film pauses deliberately before 501 00:34:16,360 --> 00:34:19,440 Speaker 1: picking off Susan, and the subsequent destruction of the shark 502 00:34:19,600 --> 00:34:24,600 Speaker 1: is like an anti climactic afterthought. When Preach Hell, Cool 503 00:34:24,640 --> 00:34:28,719 Speaker 1: Jay's character fires a lethal explosive charge, he whispers, this 504 00:34:28,760 --> 00:34:33,080 Speaker 1: is for Scoggins. Scoggins, Susan is the one who sacrificed 505 00:34:33,080 --> 00:34:35,840 Speaker 1: her life to help kill the shark. Scoggins was comic 506 00:34:35,880 --> 00:34:38,920 Speaker 1: relief for Pete's sake. Yet Susan doesn't even get a 507 00:34:38,960 --> 00:34:41,720 Speaker 1: hero's memorial. She's nothing but fish food to the sharks 508 00:34:41,719 --> 00:34:44,600 Speaker 1: and her companions. I felt cheated by Susan's death and 509 00:34:44,640 --> 00:34:47,200 Speaker 1: saddened by how little the surviving characters cared about her. 510 00:34:48,400 --> 00:34:53,719 Speaker 1: So yeah, I think that speaks to what we've been 511 00:34:53,760 --> 00:35:01,800 Speaker 1: talking about, is she wasn't very fleshed out. She wasn't 512 00:35:01,840 --> 00:35:07,360 Speaker 1: given a lot of moments for sympathy or redemption, where 513 00:35:07,400 --> 00:35:11,000 Speaker 1: as a lot of male characters like John Hammond were are. 514 00:35:13,320 --> 00:35:17,560 Speaker 1: But it also is a very very fair point that 515 00:35:18,400 --> 00:35:22,799 Speaker 1: the Shark's death is seemingly lesser than her death, like, 516 00:35:22,840 --> 00:35:25,320 Speaker 1: she deserved to die more than that shark. And you 517 00:35:25,360 --> 00:35:27,279 Speaker 1: can make your arguments about that, because she was, you know, 518 00:35:27,320 --> 00:35:33,040 Speaker 1: ethically doing these experiments on sharks that caused this whole thing, 519 00:35:34,239 --> 00:35:38,000 Speaker 1: But she did want to make amends and she was 520 00:35:38,040 --> 00:35:43,480 Speaker 1: trying to And the fact that we're more supposed to 521 00:35:43,520 --> 00:35:47,520 Speaker 1: be more jubilant that she died rather than this shark 522 00:35:48,120 --> 00:35:51,879 Speaker 1: is not the most It's not the most fun thought 523 00:35:55,000 --> 00:35:57,120 Speaker 1: I and I do again, I say this as someone 524 00:35:57,120 --> 00:36:01,080 Speaker 1: who really doesn't get joy out of death in a 525 00:36:01,120 --> 00:36:07,319 Speaker 1: lot of media, but uh, this is always always stuck 526 00:36:07,360 --> 00:36:10,719 Speaker 1: out to me. And when I read that headline, like 527 00:36:10,760 --> 00:36:12,880 Speaker 1: I said in that classic where I first mentioned this, 528 00:36:12,960 --> 00:36:16,080 Speaker 1: I was like, I knew it. I knew it just 529 00:36:16,160 --> 00:36:20,640 Speaker 1: fell off and I yeah, yeah, I had forgotten that 530 00:36:20,719 --> 00:36:25,480 Speaker 1: they that they sort of just immediately forget she died, 531 00:36:26,320 --> 00:36:29,440 Speaker 1: like oh yeah, this is Fris Coggins. So her death 532 00:36:29,480 --> 00:36:31,839 Speaker 1: felt kind of meaningless. All it was was like, yeah, 533 00:36:31,880 --> 00:36:36,200 Speaker 1: she deserved to die, Let's move on. And I do 534 00:36:36,280 --> 00:36:40,960 Speaker 1: think there is a conversation to be had about you know, 535 00:36:41,560 --> 00:36:48,920 Speaker 1: responsibility and her taking responsibility for what she did. But 536 00:36:50,160 --> 00:36:57,440 Speaker 1: I just feel very strongly this was punishing an ambitious 537 00:36:57,480 --> 00:37:01,560 Speaker 1: woman who wasn't into the lead man, and so we 538 00:37:01,560 --> 00:37:04,759 Speaker 1: were supposed to revel in it as opposed to all 539 00:37:04,840 --> 00:37:09,200 Speaker 1: of the redemptive arcs we grant men who are more 540 00:37:09,239 --> 00:37:14,240 Speaker 1: fleshed out in terms of character. But yeah, it's also 541 00:37:14,480 --> 00:37:16,200 Speaker 1: I know some of you are probably scratching your red 542 00:37:16,239 --> 00:37:18,040 Speaker 1: and like, why are we talking so much about this 543 00:37:18,120 --> 00:37:22,960 Speaker 1: bad shark movie? But it matters. The stuff we consume matters, 544 00:37:23,200 --> 00:37:26,520 Speaker 1: and I was curious, So I was pretty sure I 545 00:37:26,600 --> 00:37:29,000 Speaker 1: knew why, but I was curious why they changed the 546 00:37:29,120 --> 00:37:31,439 Speaker 1: ending go. When I read it, I was like, oh, yep, 547 00:37:31,640 --> 00:37:34,160 Speaker 1: that makes total sense that the audience were like, yeah, 548 00:37:34,239 --> 00:37:36,560 Speaker 1: just kill her. We don't want to have to deal 549 00:37:36,600 --> 00:37:39,839 Speaker 1: with her, and you have to like her. I get 550 00:37:39,880 --> 00:37:42,719 Speaker 1: a lot of parts she wasn't very likable, but that's 551 00:37:42,760 --> 00:37:45,600 Speaker 1: part of the issue. I don't know, maybe I'm talking 552 00:37:45,600 --> 00:37:51,560 Speaker 1: to myself in circles. I do have other episodes coming 553 00:37:51,640 --> 00:37:57,840 Speaker 1: up about Jurassic Park and some other disaster things disaster movies. 554 00:37:58,680 --> 00:38:01,239 Speaker 1: But in the meantime, please let me know if you 555 00:38:01,239 --> 00:38:02,719 Speaker 1: have any thoughts on this. I don't know if I'm 556 00:38:02,760 --> 00:38:06,279 Speaker 1: the only one out there clearly not. I can't believe 557 00:38:06,320 --> 00:38:08,959 Speaker 1: I've felt some great essays about it, but I would 558 00:38:08,960 --> 00:38:12,319 Speaker 1: love to hear from all of you. Hopefully, Samantha, we 559 00:38:12,360 --> 00:38:14,920 Speaker 1: miss you. I don't know if you'll ever listen to this. 560 00:38:15,160 --> 00:38:17,280 Speaker 1: I feel again. I feel like I'm a child who's 561 00:38:17,400 --> 00:38:21,680 Speaker 1: gotten free and can do whatever I want. But we 562 00:38:21,719 --> 00:38:24,840 Speaker 1: hope you feel better soon and yes, listeners. In the meantime, 563 00:38:25,000 --> 00:38:27,600 Speaker 1: you can contact us. Our email is Stephania mom Stuff 564 00:38:27,600 --> 00:38:30,120 Speaker 1: at iHeartMedia dot com. You can find us on Twitter 565 00:38:30,360 --> 00:38:33,880 Speaker 1: at mom Stuff podcast and on Instagram and TikTok at 566 00:38:33,880 --> 00:38:36,280 Speaker 1: Steffan Never Told You. We have a tea public store. 567 00:38:36,400 --> 00:38:38,560 Speaker 1: You can get merchandise there. We have a book you 568 00:38:38,560 --> 00:38:41,680 Speaker 1: can get it at stuff you Should Read Books dot com. 569 00:38:41,800 --> 00:38:44,960 Speaker 1: Thanks is alwis to our super producer Christina, our executive 570 00:38:44,960 --> 00:38:48,400 Speaker 1: producer Maya, and our contributor Joey, and thanks to you 571 00:38:48,480 --> 00:38:51,040 Speaker 1: for listening. Stuff I'll Never Told You is production of iHeartRadio. 572 00:38:51,080 --> 00:38:52,640 Speaker 1: For more podcast from my Heart Radio, you can check 573 00:38:52,640 --> 00:38:54,759 Speaker 1: out the Heart Radio Apple podcast or if you listen 574 00:38:54,840 --> 00:38:55,720 Speaker 1: to your favorite shows